Digital Dialogues

KTW x TAEX Private Event

The Digital Art Mile 2024

Digital Art Week 2024

Scoletta dell'Arte: Digital Reform

Art Dubai Digital 2024

NFT Paris 2024

Digital Art Fair Asia 2023

Contemporary Istanbul 2023

Frieze Week Seoul

Frieze Week NYC

Non Fungible Conference 2023

 Misonny Art Festival

Venice Architecture Biennale

Tatsuru

Tatsuru Arai is a Japanese composer, sound-graphic programmer, and creator of Gesamtkunstwerk.

Tatsuru Arai

"FaceOfUniverse" Korea2

In a world constantly shaped by technological advancement, the emergence of digital art represents more than just a medium—it embodies a shift in the way we perceive, create, and experience art. Natively Digital explores this transformation, spotlighting artists who are in transit between the realms of digital expression and traditional artistry.

Alper

White Mass_2A5

In The Neogene Collection Alper Derinboğaz continues his research exploring 3D generation techniques by compiling geographical data through generative AI and transforming it using algorithmic modelling tools. 

Sasha Stiles

Sasha Stiles is a first-generation Kalmyk-American poet, language artist, and AI researcher known for her pioneering experiments with generative literature and blockchain poetics. 

If You Find a Little Pinecone on the Street

A triptych of new multimedia works by award-winning poet and language artist Sasha Stiles, composed of three 1-minute mp4 adaptations of the AI-generated verse. 

Andrea

Andrea Meregalli (1977) is an Italian architect, designer, and artist. His research lies between irony and paradox in visual communication and has its roots in technical and scientific studies. 

Andrea Meregalli

(AI) Last Supper - 016

Andrea Meregalli’s You Are Making Art is an image maker micro-world activated by the mere presence of exhibition visitors in front of a video camera the moment they press the “take a picture” button.

Marina Abramović Element

Three Excerpts from Every Poem Starts with a Seed by Sasha Stiles

Implied Narrative by Kevin Abosch

Continuum Collection by Krista Kim

Sol Lewitt, Wall Drawing 305, Image: MASS MoCA

Or why art has long been about ideas, not just physical labour.

