.svg)
Menu
This year during Art Basel Paris, the city offers a dense landscape of exhibitions where digital practices emerge as one of the most vital and coherent directions in contemporary art. Across galleries, independent programs and curated satellite shows, certain artists distinguish themselves through the clarity of their language, the integrity of their process and their ability to move intelligently between digital systems and artistic form. These are digital art picks for collectors navigating Paris this week; an invitation to look, to understand, and to collect with depth and curiosity.
aurèce vettier continues to develop one of the most compelling post-digital practices. His work integrates algorithmic form-generation with meticulous material execution, moving fluently between AI processes and bronze, pigment, paper, or woven textiles. His butterfly sculptures transform AI-generated morphologies into mineral permanence, treating geometry as something living rather than computational. The butterfly also appears in one of his painting series. His Aubusson tapestries translate machine-generated images into thread, color, and slowness, creating a material dialogue between ancestral technique and contemporary systems. Rather than illustrate technology, aurèce vettier embeds it structurally, revealing form as a negotiation between human decision and machine proposition.
On view at: Darmo Art, 16 boulevard des Invalides, Paris
ThankYouX presents Harmony >< Tension for Fellowship at 66 Rue Charlot, a focused exhibition that strengthens his position at the intersection of abstraction and post-digital form. Each work exists as a diptych composed of a physical painting and a digital animation, collected together as a single piece. The paintings develop layered chromatic fields where tension is treated as a structural element rather than a dramatic one. The digital component does not replicate the painting but expands it, unfolding its structure in time. Instead of asking whether digital and physical can coexist, ThankYouX shows how one medium completes the other, forming an aesthetic unity that is not hybrid but whole.
On view at: 66 Rue Charlot, Paris
In the exhibition FEMGEN at ArtVerse, Gretchen Andrew introduces a different tempo into the week, grounded in cultural critique. Her video piece Universal Beauty exposes how AI beauty filters compress individuality into a single synthetic ideal. The work begins with contestants from Miss Universe pageants across different nations and gradually morphs their faces into one algorithmically-approved type. Instead of seamless transformation, the process is shown in distortion, jittering edges, stretched proportions, collapsing identity. The work does not aestheticize AI but reveals its psychological impact: conformity as computation. Andrew exposes how machine learning digests bias and reflects it back as beauty.
On view at: ArtVerse, 5 bis rue de Beauce, Paris
In the exhibition CODE + MATTER, digital practice takes a material turn, where the logic of code migrates into physical surfaces and traditional mediums. William Mapan exemplifies this shift. Known globally for his generative works, he now carries computational thinking into painting without resorting to visual translation or motif. His work Matinée inattendue builds color through layered decision-making. This is not painting influenced by digital aesthetics, it is painting constructed from generative logic. What emerges is a patient, recursive surface that behaves like a system, evolving slowly through constraint. Mapan’s transition is an exploration of how algorithms can become touch.
Also in CODE + MATTER, Florian Zumbrunn offers a quieter but equally resonant language. His Impressions series begins as code-generated compositions that are then printed on watercolor paper and completed by hand using pastel. The result sits between image and memory. In Incandescence 2, faint atmospheres and blurred landscapes suggest something once seen, now partly lost. The algorithm organizes form, but the hand restores vulnerability; the pastel marks are not decorative, they are admissions of incompleteness. Zumbrunn’s work recognizes that images today are infinitely produced—but meaning still requires interruption, a human trace that re-enters time.
On view at: 17 Rue Chapon, Paris
A different direction emerges in You Were Never Solid, curated by Anika Meier and Diane Drubay and presented at DANAE. The exhibition is inspired by hydrofeminism, a philosophy that understands bodies - human, technological, ecological - as fluid rather than fixed. Here, water holds memory, carries histories, erodes boundaries and connects distant worlds through shared currents. The show brings together artists who dissolve the separation between nature and machine, self and other, physical and digital, inviting us to experience art as an ecosystem of relations rather than isolated objects.
Within this context, Bianca Shonee Arroyo-Kreimes presents Second Nature, a speculative ecosystem rendered in 3D animation. Transparent conduits pulse like vascular systems, yet they also recall data infrastructures, suggesting a future where natural and artificial systems evolve symbiotically. Plants metabolize not only light but information. Forms breathe, adapt, communicate. The work envisions a world where they have already merged, quietly and irreversibly.
BORA Murmure deepens this exploration of interdependence with Birth Tale One: Remember, a sensorial digital environment shaped by water, voice, and transformation. The work rejects fixed identity in favor of becoming, constructing a language of transness rooted in fluidity and lived experience. Its emotional strength lies in atmosphere rather than narrative—shifting aquatic spaces and layered sound open a space for vulnerability without confession. The digital here is intimate, not cold; it expands the inner world rather than replacing it.
The exhibition also acknowledges its lineage through the inclusion of Claudia Hart, a foundational figure in the history of simulation-based art. Her piece Dream (2009) moves through an architecture of translucent bodies and x-ray-like structures, dissolving the boundary between organic form and digital construction. Everything appears biological, yet nothing is real. Hart’s presence is crucial as evidence that digital art has for decades been concerned with questions of time, embodiment, and perception long before technology became a cultural obsession.
On view at: You Were Never Solid, DANAE 17 Rue du Bouloi
This relationship between system, sensation, and ontology reaches a conceptual peak at ArtVerse, where Atelier Σigma - the collaborative project of Agoria (Sébastien Devaud) and Johan Lescure - introduces {As Above, So Within}, curated by Grida at ArtVerse. The series explores structural resonance between the micro and the macro, tracing visual correspondences between neural maps, cosmic webs, and self-organizing computational patterns. Each of the 16 works (1/1 editions, 0.5 ETH) functions as a diagram of emergence—alive, shifting, relational. Rather than generate infinite outputs, Atelier Σigma isolates pivotal moments in transformation, capturing the quiet order inside complexity. The work rejects spectacle and instead proposes a reflective, almost meditative engagement with digital matter.
On view at: ArtVerse, 5 bis rue de Beauce, Paris
Digital art has a strong presence in Paris this week, finding its place through carefully curated exhibitions and meaningful artistic direction. The city offers a rare moment to engage with evolving practices and new artistic languages during Art Basel week. Wishing everyone an inspiring time in Paris and happy collecting!