Rewrite and translate this title What Went Down at AnOther Magazine’s Private View at The Serpentine to Japanese between 50 and 60 characters. Do not include any introductory or extra text; return only the title in Japanese.

Hosting a party on a Monday in November may not be the easiest of tasks, yet earlier this week (November 4), flocks of guests made the expedition to the Serpentine’s North Gallery for an intimate private view of Berlin-based artists Holly Herndon and Mat Dryhurst’s future-thinking exhibition, The Call, in partnership with AnOther Magazine and hosted by Bettina Korek, Hans Ulrich Obrist, Jefferson Hack and Susannah Frankel. 

For the cover story of our most recent issue, AnOther Magazine’s own creative team travelled to Holly Herndon and Mat Dryhurst’s Berlin studio to create an AI model of our very own – the outcome was our first ever AI-created cover story and art project, which was printed alongside a fascinating conversation with Serpentine’s artistic director Hans Ulrich Obrist and curator Eva Jäger in our latest issue for Autumn/Winter 2024. 

Their new exhibition at Serpentine comprises the training and output of AI models of choral singing, using original performances sourced from up and down the country. As AnOther editor-in-chief Susannah Frankel writes in her editor’s letter, the much-maligned medium of artificial intelligence has the potential to be a benevolent monster, and The Call resounds as a testament to that. 

Holly Herndon was named among the 100 Most Influential Voices in AI in Time magazine last year, and together with Mat Dryhurst they have the generosity to open-source their work, publishing much of their studio research. In addition, there is their organisation Spawning. As Ulrich Obrist writes: “This country has a great history of artist-run spaces that may be traced back to Tracey Emin and Sarah Lucas in the 90s. Today, in the digital sphere, Spawning is an artist-run space that is constantly building on how we interact with AI, while considering any use of data from an ethical standpoint.”

Welcomed at the entrance of the exhibition by the teams at AnOther and the Serpentine, designers including Dilara Findikoglu, Richard Malone, Sinéad O’Dwyer, Olly Shinder, Pam Hogg, Alex Mullins, stylists, photographers and set designers Antonio Mingot, Jebi Labembika, Ola Ebiti, Vincent Pons, Gary Card, musicians Cktrl, Mimi Xu, Head of Serpentine Arts Technologies Kay Watson, curator Tamar Clarke Brown, and models Hayett McCarthy and Hélène Selam Kleih had a chance to navigate their own journeys through the space. Stopping to sing into a microphone where a choir sings back, and reading through sheet music in a chapel-like structure amid mediaeval church altars, guests absorbed the full experience of Herndon and Dryhurt’s sonically gorgeous vision of the future. 

Funnelling through to the Zaha Hadid-designed bar, guests mingled, exchanged gossip and sipped on elegant martinis courtesy of X MUSE vodka and fine rosé from Rock Angel, while music played amid the organic, sinuous architecture of the space, until the time came to set off into the dark autumnal night. 

Hosting a party on a Monday in November may not be the easiest of tasks, yet earlier this week (November 4), flocks of guests made the expedition to the Serpentine’s North Gallery for an intimate private view of Berlin-based artists Holly Herndon and Mat Dryhurst’s future-thinking exhibition, The Call, in partnership with AnOther Magazine and hosted by Bettina Korek, Hans Ulrich Obrist, Jefferson Hack and Susannah Frankel. 

For the cover story of our most recent issue, AnOther Magazine’s own creative team travelled to Holly Herndon and Mat Dryhurst’s Berlin studio to create an AI model of our very own – the outcome was our first ever AI-created cover story and art project, which was printed alongside a fascinating conversation with Serpentine’s artistic director Hans Ulrich Obrist and curator Eva Jäger in our latest issue for Autumn/Winter 2024. 

Their new exhibition at Serpentine comprises the training and output of AI models of choral singing, using original performances sourced from up and down the country. As AnOther editor-in-chief Susannah Frankel writes in her editor’s letter, the much-maligned medium of artificial intelligence has the potential to be a benevolent monster, and The Call resounds as a testament to that. 

Holly Herndon was named among the 100 Most Influential Voices in AI in Time magazine last year, and together with Mat Dryhurst they have the generosity to open-source their work, publishing much of their studio research. In addition, there is their organisation Spawning. As Ulrich Obrist writes: “This country has a great history of artist-run spaces that may be traced back to Tracey Emin and Sarah Lucas in the 90s. Today, in the digital sphere, Spawning is an artist-run space that is constantly building on how we interact with AI, while considering any use of data from an ethical standpoint.”

Welcomed at the entrance of the exhibition by the teams at AnOther and the Serpentine, designers including Dilara Findikoglu, Richard Malone, Sinéad O’Dwyer, Olly Shinder, Pam Hogg, Alex Mullins, stylists, photographers and set designers Antonio Mingot, Jebi Labembika, Ola Ebiti, Vincent Pons, Gary Card, musicians Cktrl, Mimi Xu, Head of Serpentine Arts Technologies Kay Watson, curator Tamar Clarke Brown, and models Hayett McCarthy and Hélène Selam Kleih had a chance to navigate their own journeys through the space. Stopping to sing into a microphone where a choir sings back, and reading through sheet music in a chapel-like structure amid mediaeval church altars, guests absorbed the full experience of Herndon and Dryhurt’s sonically gorgeous vision of the future. 

Funnelling through to the Zaha Hadid-designed bar, guests mingled, exchanged gossip and sipped on elegant martinis courtesy of X MUSE vodka and fine rosé from Rock Angel, while music played amid the organic, sinuous architecture of the space, until the time came to set off into the dark autumnal night.