<h3 dir="ltr">I often hear people dismiss AI-generated art due to the misperception that "prompting" lacks artistic labour. After all, if you just type out what you want to see and the machine churns an image out based on your words, did you really make art? The mental image of the toiling, struggling artist is so pervasive, that people almost resent the absence of physical labour in contemporary artistic practices. It may surprise most to discover that prompt-based art has actually been around for nearly a century.</h3>
One of my personal favourites is:
<blockquote>
A 6” (15 cm) grid covering the walls. Lines from corners, sides, and center of the walls to random points on the grid.
1st wall: Red lines from the midpoints of four sides;
2nd wall: Blue lines from the four corners;
3rd wall: Yellow lines from the center;
4th wall: Red lines from the midpoints of four sides, blue lines from four corners;
5th wall: Red lines from the midpoints of four sides, yellow lines from the center;
6th wall: Blue lines from four corners, yellow lines from the center;
7th wall: Red lines from the midpoints of four sides, blue lines from four corners, yellow lines from the center.
Each wall has an equal number of lines. (The number of lines and their length are determined by the draftsman.)
</blockquote>
 These are instructions written by Sol Lewitt in 1975, for Wall Drawing 273, an artwork intended to be realised by “a draftsman,” per Lewitt’s own instructions, who is likely a museum worker, or even an intern.
<img src="https://cdn72109500.ahacdn.me/news/upload-1586705043.jpg" alt="Sol Lewitt, Wall Drawing 273, 1975, Image: San Francisco Museum of Modern Art" width="1324" height="1146"> Sol Lewitt, Wall Drawing 273, 1975, Image: San Francisco Museum of Modern Art
As the artist of the artwork, Lewitt’s most direct input is that of creating the instructions. In today’s digital art lexicon, we would refer to said set of instructions as a prompt. In each realisation of the work, the now 49-year-old prompt should result in a geometric, large-scale work of art, likely iterated over time with different results, drawn by different people, with different materials to make the lines, as the work is revisited, or sold to another institution or collection.
Lewitt and plenty of other artists have historically delegated their labour, and there was a time when the contemporary art world lauded them for it. One could even argue that Duchamp’s found sculpture, The Fountain (1917), was a result of delegated labour, and an unintentional one at that, since it was utilitarian, rather than artistic.
So how is writing a prompt for Midjourney or DALL-E to dream something up all that different than what Lewitt did 50 years ago? Or, if it isn’t, why are we hellbent on questioning the artistry of the prompter and the artistic legitimacy of the outcome?
Instructions were a critical part of many artistic experiments in the 20th century, most notably during the Fluxus movement, which emphasised process over end result. There was a performative focus that insisted on framing the transient act of making art as art itself. Although not a Fluxus artist himself, Lewitt is irrefutably part of the Western art canon.
<img src="https://cdn72109500.ahacdn.me/news/upload-1145181531.jpg" alt="Robert Rauschenberg, White Painting [three panel], 1951, Image: San Francisco Museum of Modern Art" width="1661" height="1124"> Robert Rauschenberg, White Painting [three panel], 1950, Image: San Francisco Museum of Modern Art
 Pre-dating Lewitt by two decades, Robert Rauschenberg has white paintings produced in the 1950s that he had in fact delegated to be produced by others per his instructions, with both the act of delegating and his absence being part of the artistic process. Famous Fluxus artist John Cage’s 0’00” (1962) has no musical notes and is instead comprised of a single phrase of instruction: 
<blockquote>
In a situation provided with maximum amplification, perform a disciplined action.
</blockquote>
 There are extraordinary examples of how different artists, musicians, and orchestras interpret this prompt. Not only is each interpretation valid, but more importantly, the more people attempt to realise this simple phrase, the bigger and more interesting the artwork becomes. If anything, it is kept alive because of how intriguing and exciting it can be to reinterpret the instruction. 
None of these examples are intended to frame AI-generated artworks as requiring precedent to be artistic. They can be artistic regardless. But hot on the heels of a <a href="https://www.artnews.com/art-news/market/christies-ai-art-sale-augmented-intelligence-controversy-surpasses-expectations-1234734870/">somewhat controversial auction of AI-generated works at Christie’s</a>, context seems necessary. The current Luddite position against prompt-based artworks undermines not only today’s digital creations but the better half of the last century of art. 
<div class="interactive-block">691</div>
The misconception that AI-generated imagery is lacking in artistic labour due to its instruction-based process, could perhaps be attributed to a general lack of Art History education. Delegating labour may create the impression that there is no real artwork being made, a scepticism that is in part fueled by the bitter aftertaste of the NFT bubble, where overnight, everyone was a digital artist peddling iterations of pixel-art sketches of bulldogs and the like. The damage the hyper-commodification of digital visuals has done to digital art will take some time to fix in the public psyche. In the meantime, however, it is worth recognising that intellectual labour, though harder to measure, can and does exist in prompt-based AI works of art. The more difficult notion we are wrestling with today, is the painfully ableist question of whether physical mastery of manual tools and/or our bodies is a prerequisite for art to be considered valid.
<h3 dir="ltr">In other words, does the ability to eloquently and strategically verbalise one’s imagination make one an artist?</h3>
There are countless ways to generate visuals based on prompts in DALL-E and Midjourney, two of the most popular visual AI engines that are publicly accessible today. Learning them takes time, as does honing the image and communicating with an intelligence that does not quite yet understand reality. Sometimes, the artistry lies in knowing which of the generated images to select, the way a film director might choose a take of a scene, or a photographer might choose a frame out of 50 shots of the same subject.
Sure, these algorithms mine the Internet for visual references, which include imagery not necessarily done by the artist writing the prompt, but unless we banned collage-making while no one was looking, AI is not doing something that every teenager with access to print issues of Vogue and Time and Blue Jean hasn’t done in the 80s or 90s (sorry Gen-Z, your subscriptions are digital).
Language, more than anything else, holds the key to understanding the artistry and labour that goes into AI-generated artworks. When generating an image of the sky, typing in “blue” is not the same as “cerulean,” and understanding the difference goes a long way. But the more exciting part of it all is that even if you type in “cerulean,” no two images can be the same.
Cage and Lewitt would have had a field day.

A Question of Artistic Labour

Colette Bangert, The Look of the Land (Fragment), 1966. Image courtesy of the artist and the Victoria and Albert Museum

From Colette Bangert, Vera Molnár and Shu Lea Cheang to Jill Miller, Aziza Kadyri and Sasha Stiles.

