About Vibeke Bertelsen

Vibeke Bertelsen transforms AI’s generative errors into explorations of post-human identity. She embraces algorithmic anomalies—distorted limbs, multiplying faces, impossible anatomies—as formal elements that reveal how machines parse flesh into data. Working primarily with short digital videos and AI-generated images, she uses these formats to probe the uncanny edge between human and machine vision. The alias she uses, “Udart,” derives from a Danish word meaning unpredictable evolution, capturing her method of working with, rather than against, technological glitches.

In her work individual bodies merge into new collective beings—faces overlap with faces, limbs multiply and intertwine, and single forms dissolve into crowds of morphing flesh, creating entities that transcend individual identity.

Vibeke’s distinctive aesthetic grew out of Copenhagen’s underground visual culture, where she began as a VJ at concerts and club nights. Today, she is a core member of the renowned Vertigo artist studio in Copenhagen, collaborating closely with four fellow artists. There, she develops her own works while also creating light and visual design for concerts and theater productions, continuing her dialogue between experimental imagery and live performance.

Whether transforming fingers and hands into dancing figures or creating kaleidoscopic videos of faces, she pursues unexpected visual outcomes. Instead of trying to fix AI's quirks like strange-looking hands, she leans into the glitches and makes it her signature style.

While engaging with AI art, Vibeke draws inspiration from both old and current developments in art. She feels a kinship with surrealists and dadaists who challenged established visual conventions, seeing their approach as a way to navigate the absurdity and chaos of today's political landscape. Her work channels this spirit of disruption, using AI to challenge fixed notions of what bodies mean in our algorithmically mediated world.

Through her work, Vibeke questions fundamental assumptions about permanence and identity. Her distorted, overlapping figures exist in perpetual states of becoming – neither fully formed nor completely dissolved. This aesthetic of bodily excess and multiplicity challenges viewers to reconsider the relationship between human flesh and digital algorithms, asking what remains of the self when reduced to data points and probabilities.