Mia Fendi is a Bosnian-American conceptual artist whose practice explores the relationship between art history, cultural memory and artificial intelligence. Working at the intersection of tradition and emerging technology, she creates collections that reinterpret visual heritage through contemporary computational tools, examining how machines participate in the ongoing evolution of artistic expression.
Drawing inspiration from centuries of artistic achievement, Fendi's work engages with the visual languages of artists including Gustav Klimt, Katsushika Hokusai, Claude Monet, Vincent van Gogh, Pablo Picasso and Edward Hopper. Rather than replicating historical works, her projects investigate how artificial intelligence can generate new cultural narratives while remaining in dialogue with the artistic traditions that shaped them.
In 2025, Fendi presented the lecture and exhibition When a Machine Dreams Sarajevo at the Academy of Sciences and Arts of Bosnia and Herzegovina, examining the relationship between artificial intelligence, creativity and cultural identity. Her work was subsequently selected among ARCHIV3's 115 Best Digital Artists of Our Generation and received First Prize at Miami Art Week.
Writing about Fendi's work, a Sotheby's curator observed:
“Executed with digital finesse yet deeply human in tone, the piece resists the spectacle of hyper-reality. In an era saturated with synthetic perfection, its restraint is refreshing. This work is more than portraiture. It is a meditation.”
Merging historical references with contemporary technology, Fendi's practice examines how cultural heritage can be preserved, reinterpreted and expanded through artificial intelligence. Her projects frequently focus on cities, collective memory and identity, positioning AI not as a replacement for artistic tradition but as a new medium through which that tradition continues to evolve.
Since her first solo exhibition in 2024 at the UNESCO-protected Old Bridge area of Mostar, Fendi's work has been presented in more than twenty cities across Europe, North America and the Middle East. In the summer of 2024, she presented two solo exhibitions within two weeks: Mostar in the Style of the Great Masters at the Museum of Herzegovina and Sarajevo in the Style of the Great Masters at the Bosniak Institute, attracting significant public and media attention.
Her work has been presented internationally through exhibitions and digital displays at venues including the Oculus at the World Trade Center in New York, the Art Institute of Chicago, the National Museum of Bosnia and Herzegovina and the Theatre of Digital Art in Dubai.
Her collections have focused on cities and cultural identities, including Sarajevo, Mostar, Dubai and New York, exploring how place, history and collective memory can be reimagined through contemporary technologies. Through these projects, Fendi examines the role of artificial intelligence not only as a creative tool, but also as a means of preserving, interpreting and extending cultural heritage.
Current projects focus on institutional, museum and charitable collaborations exploring the future relationship between artificial intelligence, creativity and cultural heritage.
EXHIBITIONS
Dubai, United Arab Emirates, from December 2026 – Theatre of Digital Art (TODA), permanent display of video works.
Madrid, Spain, September 2025 – The Holy Art Gallery, “New Stars.”
South Africa, 2025 – National Arts Festival, “ArtSeen Showcase.”
New York, USA, April 2025 – ArtExpo New York 2025. Winner with the work “What If Marcel Duchamp Painted the Statue of Liberty.”
Los Angeles, USA, March 2025 – Winner at The Holy Art Gallery with the work “What If Francisco de Goya y Lucientes Painted the LA Fire.”
Tokyo, Japan, February 2025 – “Art On Loop.”
Riyadh, Saudi Arabia, January 2025 – SAMOCA Museum of Modern Art. Included in “Manga, Hokusai Manga.”
Milan, Italy, January 2025 – The Holy Art Gallery, “Open Art & Art On Loop.”
Toronto, Canada, December 2024 – “Immersive Experience.”
Miami, USA, December 2024 – UVA Gallery, Miami Art Week. Winner of first place with the work “Rogue Spirit of Miami?”
London, United Kingdom, November 2024 – The Holy Art Gallery, “HUE.”
New York City, USA, November 2024 – Oculus, World Trade Center, “ARCHIV3 – The Future of Art: Best Digital Artists of Our Generation.” Recognised among the 115 Best Digital Artists of the Generation.
Metaverse, November 2024 – “Día de los Muertos Digital Experience.”
New York City, USA, October 2024 – Awita Gallery, “International Summer Exhibition.”
Mexico City, Mexico, October 2024 – Querétaro Museum, “Día de los Muertos Exhibition.”
New York City, USA, October 2024 – Oculus, World Trade Center, “Día de los Muertos Exhibition.”
Chicago, USA, October 2024 – The Art Institute of Chicago. Artwork “How Would Hokusai Paint Chicago” exhibited in one of the world’s most prestigious museums, founded in 1879.
Paris, France, September 2024 – “Art – Immersive Experience.”
Amsterdam, Netherlands, September 2024 – “Open Art Exhibition.”
New York, USA, August 2024 – “International Summer Breeze Exhibition.”
Athens, Greece, August 2024 – The Holy Art Gallery, “Future Stars Exhibition.”
London, United Kingdom, August 2024 – The Holy Art Gallery, “Realm Exhibition.”