<h3 dir="ltr">March is Women’s History Month, which is always a good reason to do a brief recap of the actual position of women in digital art. Hopefully, one day, this subject won’t be in question, but for now, the women’s path in the arts still can be full of obstacles. The current issues can be solved with a collective and sincere action of all market players and decision makers. When we talk about accessibility, it concerns not only artists but women curators, gallerists, and art dealers as well.</h3>
To clarify the terms, we are talking about digital art created by women. Because the predicate “female” understates that there is specific “female” art full of flowers and butterflies as opposed to “male” art. For instance, now March is called Women's History Month, not Female History Month, just as the title of a museum in NYC is <a href="https://nmwa.org/about/">National Museum of Women in the Arts</a>, and not “of Female Art”. By the way, not all art <a href="https://www.dazeddigital.com/artsandculture/article/30552/1/should-art-created-by-women-be-called-feminist-art">created</a> by women is feminist by default.
The recent annual report by Art Basel spots positive change: “the growth in spending of women outpaced men” in the first half of 2024. As its authors say, after 2021 and 2022, when women collector’s median spending was outpacing men’s and after the decline of 2023, they can take the leadership back in 2024.
Moreover, last year, the share of works by women artists in the collections of HNWIs rose to a ratio of 44% versus male artists’ works in 2024, according to the same report, which reached the highest level in seven years.
Still, there are indirect factors that hinder women from pursuing artistic endeavours. Thus, according to a UN report, women are more impacted by <a href="https://www.unwomen.org/en/news-stories/explainer/2022/02/explainer-how-gender-inequality-and-climate-change-are-interconnected">climate change</a>, and, as Nature scientific review <a href="https://www.nature.com/articles/d41586-020-02006-z">states</a>, by pandemics as well. When it comes to digital art, the accessibility of technologies becomes an issue as well. According to the statistics presented at the AI summit in Paris in February 2025, women are still using AI technologies less than men.
<img src="https://cdn72109500.ahacdn.me/news/upload-3886108433.jpeg" alt="Vera Molnár, Themes and Variations #1, 2023" width="1661" height="1661"> Vera Molnár, Themes and Variations #1, 2023, Image: Sotheby's
While waiting for changes, one should live long, and sometimes it is worth it. The life and heritage of the digital pioneer Vera Molnár is proof. Just two years ago, when she was 99 years old, her digital artworks <a href="https://www.artnews.com/art-news/news/vera-molnar-nft-auction-at-sothebys-realizes-1-2-million-total-1234675618/">generated</a> $1.200 000 at Sotheby’s NFT Auction. Five months later, she passed away, while remaining a woman pioneer of algorithmic art and a highly acclaimed conceptual artist.
<div class="interactive-block">68</div>
Among key women figures in digital art is undoubtedly Taiwanese-American artist Shu Lea Cheang, who, since the 1980s, started to use multimedia and new media in her practice, challenging the issues of taboos, gender, sexuality and ethnic stereotypes in the core of the latest technologies. In 1995, she created her first online digital piece Bowling Alley in 1995.
91-year-old American artist Colette Bangert has been creating algorithmic drawings since 1967. More than half a century ago, as an art professional, she already felt the lack of institutional support and fundamental changes. Thus, in 1972, Bangert founded the Women's Caucus for Art (WCA), which supports women artists, art historians, students, educators, and museum professionals. Her NGO has been <a href="https://books.google.fr/books?id=keKW15lChagC&amp;pg=PA13&amp;redir_esc=y#v=onepage&amp;q&amp;f=false">recognised</a> as having made “great strides in developing an institutional infrastructure for women's art and art history”.
<div class="interactive-block">137</div>
Among women artists of the younger generation, the need for structural changes in the domain impacts both their artistic and research practices. American artist Jill Miller focuses on the intersection of feminism and technology, reflecting on how the feminine can disrupt patriarchal structures. Her interest in urban development and social relations led her to the position of Area Head in Public Practice at UC Berkeley. 
<div class="interactive-block">233</div>
Uzbek artist Aziza Kadyri uses digital tools to dive into the depths of female familial memory by creating digital dynamic 3D-embroideries.
<div class="interactive-block">684</div>
Kalmyk-American poet and artist Sasha Stiles unveils the technological potential of language. By creating generative literature and blockchain poetics, she seeks to redefine the notion of human creativity that faces artificial intelligence. As a co-author with a personalised AI-powered text generator, Stiles demonstrates the vast potential of human synergy with modern technologies.
The digital realm is also enriching the research potential and visibility of women art online. As Yvonne Low <a href="https://awarewomenartists.com/en/magazine/du-feminisme-au-champ-numerique-donner-le-pouvoir-aux-femmes-generer-de-nouvelles-histoires/">wrote</a>, “in digital form—not merely digitised form—the limitations of the book format can be circumvented, and its canonicity reconfigured. By tapping into the malleable structure of a digital platform, it is possible to create a more inclusive and expansive environment for the recovery of women’s work”.
The latest positive changes should not tempt us to forget about the fragility of any achievement and the ongoing risk of reverse decay. Building accessibility and diversity is an everyday job for all the players of the art market. And for digital art, that includes the fields of innovations and technologies as well.

Women digital art: from pioneers to young artists

Artwork by Andrea Meregalli

Poetics of big data and its potential.

