Computer Lars
Computer Lars is an Aarhus-based art collective founded by Asker Bryld Staunæs, Benjamin Asger Krog Møller, and Marcel Proust, merging AI-driven aesthetic research with anti-political experiments. Known internationally for The Synthetic Party—a provocation on algorithmic democracy cited in the global bourgeoisie via VICE, Le Figaro, Al Jazeera, and TRT World—their work spans contemporary art, political theory, and speculative computation. Their practice circulates across both press and academia: Staunæs, a Novo Nordisk–funded PhD fellow in artistic research between Kunsthal Aarhus and Aarhus University, has published in AI & Society, Editorial Concreta, APRJA, and, collectively with Krog Møller and theorist Tobias Dias, in Monsieur Antipyrine, e-flux, kritische berichte, among others.
Computer Lars has exhibited its various incarnations across multiple platforms, including The Synthetic Summit at Kunsthal Aarhus (2025), 8. Salon in Hamburg (2025), and at KP Spring (2023) with Hic Rhodos, Hic Salta—presented under the Institut for Emancipationsvidenskab; as winners of KP Digital (2022) for Computer Lars’ Marcel Proust–inspired AI image rhizome; and in Krog Møller’s 2024 degree show at Jutland Art Academy, Feathers, Borrowed. In parallel, the Organ of the Autonomous Sciences staged Disputations on Computer Lars’ Spectacle (2023) in a hidden medieval basement beneath the Jutland art academy. Their broader collaborative projects with Institut for Emancipationsvidenskab and Spanien19c have been recognized with prizes from, amongst others, the Danish Art Foundation.
Working with global virtual politicians within exhibition-events, Computer Lars has extended its role into the curatorial, integrating Staunæs’ PhD research into an international group endeavour that reframes democracy as open-source infrastructure. By transforming art galleries into a multi-agent parliament—bringing together the world’s virtual politicians and international AI parties—they invite visitors to hack, fork, and reinterpret democracy, articulating a broader syntheticism that ideologizes how machine intelligence has, and perhaps should, take over the political sphere, and how democracy itself persists as a mutable artwork.