Martina Menegon’s interactive self-portrait I’m sorry I made you feel that way (2023) opens at discotec, Vienna, exploring new forms of care for our hybrid selves. Menegon’s blobby CGI avatar, generated with AI and personal biometric data, will show signs of deterioration the more the artist’s physical needs are neglected. When stressed, for example, the virtual portrait will refuse interaction and, eventually, dissolve into glitched abstraction. An AR extension adds a sculptural layer, spilling Menegon’s failing frame into the gallery.

“Glitch. The Art of Interference” opens at Munich’s Pinakothek der Moderne, offering a comprehensive institutional survey of “one of the youngest and most unpredictable forms of art.” Curators Franziska Kunze and Katrin Bauer present works by 50 international artists that trace the interrogation of media and its malfunction from the digital era (Rosa Menkman, !Mediengruppe Bitnik & Sven König, JODI) back to glitch art’s analog roots (Nam June Paik, Peter Weibel, Pipilotti Rist, Sondra Perry).

“Error & Power” opens at Artcore Gallery, Derby (UK), presenting the output of Naho Matsuda and Neale Willis’ residency. For nearly a year, the two artists explored “spaces of chance” and “the potential for mistakes and errors to shape their work,” writes curator Aisling Ward. Matsuda’s Blue Girl, for example, reimagines the ‘learning test’ of Stanley Milgram’s Obedience Experiment, while Willis’ placement of .JPG and Untitled computer equipment (image) manifests symbols of cybernetic serendipity.

Instigated by artist Rosa Menkman and featuring works by Memo Akten, Sophie Dyer & Sasha Engelmann, Susan Schuppli, UCNV, Alan Warburton, and others, “im/possible images” opens at Lothringer 13 Halle, Munich. The exhibition extends out of Menkman’s research into digital image infrastructures and kicks off a two-month summer school exploring the conditions of image making today: “How do resolutions shape images? How has the field of computer simulation expanded the rules and functioning of our imagery? Can one listen to an image?”

In It Takes More than the Past to Understand and Build the Archive (2020), a new video essay commissioned for the “Future of Digital Archives and Collections” issue of Stedelijk Studies, Dutch glitch artist Rosa Menkman revisits her seminal work A Vernacular of File Formats (2009-10). The video reveals the historical, social, and chance contexts that inspired her research into image encoding and data syntax systems, and how our relationship to images and data have evolved since.