<h3 dir="ltr">When it comes to big data and art, let’s first define the notions. What data are we talking about, and why is it big? To put it simply, big data is a dataset that is too extensive to be studied conventionally. The term ‘big data’ became popular in the end of the XX century, when the amount of data collected became too large to be dealt with using traditional data analysis methods. Big data sets can be structured or unstructured, and they can be related to almost anything. Big data can be used in medicine, sociology, politics and many more fields. </h3>
Bigger scope of statistics always fascinated people. In recent years the questions of data sovereignty and security have become the focus of global and domestic policies. Every software using this big data is impacted by the local regulations of the country producing it. The AI summit in Paris is another proof that big data is now at the core of global strategies. The artists from Vera Molnár to Refik Anadol reflect a growing interest and use big data in their practice.
<h3 dir="ltr">AI=Big data</h3>
All AI art pieces can be referred to as big data art since big data lies at the very foundation of AI. For instance, in You’re Making Art by Andrea Meregalli even though all the pieces are generated by artificial intelligence, they simply wouldn’t exist without the artist’s effort, both in training the machine and capturing the images. It is the artist’s idea that drives the project and without it, we would be looking at “soulless” pixels. In this case, AI requires (and depends on) the original idea. 
<div class="interactive-block">332</div>
In the practice of AI-Da, the first ever android-artist, artificial intelligence and digital art are not simply intertwined, but seem to not be able to exist without each other. This new connection will, of course, only become stronger with time. AI-Da’s art is a triumph of the digital, a peak of machine production.
Sasha Stiles explores the literary potential of big data, both visually and as spoken word. In 2019, she created Technelegy—a custom text generator fine-tuned to her own writing and research materials. Following the discoveries of conceptualism, Stiles intertwines a linguistic and literary agenda with the latest technologies. In her own <a href="https://www.artbasel.com/stories/sasha-stiles-how-technology-renews-relationship-with-storytelling?lang=en">words</a>, “it is becoming a way to describe this transhuman poet” that she is transforming herself into.
<div class="interactive-block">685</div>
But what does it mean for digital art? Will the role of artists gradually fade into nonexistence or are humans still key to producing AI-generated objects? 
There is no one answer to this question, as there is no one opinion on whether a certain artist is “good” or “bad”. And, if we may say so, Ai-da’s art pieces are not made to be adored. AI today still lacks the ideology, a part of modern art that, at times, is even more important than art itself.
There are, of course, ethical issues when it comes to AI. Over-replication and copyright are just some of the concerns in the art world. This, however, is a different story. 
<h3 dir="ltr">Poetics of big data</h3>
Big data can serve as a foundation for an art piece, and numerous artists have exploited data in their art. In this scenario, the art is not produced by AI but instead uses quintillions of bytes of data to get the core of the object being produced. MAOTIK’s Flow, for example, works with weather data to create an interactive installation which depends on many factors to produce a unique experience for the viewer. 
<img src="https://cdn72109500.ahacdn.me/news/upload-355427120.jpg" alt="MAOTIK, Flow, 2016" width="700" height="450"> MAOTIK, Flow, 2016, Image: MAOTIK
<h3 dir="ltr">Socially-engaged data art</h3>
If we want to turn raw datasets into digital art, one option is to simply work with computer software to create colourful graphs that can be art objects themselves. Such, for example, is the work of Aaron Koblin. At the core of many of his works is big data visualisation. The idea of representing data in such a way that it becomes art allows for social art since much of the data artists work with is collected from human behavioural patterns and their actions. Travel, text messaging, shopping—all of it can now be used in art production. 
<img src="https://cdn72109500.ahacdn.me/news/upload-886654241.jpeg" alt="Aaron Koblin, Flight Patterns, 2009" width="1597" height="980"> Aaron Koblin, Flight Patterns, 2009, Image: V&amp;A
It depends, however, on our perception of data vs. privacy. Do we want our personal information to be used in art (or elsewhere)? Are we ok with the fact that almost none of our actions remain private today? If so, big data is key to a new form of art. 
Entangled Cities by Stanza explores the future of cities powered by algorithms. His data-driven co-creation systems act as autonomous consciousness and suggest urban solutions. For now, it is hypothetical, but it is something that may be brought into a real city solution tomorrow. Stanza’s artistic practice demonstrates how artists anticipate the future of technologies and the use of big data.
<img src="https://cdn72109500.ahacdn.me/news/upload-1256060620.jpg" alt="Stanza, Entangled Cities" width="1500" height="844"> Stanza, Entangled Cities, 2024, Image: Stanza
The immensity of big data is captivating. Empowered by its potential, both artists and the audience get a sense of engagement with something bigger. In the hands of the creator, big data turns into a vital tool for socially-engaged art, into a source of aesthetic exploration.
Even if the emergence of data regulations may, and most certainly will, strengthen censorship, there are more pros than cons on the table. By gathering big data more thoughtfully and eloquently, digital artists have so many discoveries ahead of them.

How digital artists use big data

Mars House by Krista Kim, Image: sothebys.com

Major digital artists with diverse backgrounds open new horizons of interdisciplinary art.

