Completing the NFT-release-to-exhibition trajectory in just six months, Tyler Hobbs’ “QQL: Analogs” opens at Pace New York. The American artist describes his solo show as “an examination of ways to integrate the hand and the machine in painting,” and explores the texture and imperfections introduced when using oil and acrylic paint to plot selected outputs of his eponymous circle packing algorithm. Closing the loop, each of the 12 large paintings on sale are bundled with the NFT used to generate it (e.g.)

Named after a line of predictive text poetry, Travess Smalley’s solo exhibition “Number colors burn randomly” opens at Foxy Production, New York. Comprising new textile works (literal pixel rugs), plotter drawings, silk screen prints, and videos, the show expands upon the American artist’s use of code and scripts to plant “seeds of chance” for visual production. “It might not be the mark of my hand that is interesting,” notes Smalley, “but the exact inverse, the absence, the ghost, the memory.”

Amsterdam’s NEMO Science Museum unveils a giant meatball made from cultivated woolly mammoth flesh. Created to spark conversations about sustainable meat alternatives, food engineers from the Australian cultured meat company Vow inserted sheep cells with the mammoth myoglobin gene. “When it comes to meat, myoglobin is responsible for the aroma, the colour and the taste,” James Ryall, Vow’s Chief Scientific Officer explains. Where Vow’s mammoth DNA sequence had gaps, African elephant DNA was spliced in for completion.

Celebrating her pioneering “seer-like spaces and live surveillance situations,” the retrospective “Julia Scher: Maximum Security Society” opens at Museum Abteiberg in Mönchengladbach (DE). The “essayistic survey” scans the American artist’s entire oeuvre of power and gaze-focused works, from Predictive Engineering, her live camera installations iterated at SFMOMA over the years (1993-2016), through Delta (Radio) and Planet Greyhound, both produced for her recent Kunsthalle Gießen exhibition (2022).

ZKM Karlsruhe opens “Renaissance 3.0,” a major celebration of “new alliances of art and science in the 21st century.” The last exhibition curated by ZKM’s late director Peter Weibel brings together 35 artistic positions by Tega Brain, James Bridle, Anna Dumitriu, Tomás Saraceno, and Saša Spačal that “open up multidisciplinary knowledge bases” and “new fields of research.” A visualization of such entanglements offers Wissensfeld (2023, image), Weibel’s final artistic collaboration.

”New Surroundings: Approaching the Untouchable,” an exhibition organized by Molior that delves deep into the digital sublime, opens at Montreal’s Livart. Curated by Nathalie Bachand, it features artists including Caroline Gagné, Olivia McGilchrist, François Quévillon (image: MÉTÉORES, 2017-18), and Sabrina Ratté presenting works in print, installation, video, and VR that explore extreme tensions between ”modified, reorganized, and augmented” digitality and nature.

Resurfacing fabled 18th century partially-dissected wax figures used in the study of anatomy, “Cere Anatomiche” opens at Fondazione Prada Milan, presenting four anatomical venuses and 72 drawings from the La Specola collection alongside a companion film by David Cronenberg. Entitled Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection, the Canadian director’s short dwells on how the figures’ uncanny “body language and facial expressions do not display pain or agony.”

The final instalment in a trilogy of exhibitions fixating on highrises, Jesse Colin Jackson’s “Mackenzie Place” opens at Toronto’s Pari Nadimi Gallery. Venturing to Hay River in the Northwest Territories, the Canadian artist shot a year of time-lapse photography atop Mackenzie Place—the near arctic town’s lone skyscraper. The resulting panoramic video tracks daily and seasonal flux and is bolstered by audio of oral histories about the mining town collected by anthropologist Lindsay Bell.