When asked about her current relationship with artificial intelligence and whether she finds the technology fascinating or frightening, internationally acclaimed artist Hito Steyerl gave a surprising response that characterized much of the evening's discussion. "Most of the time," she replied, "it bores me."

Since 1990, the Süddeutsche Zeitung magazine has published a special annual edition called Edition 46, which dedicates an entire issue to a single artist and the work they create specifically for the occasion. This year's featured artist, Hito Steyerl, created artwork that extensively incorporates AI technology for the publication.

Born in Munich in 1966, Steyerl used fragments of her research about the Donaumoos region in the 18th century—an area where some of her ancestors originated—as prompts for an AI image generator. The resulting works transport knowledge and technology while displaying images of bizarrely composed beings that appear human-like, sometimes mutated into machines, and often maintaining strong connections to the past.

During the magazine presentation at the Lenbachhaus before hundreds of guests, Steyerl explained that obtaining desired results from AI requires such precise specifications that almost "accounting-like" preliminary work becomes essential. She noted that the way she was able to manipulate the AI program she used will likely not be possible much longer, as artificial intelligence learns quickly and future program versions will probably not be so easily manipulated.

For her next artwork, Steyerl is already turning to another future-oriented topic: exploring how quantum technology might influence art. The central theme that repeatedly emerged in her conversation with magazine editor Mareike Nieberding was the question of what technology does to humanity. When asked whether humans train machines or machines train humans, Steyerl firmly believes it's the latter, noting that this isn't happening for the first time—cars and other machines have already shaped human behavior to serve their purposes.

Steyerl's achievements in the art world are remarkable, particularly for someone who describes herself as a "failed filmmaker" because she didn't continue the series of documentaries she started making in the 1990s. In 2017, she became the first woman to be named the most influential personality in the international art scene by the British art magazine Art Review.

When offered the Federal Cross of Merit as the COVID-19 pandemic's terror began to subside, Steyerl declined the honor. "Honestly, what's the point?" she recalled asking herself during the stage presentation, questioning what connection she had with the Federal President.

Steyerl titled the series created for the SZ Magazine "Bavarian High-Tech," a reference that connects to her role as a professor at the Academy of Fine Arts in Munich. She considers herself essentially part of the Bavarian high-tech agenda promoted by Minister President Markus Söder of the Christian Social Union party.

The evening provided a rare opportunity to get to know the artist in a larger forum setting, making one thing abundantly clear: politics and humor shape not only her artistic work but also define her personal approach to engaging with contemporary issues and technological developments.