The artists associated with Arts at CERN constitute not merely a roster of participants but a transnational intellectual ecology in which contemporary art is reconfigured through sustained encounters with physics, computation, cosmology, and scientific infrastructures. Structured through the programmes Collide, Connect, and Resonance, this constellation gathers practitioners whose methods range from speculative design and sound art to decolonial performance, moving-image practice, and computational aesthetics. What unites them is not medium but disposition: an investigative commitment to epistemic experimentation and to rethinking how knowledge may be sensed, staged, and contested. The list includes internationally recognised figures such as Ryoji Ikeda, whose CERN residency generated the landmark works supersymmetry and micro | macro; Tomás Saraceno, whose atmospheric and ecological imaginaries resonate with planetary systems; and Suzanne Treister, whose diagrammatic and speculative investigations interrogate technological power. Alongside these are artists such as Black Quantum Futurism, Libby Heaney, and Yunchul Kim, whose practices exemplify how scientific concepts can be translated into radically different aesthetic grammars. Particularly significant is the programme’s geographical and methodological plurality: artists emerge from Geneva, Seoul, Bogotá, Nairobi, Barcelona, Santiago, and beyond, ensuring that art-science discourse is not monopolised by Eurocentric technocratic narratives. In this sense, the Arts at CERN artist index functions less as an archive than as a living cartography of interdisciplinary imagination, demonstrating how artistic research can reframe scientific inquiry not as explanation, but as cultural and philosophical provocation.
