{"id":64623,"date":"2026-05-13T10:49:08","date_gmt":"2026-05-13T10:49:08","guid":{"rendered":"https:\/\/www.europesays.com\/ch\/64623\/"},"modified":"2026-05-13T10:49:08","modified_gmt":"2026-05-13T10:49:08","slug":"fad-news-trevor-paglen-to-co-curate-zero-10-at-art-basel-basel-2026","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ch\/64623\/","title":{"rendered":"FAD News: Trevor Paglen to co-curate Zero 10 at Art Basel Basel 2026."},"content":{"rendered":"

Art Basel 2026 has announced that Trevor Paglen<\/a> will co-curate the latest edition of Zero 10<\/a>, the fair\u2019s global initiative dedicated to art of the digital era, alongside digital art strategist Eli Scheinman<\/a>.<\/p>\n

Making its debut at Art Basel\u2019s flagship Swiss edition, Zero 10 will take over the Event Hall on Messeplatz from 17th\u201321st June 2026, with a Preview Day on 16th June. Positioned alongside Art Basel Conversations, the expanded presentation will feature 19 exhibitors showcasing artists working at the forefront of digital, generative and media-based practices.<\/p>\n

First launched in 2025, Zero 10 reflects Art Basel\u2019s increasing commitment to artistic practices shaped by digital culture and computational systems. Following earlier editions in Miami Beach and Hong Kong, the Basel presentation marks the initiative\u2019s largest and most ambitious iteration to date.<\/p>\n

Paglen and Scheinman have developed this year\u2019s edition around the theme The Condition, examining contemporary life within a world saturated by algorithmic systems, artificial intelligence, networked images and computational infrastructures.<\/p>\n

\"\"\"\"<\/a>HEK (Hause der Elektronischen K\u00fcnste; House of Electronic Arts) Web project and archive. Screenshot. Courtesy of HEK (House of Electronic Arts) Collection. Purchased with funds from the Freiwilliger Museumsverein Basel in 2016. Permanent loan of the Freiwilliger Museumsverein Basel.<\/p>\n

Noah Horowitz said:<\/p>\n

\u201cThe art market is expanding, and the audiences driving that expansion are digitally native, globally connected, and looking for platforms that speak their language. Zero 10 at our Swiss flagship is our most ambitious answer to that challenge yet \u2013 a clear signal of our commitment to digital art as a cornerstone of our go-forward strategy \u2014 not a trend to observe, but a direction to lead.\u201d<\/p>\n

He added:<\/p>\n

\u201cWe are particularly honored to inaugurate Zero 10 in Basel hand-in-hand with Trevor Paglen, a pioneering artist trusted equally by the institutional art world and digital communities.\u201d<\/p>\n

Paglen described the exhibition as an intergenerational conversation spanning fifty years of computational and instruction-based art:<\/p>\n

\u201cLooking across the last 50 years of instruction-based and computational work, from postwar experimentalism through today\u2019s generative practices, I see a continuous thread: a body of work that understands the digital as a medium with its own properties, possibilities, and demands.\u201d<\/p>\n

He continued:<\/p>\n

\u201cThe showcase becomes an intergenerational conversation about what it means to be alive in the digital era, led by artists who were thinking seriously about these questions long before the rest of the world caught up.\u201d<\/p>\n

The presentation brings together major international galleries including Hauser & Wirth, Marian Goodman Gallery, Spr\u00fcth Magers, Esther Schipper and Almine Rech, alongside digital-focused exhibitors including bitforms gallery, Art Blocks and HEK (Haus der Elektronischen K\u00fcnste).<\/p>\n

Among the highlights is Hito Steyerl\u2019s <\/a>Green Screen (2023), jointly presented by Esther Schipper and Andrew Kreps Gallery. The installation combines AI-generated imagery, recycled glass LED walls and living plants whose bioelectrical signals shape evolving sound compositions and animations.<\/p>\n

Avery Singer<\/a> will present Shit Coin Maxi (2025) with Hauser & Wirth, reflecting on cryptocurrency speculation through layered digital-painterly compositions, while Andreas Gursky<\/a>\u2019s Ocean V (2010) at Spr\u00fcth Magers transforms satellite imagery into vast oceanscapes exploring climate, borders and planetary observation.<\/p>\n

\"\"\"\"<\/a>Avery Singer, Hauser & Wirth, \u2018Shit Coin Maxi\u2019, 2025. Copyright by Avery Singer. Photo by Lance Brewer Courtesy the artist and Hauser & Wirth.<\/p>\n

The fair will also include presentations by pioneering computer artist Vera Molnar,<\/a> composer and visual artist Ryoji Ikeda<\/a>, and immersive digital works by John Gerrard<\/a> and Rafael Lozano-Hemmer<\/a>.<\/p>\n

Scheinman said:<\/p>\n

\u201cThis third edition marks an important evolution for the initiative, with Trevor Paglen joining me as co-curator alongside expanded programming and the participation of leading international galleries and institutions.\u201d<\/p>\n

Alongside the exhibition, three dedicated Conversations panels will explore labour, authorship, AI and digital economies through discussions featuring artists, theorists and technologists, including Auriea Harvey<\/a>, Josh Kline<\/a> and Tina Rivers Ryan<\/a>.<\/p>\n

By expanding beyond the traditional booth format and foregrounding digital-native artistic practices, Zero 10 signals Art Basel\u2019s growing investment in the future infrastructures, aesthetics and economies of contemporary art.<\/p>\n

Art Basel Basel, June 18th-21st, 2026 @artbasel<\/a><\/p>\n

About<\/p>\n

Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Paglen\u2019s work has had one-person exhibitions at the Smithsonian American Art Museum, Carnegie Museum of Art, Fondazione Prada, Barbican Centre, Vienna Secession, and Protocinema, and has participated in group exhibitions at the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, Tate Modern, and numerous other venues.<\/p>\n

Paglen has launched an artwork into distant orbit around Earth in collaboration with Creative Time and Massachusetts Institute of Technology, contributed research and cinematography to the Academy Award-winning film Citizenfour, and created a radioactive public sculpture for the exclusion zone in Fukushima, Japan.<\/p>\n

Paglen is the author of several books and numerous articles on subjects including experimental geography, artificial intelligence, state secrecy, military symbology, photography, and visuality. His work has been profiled in the The New York Times, The New Yorker, The Wall Street Journal, Wired, the Financial Times, Artforum, and Aperture.<\/p>\n

In 2014, he received the Electronic Frontier Foundation Pioneer Award, and in 2016, he won the Deutsche B\u00f6rse Photography Prize. Paglen was named a MacArthur Foundation Fellow in 2017. In March 2026, Paglen was named the winner of the LG Guggenheim Award.<\/p>\n

Paglen\u2019s sixth book, How to See Like a Machine: Images After AI, will be published by Verso Books in May 2026.<\/p>\n

Paglen holds a B.A. from University of California, Berkeley, an MFA from the School of the Art Institute of Chicago, and a Ph.D. in Geography from University of California, Berkeley.<\/p>\n

Eli Scheinman is a digital art strategist, advisor, and curator shaping the future of art collecting at the intersection of technology and culture. A community builder and early-stage operator, he has led initiatives and built companies across Web3 and fine art, including PROOF, which was acquired by Yuga Labs.<\/p>\n

Today, Scheinman works with pathbreaking collectors, artists, and institutions to help redefine how contemporary art is made, experienced, and collected.<\/p>\n

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