<h3 dir="ltr">The digital era boosted artistic reinterpretation of architecture. Finally, creativity was no longer limited by physics and time.</h3>
For Ryan Koopmans, digital became a path to architectural revival of abandoned buildings. His long term project The Wild Within is a series of digital artworks based on real-world physical spaces. After many years of capturing architecture and urban landscapes as a photograph, he started to reimagine ruins of various buildings overtaken by nature. Post-apocalyptic and surreal Koopmans works in the meantime exude tranquility and harmony.
<img src="https://cdn72109500.ahacdn.me/news/upload-1620781846.jpg" alt="Ryan Koopmans, The Wild Within" width="1300" height="727"> The Wild Within Project, Image: thewildwithin.xyz
For an architect and digital artist Alper Derinboğaz, big data analysis and generative AI tools opened the door to the emergence of one the oldest metals on Earth—bismuth. By demonstrating the transformation of this metal throughout hundreds of thousands of years, Derinboğaz questions the anthropocentric mindset and puts nature ahead.
<div class="interactive-block">246</div>
Refik Anadol who categorises his works as data-driven visual sculptures tries to maintain the connection between old masterpieces and their contemporary reinterpretations. Throughout 2021 to 2024, he created four artworks for the facade of Casa Batlló by Antonio Gaudi in Barcelona.
In 2011 Derinboğaz and Anadol co-created an augmented data structure in Istanbul, Augmented Structures v1.1 : Acoustic Formations/Istiklal Street, declaring a new era of architectural reality: “No longer are objects or processes the constituting elements of a building. Now they are described as technical networks of communicating nodes, which balance themselves in contrived patterns.”
<img src="https://cdn72109500.ahacdn.me/news/upload-1091538431.jpg" alt="Alper Derinboğaz and Refik Anadol, Augmented Structures v1.1" width="1300" height="830"> Alper Derinboğaz and Refik Anadol, Augmented Structures v1.1, Image: salonarchitects.com
Andrés Reisinger experiments with textile covers, honoring the legacy of Christo and Jeanne-Claude. Many of Reisinger’s digital works later get incarnated in the physical installations all over the world. Mastering the light and various textures he brings lightness and floating to solid architectural structures.
<img src="https://cdn72109500.ahacdn.me/news/upload-1840174528.jpg" alt="Andrés Reisinger, Sun/Leaf, Image: reisinger.studio" width="1512" height="1033"> Andrés Reisinger, Sun/Leaf, Image: reisinger.studio
In 2021 Krista Kim made history by creating the “first digital house in the world” that bidded for over $ 500,000. Her Mars house is a signature example of Kim’s Techism movement that unites architects, artists and engineers in a creative synergy. Krista’s other work, “Mirror of the mind” took over the Sphere building in Las Vegas. She managed to show and to preach wellbeing and mindfulness in the heart of the world’s “entertainment capital” that never sleeps and never relaxes.
<img src="https://cdn72109500.ahacdn.me/news/upload-1760687937.jpg" alt="Mars House exhibited for the “Let’s Get Digital” exhibition curated by Serena Tabacchi at Palazzo Strozzi Museum, Florence, Italy (2022)." width="1512" height="990"> Mars House exhibited for the Let’s Get Digital exhibition curated by Serena Tabacchi at Palazzo Strozzi Museum, Florence, Italy (2022), Image: kristakimstudio.com
In May 2024, a renowned theatre director Robert Wilson with Cosmo AV studio created a digital installation Star and Stone: a kind of love … some say that was projected on the facade of the cathedral Notre-Dame de Rouen for the festival Normandie Impressioniste. Wilson, who believes that the light is ‘the most important part of theatre’ and remains for more than half a century an unrivalled master of lighting design learned his signature approach to the light from the architect Louis Kahn. Wilson’s nine-part work on the music by Philipp Glass and the words by Maya Angelou with the voices of Isabelle Huppert and himself in Rouen embraced the themes of art, war and environment. Colour abstractions change to the black and white massive ‘explosion’ of the cathedral underlining the fragility of the art.
<img src="https://cdn72109500.ahacdn.me/news/upload-1345490739.jpg" alt="Robert Wilson, Star and Stone: a kind of love..." width="1512" height="858"> Robert Wilson, Star and Stone: a kind of love...
Even the recent opening of Notre Dame de Paris cathedral, newly restored after a dramatic fire, was unthinkable without a digital art projection on its facade. The projection was made by Jérémie Bellot, an architect and filmmaker by training, and by graphic designer François Deretz. with the music by producer and DJ Michael Canitrot. Founder of AV-Exciters collective Bellot says that he works in the genre of digital art(chitecture). Their show focused on the modern potential of the cathedral and its connection to the new generation. The moment when the entire building ‘broke’ into two pieces showed how close we all were to lose this precious architectural monument in flames. Regardless of having an architectural background, digital artists remain very passionate about this field. In their hands, a building may become a canvas, a medium or a source of big data. The motivation, however, is the same—to broaden the spectrum of interdisciplinarity.

