In Discussion with Gonzalo Herrero Delicado

Courtesy of Art Dubai

Gonzalo Herrero Delicado is an Associate Lecturer at Central Saint Martins and the Royal College of Art. His curatorial work explores the impact of the climate crisis and digital technologies on the world around us through design, architecture, and art practices. He has held various curatorial positions at the Royal Academy of Arts and the Design Museum. His curatorial portfolio includes projects for HEK House of Electronic Arts, Design Council, Barbican, Tate, and the Museum of the Future in Dubai, where he curated the exhibition ‘Tomorrow Today.’

I had the pleasure of asking Gonzalo about any advice he would give to an artist about using AI, how being a curator has changed his outlook on art and the art world, his passion for curating, and the art world and so much more.

UZOMAH: What are you most excited about in the art world right now? What would visitors be excited about in this section, and want to attend the Fair?

GONZALO: We are living through very challenging times marked by social upheaval, climate emergency, and political unease on a global scale. It is in these times that art shifts, transforms, and redefines itself in response to such circumstances, often giving rise to some of the most influential art movements. This is a time that is both exciting and difficult in equal measure.

We have developed a unique programme this year, expanding on the platform that Art Dubai Digital has built since it launched in 2022. My curatorial theme for 2025 is ‘After the Technological Sublime’. The technological sublime refers to the polarised feelings of wonder and fear felt in response to vast technological advances in society, which often draw attention to more important issues happening nowadays. I wanted this section to critically capture some of the opportunities and concerns that these innovations are eliciting. 

This theme will be explored through the different strands of the programme. One of them is a programme of new commissions that go beyond what audiences might expect to see in the context of an art fair. Many of these commissions are particularly focused on addressing the intersection between technology and ecology. One of them is digital sculpture, MotherEarth, by Ouchhh Studio, the world’s first sculpture to combine cross-continental real-time climate change data with artificial intelligence (AI). The sculpture itself is connected to two other sculptures in Beijing and Mexico City, all presenting visuals generated using climate data streams from NASA’s network of 20 satellites. We also have New York-based kinetic artist BREAKFAST, who will debut a seven-meter-long kinetic installation entitled Carbon Wake; a dynamic work that blends artificial intelligence, data visualisation and motion tracking mechanics, transforming real-time energy data from cities across the world into a dynamic  installation that also responds to the audience. The third is a commission by the Italian artist Jacopo Di Cera, supported by digital art platform CIFRA. Retreat, is a 4-metre-high installation, made up of cable bundles and displaying more than 30 upcycled screens – the work details the rapid destruction of the Brenva glacier in the Italian Alps, and aims to question what will remain when nature fades away. The last installation is AIM – Dream Machine by HX Collective, which uses AI to translate the visitors’ dreams into a kaleidoscopic visual experience.

The theme will be further explored through the presentations from the galleries, in which many of them have selected emerging and established artists closely connected to these topics. In addition, the Digital Summit 2025 will offer an opportunity to delve deeper into these topics through a series of talks  with artists, curators and thinkers from all over the world.

U: Could you delve into the meticulous research and selection process for each artist at the Fair? What specific qualities did you seek in every artist, drawing from your extensive expertise in the field?

G: As I mentioned earlier, my goal for this section is to capture a wide range of emotions and responses to the broader questions of our time, not just those related to technology, as is often the case in digital art. The aim is to reconnect digital art with the pressing issues that define our era, and to avoid its isolation from the wider field of contemporary art—a separation likely driven by an overemphasis on technology, which is, after all, just another artistic medium.

The curatorial theme is an invitation to the participating galleries to respond to it. Many of them have embraced it, and we have worked together on their booths to create a strong narrative. But the most relevant curatorial input where my research will be more visible is through the commissions and the talks at the Digital Summit.

The section includes contributions from nine newcomer galleries contributing to Art Dubai Digital, such as Paris-based gallery DANAE, presenting works by artist and musician Agoria, as well as French digital artist Louis Paul Caron, who creates contemplative scapes that illustrate tension and quiet reaction when facing the current climate emergency. Istanbul and Dubai-based Sevil Dolmaci also brings great works by emerging artists concerned with these ecological issues, such as fuse* and Ben Cullen Williams.

U: How can a selection focused on Digital art change the way older perspectives are in the art world in terms of how art should be created and how art should be seen?

G: It’s interesting to consider the full breadth of digital art, which really began with media art in the 60s and 70s, when some artists started reflecting and making use of computers in the conception of their works. Technology has been present in artistic practices for much longer than we often credit, and it’s important that we continue to foreground education on the topic, maximising the opportunities afforded by the Zeitgeist. 

It's why I’m looking forward to this year’s Digital Summit – an initiative that is returning to Art Dubai after it launched last year, and a platform for artists, curators and thinkers in the technology and art space to discuss and debate key topics, from the role of memes in political dissidence to ecological activism. The Summit expands on my curatorial theme, ‘After the Technological Sublime’, so we will have a greater opportunity to unpick the topic through lectures and debates, including talks from some of our exhibiting artists such as Krista Kim, Ferdi Alici from Ouchh Studio, Primavera de Filippi and Jacopo Di Cera. We hope that it gives the public – as well as those thought leaders in the space – the chance to push the boundaries of art and technology through open discussion and collective thinking. 

