Lord of The Seas

Youth elixir

Shepherd of the Painted Gardens

Food for Thought IV

Plasmocyte rosé

Many Worlds Interpretation

Triptych - 1. Januar

The idea of paradise comes from the old persian Pairi-daêza, which means ‘walled enclosure’, a place to live in harmony. Humans have always aimed to tame and organise the living to make sense of the complexity of the world and dominate their own fear of otherness. 

Terrestrial paradises have become spaces to manufacture the world to our own image and what started in an enclosed space, has spilled beyond the borders of the Hortus Conclusus, walled garden, and has been applied to the planet. This collection of works depicting exalted, romantic and cosmic imagery of nature offer in their respective ways a critique, an observation or a proposition to re-imagine our position in the world.

They also introduce ideas of what is visible or invisible to the human eye, what networks can we establish to evolve in a more collaborative existence and enter a state of co-creation with the more than human and remind us of the danger of  enhancing nature to an augmented reality state outside of the metaverse.


Pairi-daêza ~  A world of Paradise(s) 

An exalted, romantic and cosmic imagery of nature.

_ENXERGA

Strength in the Crystallisation

Quarter Veteran

𝑺𝒖𝒔𝒕𝒂𝒊𝒏𝒆𝒅 𝒃𝒆𝒈𝒖𝒊𝒍𝒆𝒎𝒆𝒏𝒕

Fuckiffilai Onethouzandranon and the unagi

PARADIGM N7

Sylphs sisters

ammonite swamp³

Balanced Turmoil Ceremony

Sorcerer

“This is not the earth, where things are weighed down. This is the air, where porn physics reign. A furnace where hundreds of thousands of dollars burn to make real life feel like someone’s aesthetic blog. They must live in this hyper-real atmosphere like alien birds."

Psycho Nymph Exile by Porpentine Heartscape

Parasomnia are undesirable behaviors and experiences that occur during partial arousal from sleep. These disturbing phenomena, including night terrors and sleepwalking, occur during those undefined transitional periods when we are caught between dreams and reality. 

The artworks in this exhibition provoke a similarly disconcerting liminal state. Criss-crossing timelines and warping dimensions, the artists use the flexible parameters of digital space to develop their own eerie universes. Bending the laws of physics and the expectations of biology, they create these uncanny new worlds in exquisite detail. Their dystopian scenes resemble nowhere but remind us of everywhere. Through creating this terrifying aesthetics of anxiety, they provide a surprising and unwelcome contemporary critique. Hauntingly beautiful and intoxicating, the nightmarish visions attract our attention like moths to a flame. As with parasomnia, we are held helplessly captive to these perturbing dreams. 


Parasomnia

Still Life 07

Suspended  Bloom

PC_Flower_Vase 001 

Golden Hibiscus

꧁꧂⁰⁰⁸erummi

TV6_PaperFlowers.mp4

Orchid

Painlets v (2401)

Still life painting is a genre that showcases manufactured and natural objects. Despite their seemingly simple nature, these compositions require skilful placement and intricate arrangements, often imbued with symbolic meaning. Flowers, for instance, hold diverse interpretations, with vibrant blooms representing life, faith, growth, and power, while wilting flowers remind us of the fragility of existence. Seashells, another common element in still life paintings, symbolize birth and good fortune. Overall, still life arrangements explore the human relationship to nature, symbolizing our desire to extract it from its natural context and our attraction to its sublime characteristics. Historically, artists like Rachel Ruysch have masterfully employed intricate details and knowledge of flora to create visually stunning and symbolically rich compositions. Whether through the arrangement of objects or the portrayal of the natural world, still life “painting” offers a window into our complex relationship with nature.

Artists today are modernizing still life studies with digital tools such as photography, 3D rendering, and digital manipulation. A still life doesn't have to be static anymore. These artists push the boundaries of the genre and infuse it with a fresh perspective.

Cyber Arrangements 

Faith Based Control

WORLDING | WHAT IS A WORLD?

ζωή (core exercise)

8_18_59_22

Infinite Images

Larry Cove

RETURN IT

This selection presents some of the different ways that Web3 technology is currently used by artists—technologically, conceptually, aesthetically, socially, and politically. It gives a more comprehensive view of the influence of the blockchain and related tech on artists, one which goes beyond the simple prioritization of aesthetics, which has arguably become the ascendent feature of this nascent art ecosystem, often at the expense of other more innovative qualities.
 
Although sometimes feeling like a constrained focus on a single technology, this selection shows that utilizing the blockchain can engender multifarious new outcomes for artists and their audiences. The artists selected here are some of the most adept at making use of these technologies and their surrounding cultures, while together they signal some crucial ways that the tech will continue to be used by artists.

Concept, Tech, Aesthetic, Community

Varied experiments in working with fresh technologies.

First Transaction (Bitcoin Raw Transaction)

Diagram

MUSE0

NFT Mine Offset: ETH Ethereum Miner 3 GPUs

In a talk with an executive of a large (and evil, as those should be) social network a few years ago, who was in charge of its arts and culture department, I once stumbled upon an obvious, but spot-on delusion. Describing the interface of the social network, they mentioned casually, that it works precisely like a white cube gallery: neutral and welcoming any user to make with, in and out of it whatever they wish. Surely, the neutrality of a white cube space has been refuted and played around with for decades in academic writing, institutional and independent artistic practices. Web interfaces have also been theorised and critiqued as precisely the controlling, ideologically rich and opaque/covert, always inherently problematic environments set between the user and the algorithms. 

Still, as the hype around decentralised protocols made way for a bubbling market for tokenised digital objects, and platforms were developed to host this market, it was hard not to pick out their whitish, e-commy, functional and neutral design, inevitable for the goal of hosting streams of unsortable images, be it gifs™ or multilayered transmedia projects. Meanwhile, the very idea of the primacy of ownership through a unique contract, regarding a work of art (an object, or a *collectible*) leads back to practices in the history of conceptual art.

What dimension exactly has been stripped off of a modernist white cube in a Web3 interface (or has not — set aside, why rebuild it)? Hyperplatformisation introduced new types of maps of interactions between artists, producers, audiences, collectors etc., through regulatory mechanisms such as online social capital, randomised gatekeeping and pure speculation. Such irregular maps often create a non-navigable, exclusive space for economic and affective agents, once again with labour unseen, and profits centralised. 

These several (well-known) artistic practices have been looking into this for a while now, engaging with the media and market itself.

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Pairi-daêza ~ A world of Paradise(s)

Parasomnia

Cyber Arrangements

Concept, Tech, Aesthetic, Community

Inside the White Square

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