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OUT NOW:
Ilan Manouach
Fastwalkers
Co-created with AI (GAN, GPT-3) and a team of experts, Manouach’s synthetic manga is a nonlinear meditation on deep learning that explores the inherent computational qualities of comics to play with the latent space lurking in the reader’s cognition.
“Kim Jung Gi left us less than [a week ago] and AI bros are already ‘replicating’ his style and demanding credit. Vultures and spineless, untalented losers.”
– Comic-book writer Dave Scheidt, blasting the release of an AI model trained on the renowned South Korean illustrator’s work within days after his passing. “In effect, manga and anime are acting as an early testing ground for AI art-related ethics and copyright liability,” notes reporter Andrew Deck in his analysis.

“Kazuo Umezz the Great Art Exhibition,” opens at Tokyo City View. For his career celebration, the manga legend has painted a sequel to his classic Watashi wa Shingo (1982-6) and artist duo exonemo pay tribute; their array of 12 screens mimic the form of panels, displaying infinite randomized scenes “that Shingo would have seen in the comic.” Fittingly, the installation sits in front of a view of the Tokyo Tower, an important site in the comic’s narrative.

“My Future is not a Dream,” a show presenting Cao Fei’s early works opens at Espace Louis Vuitton München. Dealing with the virtualization of place, labour, and leisure, selections include RMB CITY: A Second Life City Planning (2007, image), which depicts the collision of Chinese urban life with immaterial space, and Imbalance 257 (1999), which presciently imagined youth “subjugated by entertainment … disguising themselves as manga or videogame characters to play out a fictional life.”

OUT NOW:
Kuti #57: The Digi-Kuti
In this special issue dedicated to “adventures in digital narration,” the comic magazine gathers AI mangas, ANSI tapestries, PETSCII meditations, and teletext novellas by 13 artists including Raquel Meyers, Jake Jellica, Ilan Manouach & Yannis Siglidis, and Joonas Rinta-Kanto.
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