U: Is there any advice to artists looking to use AI in their artistic practice to further their creative and artistic statement?

G: It feels as though we are always trying to catch up to new advances in technology, whether in robotics, AI, or quantum technology. A challenging mission, as many of us do not possess the expertise to fully understand the complexities behind those technologies. However, we are more accustomed to digital technology than we often realise. We’re always interacting with our phones and personal devices – scrolling social media, ordering food or speaking with friends – it is actually quite difficult to escape its impact on our daily lives! Therefore, artists should feel able to address features such as AI in their practice, too. It may not always appear in the display of the piece, for example, using a digital screen, but it can also inform the design or creation process. We saw many of these occurrences in the Art Dubai Digital selection process. The important thing, especially in the AI discourse, is to understand that it is just another tool and to keep addressing questions of authorship and ownership, ensuring that creations remain protected and that the artist’s message is evident in the work. AI is in its infancy, it is like thinking about the internet in the 70s when no one knew the positive impact it could have. For that reason, it is important to continue exploring it, but doing that in a very critical way. 

U: What is the one trait that every curator should have? 

G: The role of the curator has radically changed. What was once a largely theory- and research-based role of an expert in a niche field digging in a museum collection, has transformed into one of facilitation and executive decision-making. We are multitaskers who often take part in the design process, communication, marketing and fundraising for the exhibition. It’s evolved, even from the early 2000s, where curators in places such as the UK were backed by a surge in public funding for the arts. Opportunities are different now and can be quite unique, depending on your objectives.

I’ve found in my own practice that I’m more interested in exploring wider themes through artists and creatives working across disciplines. For that reason, I find it more stimulating to work in group shows. When it comes to curating a group exhibition, I feel that my role is quite sociological and anthropological. We process and digest nuanced ideas, packaging them to suit different types of audiences and in different formats to build narratives that are not obvious yet accessible and relevant to wide audiences. You can always amplify the meaning of the works by drawing new narratives between them and guiding audiences to see them in specific ways. I think this skill is essential to what I do. 

U: What about Art Dubai captivated your interest and drew you to be a part of it? 

G: There has been a notable rise in the digital transformation of Dubai over the last decade or so, much of which is owed to Dubai’s government, who have invested heavily in the scene. This has garnered different forms of investment across all sectors in the city, with crypto and web3 as key points of attraction. Naturally, this has also extended to the art scene, and there is a really positive response here from collectors who are looking to diversify their portfolio by exploring digital art, as well as those who have long patronised the sector.

I worked in Dubai a few years ago, curating one of the permanent exhibitions of the Museum of the Future. There I discovered a radical new approach and sensitivity to art and design that is equally rooted in local traditions, yet resonates to an international audience. In Dubai, there are more opportunities to take risks and explore novel ideas. Art Dubai brings all of this together as a platform with an important number of exhibiting artists and galleries from the MENA regions.

Additionally, in Dubai, we’re able to gather different voices from across the globe. From local galleries like InLoco, which is presenting some beautiful photographs by Filippo Minelli, to international names such as London-based GAZELL.iO, who will present works by CROSSLUCID, Primavera de Filippi and Sougwen Chung, and New York-based gallery Nguyen Wahed, premiering at Art Dubai with Sarah Meyohas, Lu Yang and FAR. 

The general appetite for development, whilst also honouring traditional culture and heritage, makes Dubai an ideal location to continue fostering global dialogues in art and tech. Something that Art Dubai established long ago. As mentioned, digital art is not an entirely new phenomenon, thus, it’s important to address the sector with as much scrutiny and sophistication as you would with other mediums or art forms. The fair has always boasted an intensive talks programme, and pushed for thought leadership through their various group initiatives. And it’s encouraging to see that digital isn’t siloed, but instead exists quite boldly across the platform.

U: Can you share more about your passion for curating and the art world?

G: I come from a background in architecture, which is perhaps one of the most expansive disciplines, connecting you to art, science, design, sociology and much more. I was always a very curious person, and architecture was a perfect fit for me, at least until I went into the professional world. The sector is highly prescribed today, with limited room to explore and discuss ideas. For that reason, I decided to move into curating, to continue developing my curiosity and be in direct contact with artists and other creative practitioners.  I have worked for many museums, mostly in London, but in recent years I worked independently, which allows me to define my own agenda.

In the art world, more than in other disciplines, the balance between culture and commerce is extreme. I really enjoy working with emerging artists, supporting their work to make it more visible, as they are open to discussing their work and ideas. 

U: How has being a curator changed your outlook on art and the art world? Is there anything you would change about your path to be where you are now?

G: I was always interested in art and have had great mentors  throughout my career who have supported me since the beginning. One of them  is Pablo del Val, Artistic Director of Art Dubai, who invited me to participate in my first exhibition along with established international artists. That trust led to a whole career and, now, almost 15 years later, our paths have crossed again in Dubai. I am very grateful for his support. Every step I have taken in my career has led me to where I am now. Life is a marathon, and I wouldn’t change anything. 

 This interview was conducted before Art Dubai. For more information about Art Dubai, please visit their site here. Art Dubai can also be found on Facebook, X, YouTube, and Instagram.