How digital artists rethink architecture

Diriyah Art Futures (DAF) in Riyadh

New formats, brave decisions and unexpected discoveries.

<h3 dir="ltr">Digital art will form more institutions and art fairs</h3>
We enter 2025 with new art centres and museums dedicated to digital art, AI and new media, that have just welcomed their first visitors or are about to open. While it still takes time for major museums to adjust to the changes, the crypto art community has already started to establish new venues dedicated to digital art. The concept of these new places reflects a strong need not only for exhibition spaces but educational centres and a room for communication and critical analysis of the field.
Among the new dots on the map is Diriyah Art Futures (DAF) in Riyadh—the first New Media Arts hub in the Middle East and North Africa. 12,000 square-foot space designed by the Italian bureau Schiattarella Associati, DAF will bring under its roof an exhibition space, a laboratory and a school.
Another significant venue is the first A.I. museum Dataland by Refik Anadol Studio which will open in LA. Located inside Grand L.A., a mixed-use complex designed by Frank Gehry, the 20,000-square-foot museum designed by Gensler architects will unite arts, science, AI research, and cutting-edge pioneers. One of the new distinctive features of this private museum will be the opportunity to purchase some digital artworks that will go towards supporting its activities.
<img src="https://cdn72109500.ahacdn.me/news/upload-2192530021.jpg" alt="Refik Anadol, DATALAND" width="1500" height="844"> DATALAND, Image: Studio Refik Anadol
Following the opening of an immersive art museum teamLab Borderless in Tokyo, the other grand opening of the near future is—Sphere in Abu Dhabi. 
As promised by UAE officials, Sphere is going to set “new standards in immersive experiences and cultural offerings” with the involvement of major digital artists.
There is still a vast potential for traditional museums to explore and showcase digital art. The latest collaboration of Museum of the Moving Image in NYC with Tezos demonstrated how a collaborative show can involve new people in curating and collecting digital art. The New Museum in NYC is awaiting its new 60,000 square-feet building in the Lower East Side that will host, among other things, the museum’s digital art programme Rhizome, including space not only for the shows and public talks but for art residencies as well.
The digital community requires not only venues but also short-term annual events. After the emergence of the Digital Art Mile in Basel, where TAEX was proud to participate, we can expect more annual digital art market gatherings.
The world’s biggest art fair—Art Basel—expanded Digital Art Dialogues into their programme in 2024. TAEX was proud to participate in its Basel edition and to co-host Paris and Miami Beach events and panel talks. This sends a clear signal: conversations about contemporary art will be unthinkable without the digital.
<img src="https://cdn72109500.ahacdn.me/news/upload-2069057557.jpg" alt="TAEX x Art Basel. Digital Dialogues Miami Beach" width="1512" height="1009"> Digital Dialogues at Art Basel Miami Beach 2024
<h3 dir="ltr">Tailwind from the market</h3>
Crypto art has always been chased by the scepticism around cryptocurrency. But with the Bitcoin rate of $103,800 it gets harder to remain suspicious of the crypto universe. As FT <a href="https://www.ft.com/content/0233a9c6-1de1-4080-9598-055253717c8b">put it</a>, “Bitcoin’s big bang moment is impossible to ignore”. Do not forget that the high hopes and optimism are based on the expected pro-crypto regulations in the U.S. from the future White House administration. 
The era of global geographical recalibration
Middle East countries take a stronger initiative in digital art innovations and investments. Supported by state ministries and institutions, Saudi Arabia and the United Arab Emirates launched unprecedented venues and festivals focused on digital art. Western institutions respond to these fundamental changes by expanding to the region. Thus, Christie’s opened its very first office in Riyadh, and Sphere Entertainment moved on towards Abu Dhabi.
<h3 dir="ltr">Editorial boom on digital art </h3>
An intense technological progress and growing artistic interest towards digital art boosted the research around it and, as a consequence—the publishing houses. The book of the year is, without a doubt, a Taschen edition of On NFTs by Robert Alice. An eloquent selection of 101 key digital artists by the crypto pioneer Robert Alice clearly demonstrates how digital and crypto art makes it to the History of Art in front of our eyes. On NFTs became a collectible in itself. 
<img src="https://cdn72109500.ahacdn.me/news/upload-2368997424.jpg" alt="Robert Alice, On NFTs, Taschen" width="1200" height="800"> Robert Alice, On NFTs, Image: Taschen
We may observe the emergence of the new periodicals as well. The new 176-pagebiannual The AI Art Magazine published by a German polaroids.studio will focus on AI-generated art, its boundaries and concepts. There are plenty of exciting editions to come in the upcoming year. 
TAEX is delighted to contribute to this editorial line as well by releasing a guide by Antonio Geusa What Crypto Can Do for Art— What Art Can Do for Crypto, that helps everyone to navigate in the crypto universe.
<h3 dir="ltr">Leaving phygital behind?</h3>
The habits of art collecting are impacted by the global development of digital art. According to Art Basel annual Survey of Global Collecting there is “a substantial improvement in digital sales platforms” that is getting collectors more comfortable and engaged with online channels. For art lovers it is getting more clear <a href="/news/38/how-to-keep-and-expose">how to keep and expose digital art after purchase</a> with the emergence of companies that assist in displaying digital art collections at home. 
Collectors got more familiar with purely digital artworks that do not have a phygital element. Art lovers start to notice and enjoy the changes brought by digital art such as the freedom of changing the exposed works to the ease of bringing them with you wherever you go. 
 