Sarajevo, Bosnia and Herzegovina, July 2024 – Second solo exhibition “Sarajevo in the Style of the Great Masters” at the Bosniak Institute – Adil Zulfikarpašić Foundation.
Mostar, Bosnia and Herzegovina, June 2024 – Museum of Herzegovina. First solo exhibition “Mostar in the Style of the Great Masters.”
Sarajevo, Bosnia and Herzegovina, May 2024 – National Museum. Included in the exhibition “Manga, Hokusai Manga” organised by the Embassy of Japan and the Japan Foundation.
ART REVIEWS:
Truly honoured to be reimagined through the lens of AI conceptual artist Mia Fendi—recently featured at New York’s iconic Oculus (and in the metaverse), and celebrated as “one of the defining digital artists of our generation.” The personalised, AI-generated art, shaped from my own photography, represents more than aesthetic innovation; it marks a new chapter in the unfolding dialogue between technology and human expression. What moves me most is the deeper message embedded in the images: that in the hands of a thoughtful creator, AI becomes more than a tool: it becomes a mirror. It has the potential to reveal hidden layers of our humanity and invite a deeper introspection about who we are and what we might become…
♾️
From Sotheby’s:
“Golden Reckoning: Nadja Skaljic as the Modern Goddess of Climate Justice” A Gustav Klimt Reverie Reimagined by Mia Fendi
“At the heart of this work stands Nadja Skaljic—serene yet resolute. Her presence radiates the calm assurance of someone who has already brought her visions to life, her gaze hints at new frontiers still forming in her mind. Set within a dreamlike landscape, the piece unfolds with symbols of a rebalanced world. Wind turbines rise like sculptural sentinels of sustainable energy, while a golden sun beams the enduring promise of solar power—eternal, inexhaustible. Rolling green fields evoke a planet in balance: fertile, thriving, and whole. Her cloak—part garment, part cosmos—is adorned with motifs of regeneration, digital currencies, and ecological symbiosis. The details whisper of a new mythology, where technology and nature are no longer at odds but collaborate as co-authors of a luminous future.“
♾️
“Nadja: Eternal Muse of Inner Sovereignty” An Amedeo Modigliani Invocation Reimagined by Mia Fendi
“In this arresting homage, Mia Fendi channels the ghostly elegance of Modigliani through the lens of AI serving as both mirror and muse. The portrait of Nadja Skaljic emerges as a figure both ancient and ultra-modern—elongated, introspective, and imbued with a haunting serenity. True to Modigliani’s legacy, the composition transcends mere likeness. The almond-shaped eyes become portals, enigmatic and ungraspable. They meet the viewer's gaze and also eclipse it, inviting contemplation. Here, ambiguity becomes a form of intimacy. Nadja’s figure is not observed so much as sensed—grace distilled into line and shadow.
Fendi’s reinterpretation gently weaves a new iconography of female autonomy. Nadja is not simply a subject; she is an archetype, a symbol of inner sovereignty in a world rushing toward artificial certainty. Executed with digital finesse yet deeply human in tone, the piece resists the spectacle of hyper-reality. In an era saturated with synthetic perfection, its restraint is refreshing. This work is more than portraiture—it is a meditation.”
More about Mia Fendi’s work:
https://www.miafendi.com
https://lnkd.in/eqRUBFvE
Cc: Refik Anadol + World Economic Forum
Nadja Skaljic,
The esteemed international lawyer
and member of The Club of Rome,
the preeminent systemic‑change think tank
"Mia has been an incredibly talented artist in our past exhibitions, and we were always thrilled to showcase her work. Her unique style and creative expression have consistently added great value to our events, and we couldn't be happier to have had her as part of our artistic community. We look forward to continuing our collaboration and celebrating her future achievements."
Gulsum Keskinoglu, gallery owner
New York Exhibition
"Mia Fendi’s work is a masterful convergence of classical lineage and digital innovation. As one of the '115 Best Digital Artists of Our Generation,' her art resonates deeply, capturing the essence of modern creativity while paying homage to timeless artistic techniques. Her presence at the Oculus exhibition affirmed her place as one of the most compelling voices in contemporary AI art."
Lorraine Ye, Head Curator of HUG
To the members of the Academy of Sciences and Arts of Bosnia and Herzegovina,
It is with great pleasure that I extend my sincere congratulations on the occasion of the lecture titled "The Machine That Dreams Sarajevo" by the AI digital artist Mia Fendi. This innovative and bold artistic step demonstrates how strongly contemporary technologies can enrich our cultural creativity and open new horizons for contemplating art.
Through the exploration of the relationship between artificial intelligence, the city, and collective memory, Mia Fendi’s lecture brings a fresh perspective and encourages dialogue about the future of digital art, as well as the place of culture in a rapidly changing world. Sarajevo, as a city of rich history and inspiration, thus gains yet another platform that affirms its role as a centre of creativity and artistic innovation.
I thank the organisers for their commitment to promoting new artistic practices and congratulate them on an event that contributes to the development of the cultural scene and encourages the exchange of ideas among artists, researchers, and citizens.
With warm regards,
Federal Minister of Culture and Sports
dr. Sanja Vlaisavljević