Taking Ludvig Holberg’s proto-sci-fi novel Underground Travels (1741) as its starting point, “Iter Subterraneum” at Bergen Kunsthall (NO) imagines nonhuman ways of sensing and reasoning. Artists including Cecilia Fiona, Wangechi Mutu, and Anicka Yi shift perspective toward plants, fungi, and insects—echoing Holberg’s sentient trees. Naomi Rincón-Gallardo’s Dung Kinship (2024), for example, fantastically chronicles ‘fly women’ and ‘dung folk’ transforming rot into regenerative force.

Born-digital art champions Rhizome announce that their solar web server has been permanently installed atop the 18th Street Arts Center rooftop in Santa Monica, California. Part of Solar Protocol’s “naturally intelligent network,” the initiative reflects the organization’s push toward more sustainable—and intentional—digital infrastructure. The server offers only “sporadic connectivity” dependent on available sunshine, routing requests to whichever node has the most sun.

In her final 2025 Artlab Editorial Fellowship essay, writer Elvia Wilk explores Jenna Sutela’s “many-headedness”—channeling of bacteria, slime molds, and machine learning to confound notions of singular authorship. In a close reading of nimiia cétiï (2018), Wilk connects the Finnish artist’s practice to 19th-century spiritualist Hélène Smith, whose ‘Martian language’ structured the video’s uncanny vocalizations. Wilk concludes that Sutela is herself a medium—listening first, then attuning us to new frequencies.

Sydney’s Museum of Contemporary Art Australia (MCA) probes the complex relationship between technology and power in a major survey: “Data Dreams: Art and AI” brings together ten international trailblazers, including Fabien Giraud, Kate Crawford & Vladan Joler, Trevor Paglen, Hito Steyerl, and Anicka Yi, to explore how algorithms and the data economy reshape world views, social systems, and the living planet. Giraud’s AI co-authored film, The Feral (2025–3025)—a world premiere—projects one possible outcome, hallucinating humanity’s future 32 generations ahead.

“FUNGI: Anarchist Designers” at Rotterdam’s Nieuwe Instituut positions fungi as anarchic co-designers of worlds shaped by capitalism and ecological ruin. Curated by anthropologist Anna Tsing and architect Feifei Zhou, artists including Anicka Yi, Kyriaki Goni, and Olafur Eliasson collaborate with ecologists, infectious disease specialists, and microbiologists to trace fungi across scales—from sick frogs and kitchen dishwashers to coffee plantations and termite mounds.

What would it mean for a forest to own and manage itself? Terra0’s Autonomous Forest (2025) is an experimental, living artwork that rethinks ecological regeneration and stewardship through collective, blockchain-based governance. First theorized in their 2016 white paper, the group—finally—introduces a legal prototype with LAS Art Foundation: Two newly acquired woodland plots near Berlin are now DAO-managed, challenging years of monocultural and profit-driven forestry.

Building on his activist work exploring “unconventional CO2 offsets” with collaborator Tega Brain, American artist Sam Lavigne introduces the world’s first (?) income-based carbon footprint calculator. The tool is based on new insights on emissions inequality that show that “40% of total U.S. emissions were associated with income flows to the highest earning 10% of households.” As Lavigne states: “Some people are, in fact, more responsible than others.”

“Down Deep: Living seas, living bodies” convenes artists at Sopot State Art Gallery (PL) to probe the depths of humanity’s physical and spiritual connection to the ocean. Anchored in theories of life emerging from deep-sea hydrothermal vents 3.5 billion years ago, the show partners with marine scientists to reimagine the ocean as sentient. Agnieszka Kurant, Julia Lohmann, Superflex, and Raqs Media Collective contribute works that embody what the curators frame as “becoming ocean.”

“Robotron. Code and Utopia” at GfZK Leipzig revisits the long-shuttered East German computer manufacturer whose technological ambitions and economic contradictions mirrored the state’s eventual collapse. Curated by Franciska Zólyom (GfZK director) and collaborators, over 20 artists—including Horst Bartnig, Nadja Buttendorf, knowbotiq, and Ruth Wolf-Rehfeldt—present works probing computerization’s false promises, environmental destruction, and how the GDR’s technological fantasies illuminate our own.

A flickering firmament that turns raw data into visceral experience: Ryoji Ikeda’s new audiovisual installation, data-cosm [n°1] (2025), at 180 Studios in London continues the Japanese luminary’s exploration of the computational sublime. A vast LED ceiling functions as “a giant microscope, a monitoring system, and a window to an infinitely vast space,” 180 Studios writes. Visitors are invited to lie down, immerse themselves in Ikeda’s austere soundscapes and gaze up at a universe of pure information.

In “Persistent Worlds,” Alice Bucknell’s first major museum exhibition at Kunsthalle Praha (CZ), the LA-based artist and writer presents four recent works—two films, two videogames—that explore speculative fiction, eco-criticism, and interspecies collaboration through simulation. Small Void (2025), Staring at the Sun (2024-25), Nightcrawlers (2025), and The Alluvials (2023) unsettle reality, curator Lívia Nolasco-Rózsás writes, reminding us that worldbuilding is a powerful political gesture.

Jenna Sutela presents her first solo exhibition in the Netherlands, “ave bossa, bow ole,” at Stroom Den Haag. Across two floors, the Finnish artist presents works including Vermi-Cell (2023-25)—a living earth battery-powered sound installation fed by composting worms—the edible Sweet Energy Poem (2023-25), and hand-blown glass spheres Strange Loupe (2025) incorporating her portrait. For Sutela, these works enact “a world made of brains”—systems challenging anthropocentric consciousness at all scales.