Digital art proves itself to be more flexible and rapidly developing. While new venues and events are setting up, we can definitely say: the soil for the new generation of digital artists is fully ready.

Digital art: what to expect in 2025?

TAEX booth

TAEX debuted with a blast at Untitled Art Miami Beach.

<h3 dir="ltr">For the first time at Untitled Art Miami Beach, TAEX decided to select artworks by digital art visionaries Krista Kim, Kevin Abosch, and Sasha Stiles united under the title “Data Sovereignty is a Human Right”. This showcase addressed critical issues of data privacy, our complex relationship with AI, and the implications of technology overuse, and received the warmest reception and feedback from the art community.</h3>
<img src="https://cdn72109500.ahacdn.me/news/upload-1999012535.jpg" alt="Sasha Stiles at TAEX Booth at Untitled Art Miami Beach" width="1512" height="851">
Three Excerpts from Every Poem Starts with a Seed, Sasha Stiles. Available on TAEX.
Over the course of almost a week, the natively digital artworks attracted esteemed collectors and aspiring art explorers. Following the profound exchange between the visitors, artists presented by TAEX, and our team—we are more than happy to prove the relevance of the issues reflected in the artworks. The resonance with today’s pressing agenda produced by Krista Kim, Kevin Abosch and Sasha Stiles resulted not only fruitful dialogues and connections but significant acquisitions and new members of TAEX Collectors Club.
The audience was mesmerised by a meditative artwork Mirror of the Mind by a Canadian-Korean artist and digital leader Krista Kim. Her signature gradient colourways transformed in a repetitive motion were taking people's minds outside the art fair hustle towards their inner peace. Moving on to the other work by Krista, Resonance Meditation, TAEX guests were contemplating the synchronized rotation of orbs followed by a calming four-second breathing rhythm, alongside soothing colours and the gentle flow of water. 
<div class="interactive-block">681</div>
<div class="interactive-block">682</div>
Sasha Stiles was challenging visitors' literary imagination with her triptych Three Excerpts from Every Poem Starts with a Seed. By combining poetry, voice and big data she explored a common wisdom, emotional capacity and memory. 
<div class="interactive-block">684</div>
Surreal morphological transformations of a human hand in Implied Narrative by Kevin Abosh invited the guests to dive into existential reflections through personal and collective memory.
<img src="https://cdn72109500.ahacdn.me/news/upload-1745728387.jpg" alt="Kevin Abosch at TAEX Booth Untitled Art Miami Beach" width="1512" height="851">
Implied Narrative by Kevin Abosch. Available on TAEX.
TAEX looks forward to return to Miami Beach next year to discover the next steps of digital art!

How it went: Untitled Art Miami Beach 2024

Noor Riyadh Festival 

At the end of November, TAEX team personally witnessed the groundbreaking opening of the 4th edition of Noor Festival, the world’s largest light art festival, in the framework of Ryadh Art.

