The Paris-based German artist-researcher explores the symbiotic relationships between species through a hybrid snake creature set in a dystopian landscape. Incorporating sensors to mimic the snake’s heat-sensitive abilities, Armour’s work operates at the intersection of biotechnology, AI, and contemporary art. Her collaborations with scientists add a rich biological layer to her installations and sculptures.
Dana-Fiona Armour, Alvinella Ophis, 2024, installation view.
Chosen from a pool of over 300 applicants, from 70 countries, Armour was selected by a jury composed of Dominique Moulon (independent curator and art critic), Nicolas Bourriaud (artistic director, 15th Gwangju Biennale), Joseph Fowler (head of art and culture, World Economic Forum), Anna Longo (philosopher, writer and program director, Collège International de Philosophie), Seedphrase (NFT & digital art collector), Antonio Somaini (professor, Université Sorbonne Nouvelle Paris), Anne Stenne (independent curator, cofounder and artistic director, The Feral), Gediminas Urbonas (director, MIT Program in Art, Culture, and Technology), as well as an AI judge.
With the 2024 theme, “Future Desert,” submissions were judged based on technological integration, innovation, creativity, and artistic impact. Armour’s €10,000 prize aims to raise environmental awareness and spark dialogue around the Anthropocene.
Additionally, Armour and six other shortlisted finalists—Obaid Alsafi, Léa Collet, Agnieszka Kurant (with John Menick), Harrison Pearce, Aaron Scheer, and Sasha Stiles—have been awarded a four-week residency at the foundation’s outpost in La Castellet, France.
Founded in 2020 by collector Pierre Sigg, the Sigg Art Foundation seeks to push the boundaries of contemporary art by integrating AI and technology. The 2025 prize will centre around the theme of “Artificial Crafts”.
