Non-Profit KADIST Champions Artists’ Voices Across the World

The contemporary art organization KADIST shines a radiant light on emerging, international creatives and unites critical, diverse perspectives. The awe-inspiring, collective endeavor based in Paris and San Francisco captivates audiences with immersive exhibitions, digital platforms, and meaningful collaborations with premier institutions across the world. 

Whitewall had the opportunity to sit down with the visionary Sandra Terdjman, Vice-President and Co-Founder of KADIST and AFIELD, to speak about supporting AI-driven projects, a momentous KADIST and Centre Pompidou partnership, and placing artists’ voices at the heart of the cultural conversation. 

WHITEWALL: KADIST is known for its thoughtfully curated collection. How do you approach acquiring works for the collection, and what narratives are you aiming to build?

SANDRA TERDJMAN: KADIST’s collection is the result of collective work. Built by 25 advisors based in different countries over the past 20 years, it brings together diverse perspectives and highlights emerging artists from around the world. Our acquisitions aim to build a globally relevant and inclusive collection that engages with pressing contemporary issues such as identity, migration, labor, and social justice at large.

WW: How does KADIST ensure that its collection remains accessible and engaging for diverse audiences?

ST: KADIST ensures accessibility through physical exhibitions, digital platforms, and collaborations with key institutions worldwide. International programs like “Double Takes” (showcasing our video art collection alongside local contributions) bring attention to both underrepresented artists and established figures, creating dynamic dialogues between diverse artistic practices. The collection represents over 120 nationalities, a rare feat for such a large collection. 

“The collection represents over 120 nationalities, a rare feat for such a large collection,”

Sandra Terdjman

Collaborations with institutions like the Centre Pompidou Paris, the Pinacoteca de São Paulo, and the Blaffer Art Museum Houston ensure our collection is accessible globally, using both physical and digital means to engage audiences across different regions.

KADIST’s Evolving and Responsible Exploration of AI Within Art 

WW: KADIST has been involved in exploring AI within art. What inspired this direction, and how do you see AI transforming contemporary art practices?

ST: For almost two decades KADIST has explored new mediums and technologies embraced by artists, which is reflected in the significant presence of video artworks in our collection. AI represents not only a new tool and process available to artists but also a transformative force shaping society. As a subject of interest for artists, a way to enhance our institutional collaborations and a complex societal topic, AI has become an important focus for KADIST.

“AI has become an important focus for KADIST,”

Sandra Terdjman

While generative AI has vividly demonstrated its potential, it has also challenged notions of authorship and consent, prompting artists to question their relationship with these new systems. Joseph del Pesco, our International Director and co-curator of the recent show at the Centre Pompidou, recently stated that: “We need to create a critical space for thinking about these new technologies that are radically transforming our world. And to face this new age of the black box.”

WW: Are there specific AI-focused projects or collaborations KADIST has supported that you find particularly impactful or innovative?

ST: KADIST has supported several AI-driven projects, including Éric Baudelaire’s Tales of Narrativelessness, where AI models engage in real-time dialogues as performers and storytellers. Our upcoming collaboration with the ICA Pittsburgh in 2025 will focus on AI’s role in curating and creating art, showcasing both KADIST’s collection and AI-generated works. These projects exemplify the intersection of technology and creativity, highlighting AI’s influence on contemporary artistic production.

WW: How does KADIST navigate ethical concerns surrounding AI, such as issues of authorship, bias, or data privacy, within its initiatives?

ST: KADIST actively engages in critical conversations about AI ethics, as seen in the 2023 conference The Future isn’t what it used to be at the Centre Pompidou, which addressed issues like authorship, bias, and data privacy. We collaborate closely with artists, technologists, lawyers, and advisory committees to ensure ethical considerations are central to our AI initiatives. By fostering transparent practices and open dialogue, we aim to address concerns surrounding fairness, consent, and the responsible use of AI in the art world. It is an ongoing concern, we do feel responsible and therefore have committed to constantly address these questions. 

The KADIST-Centre Pompidou Partnership Emerges From a Shared Vision 

WW: The partnership between KADIST and Centre Pompidou represents a significant collaboration. Can you tell us about the genesis of this partnership and its objectives?

ST: The KADIST-Centre Pompidou partnership emerged from a shared vision to explore the intersection of AI and contemporary art. One of the initial “prompts” was to examine how museums will continuously adapt and acquire works incorporating new technologies. KADIST and its program of “Nomadic Collection”, which involves long-term engagements with leading institutions, provided a platform to address this question together. This includes a multi-year co-curated program including works commissioned by KADIST and the Centre Pompidou as part of the Apophenia, Interruptions project. More broadly, the collaboration aims to explore how artists are using AI and new technologies, fostering critical conversations about art, innovation, and societal change.

WW: What can audiences expect from the joint programs or exhibitions? Are there themes or artists being highlighted?

ST: Our joint programs are often co-curated and bring critical takes on art and ideas. These themes are timely chosen by professionals in relation to a context, a moment. 

“Our joint programs are often co-curated and bring critical takes on art and ideas,”

Sandra Terdjman

With “Apophenia Interruptions”, audiences examined the role of AI in creative processes and its limitations. With a recent “Double Takes” at the Fondation H, in Madagascar, we explored the intersection of history-making, identity and collective memory through video works and performances. And in the US, at the Blaffer Art Museum in Houston, we examined mutual aid, memory, and community-building post-COVID-19.  

WW: How do you envision this partnership shaping public engagement with contemporary art in France and beyond?

ST: The partnership with the Centre Pompidou, and this exhibition “Apophenia, Interruptions” in particular, is not the only exhibition addressing the topic and many others will hopefully follow both in France and abroad. We aim to spark critical discussions around important societal topics through art. Focusing on technology and artificial intelligence already in 2023 has proven to engage a large public and should contribute in broadening access to contemporary art in France and across borders.

KADIST Bridges Art, Technology, and Society 

WW: What role does KADIST see itself playing in bridging art and technology to foster critical dialogue and cultural exchange?

ST: KADIST’s collaboration with Centre Pompidou began in 2023 with a full-day conference featuring performances, screenings, and talks on AI with artists from diverse cultural backgrounds. Launching the partnership with a public debate, a year before the exhibition, was central to fostering dialogue and critical discussion—key elements of the role KADIST seeks to play in bridging art, technology, and society.

With ICA Pittsburgh, we just announced a partnership called “The Generative Museum”—a virtual experience where the audience can create AI-generated exhibitions and explore the Museum’s new galleries ahead of the opening of its new building in 2027. This innovative project will feature rotating exhibitions drawn from KADIST’s global collection and rarely seen works from local artists and beyond, based on visitor-submitted prompts. This more playful approach to AI aims to inspire debate, cultural exchange, and fresh perspectives on what technology can bring to art.

WW: Looking ahead, what are your aspirations for KADIST’s impact on the art world and society at large?

ST: KADIST aspires to place artists’ voices and works at the forefront of societal debates. As Jeremy Deller reminded us, artists “will not change the world”, and solve problems, they can illuminate critical issues, draw attention, and expand the imaginaries that are core to our humanity. 

“KADIST aspires to place artists’ voices and works at the forefront of societal debates,”

Sandra Terdjman

The Nomadic Collection serves as a tool to advance this mission through partnerships with major museums, while the development of our online platforms, including the use of artificial intelligence, provides another means to share these insights and perspectives with a broader audience.