<h3 dir="ltr">Curated by Dr Effat Abdullah Fadag, Dr Alfredo Cramerotti and Auronda Scalera the festival highlighted the connection between Althara (the earth) and Althuraya (the stars). Featuring more than 60 large-scale artworks, Noor Festival celebrates the power of creativity and ambition in bridging vast distances, both literal and metaphorical. A key part of the fundamental Saudi Vision 2030 program, the festival will highlight both 18 Saudi artists and 43 international artists. </h3>
<img src="https://cdn72109500.ahacdn.me/news/upload-815524838.jpg" alt="Heart Space, Krista Kim" width="1500" height="826">
Krista Kim, Heart Space: 3256, Available on request
The Noor festival transformed the Kingdom’s capital into a gallery without walls and intertwined life, art and technologies across Ryadh’s major centres of gravity—the King Abdulaziz Historical Center, Wadi Hanifah district with long pedestrian paths, rest zones and the industrial JAX District. Using light as the main medium, most of the works are digitally-driven whether it is an immersive experience, projection mapping, or an installation. The program featured 62 light-based artworks, including Heart Space, the world's first biometric AI installation by Krista Kim; Spark a magical cloud of biodegradable light sparks inspired by fireflies and stars by Daan Roosegaarde; Aether, a 1500 drone show by British collective United Visual Artists.
<img src="https://cdn72109500.ahacdn.me/news/upload-4121783010.jpg" alt="Nick Verstand, Aura, 2017" width="800" height="491">
Nick Verstand, Aura, (2017), image: riyadhart.sa
In order to grasp the intense programme, the festival <a href="https://riyadhart.sa/en/noor-riyadh/festival-trails/">suggests</a> various paths from 3 hours to a 7-hour ‘Marathon of Light’. The artworks are supported by a public programme, including workshops, panel talks, and performances.
Former cultural capital of the Arab world according to UNESCO, Riyadh is now the heart of the global transformations of the cultural sector. Over the last years, Saudi Arabia <a href="https://hbr.org/sponsored/2024/08/the-vibrant-culture-of-saudi-arabia-today">made</a> unprecedented investments and efforts in the cultural sector supported by socio-economic reforms in the country. With <a href="https://www.christies.com/en/events/christies-middle-east/about">an expansion</a> of Christie’s to the Kingdom in the past September Saudi Arabia became an important art player not only in the region but worldwide.
The Noor festival is open to public until December 14th, take your chance to see it.

Stars are the limit at Noor Festival in Saudi Arabia

Refik Anadol, In Search of Vera Molnár, 2024

We encounter algorithmic art much more often than we may think. Ornamentation, kinetic art and digital generative art share common structures, grounds, and concepts. More about them—in our new column.

<h3 dir="ltr">When we hear about algorithms today, the first things that come to mind are AI and machine learning, social network feeds and advertisements. In one way or another everything that has to do with algorithms is strongly associated with computers. So would it be truthful to say that algorithmic art is always related to computers? Spoiler—not at all. Algorithmic art has a way longer history than we could have imagined.</h3>
Algorithms lie in the core of calculation, regardless if they’re performed by a human or a machine. Being a series of steps they lead toward the resolving of a problem or getting a result. So what makes an artwork an algorithmic one is, in fact, the principle of calculated evolution and/or repetition. Of course, we can always dig deeper as Johanna Drucker did by writing that “the algorithmic condition of computationally generated work is merely the case that demonstrates a general condition. Works of art, be they literature, music, visual, or performance pieces, are instances of rule sets. They manifest the possibilities of the conditions for their production.”
Whether it is the linear perspective, Golden Ratio or a Fibonacci sequence that underlines an artwork, it is based on algorithms. So each time you see ornaments of the Islamic Golden Age, Renaissance frescoes or visionary architecture graphics by Piranesi or Escher—all of it is indeed algorithmic per se.
<img src="https://cdn72109500.ahacdn.me/news/upload-470446613.jpeg" alt="" width="1024" height="683"> M.C. Escher, Day and Night, 1938
It appears that algorithms do not always have to be executed by artists themselves and could be redirected to the audience. Christiane Paul pointed out that the “instruction- and rule-based practice” was taking an important place in various art movements including Dada, Fluxus and conceptualism as they had focused on the conceptual and participatory side of the artworks. For instance “score events” by Yoko Ono from her Grapefruit book 1964, or Marina Abramović Method cards (2022) by Marina Abramović are in fact algorithms designed for the audience to perform.
The major moment when algorithmic art entered the world of digital art (and one of the first pieces of digital art itself) was in the 1960s when such pioneering artists as Vera Molnár, Frieder Nake and Manfred Mohr started to do digital drawings via plotters, based on mathematical functions. This new approach led in 1965 to the two first-ever exhibitions of “computer art”, as it was called at that time. Under the umbrella of digital art, both algorithmic and generative aspects were reunited. Being one of the first generative artists, Vera Molnár brought algorithms throughout her eight-decade career and reached the first major digital auctions.
Meanwhile, kinetic and optical art focused on the contemplation of the movements and light was emerging. Based on mechanisms or computer software a significant part of kinetic art is algorithmic as well.
<img src="https://cdn72109500.ahacdn.me/news/upload-2679330610.jpeg" alt="Victor Vasarely, Feny, 1973, image: artblart.com" width="1107" height="1103">Victor Vasarely, Feny, 1973, image: artblart.com
Within the rapid evolution of computer software and technologies and the AI boom starting from the 1980s to this day, algorithmic art has become more immersed in digital art. An art project aurèce vettier by Paul Mouginot who creates graphics, sculptures and installations using algorithms as a source of “raw material expanding conceptual possibilities and complementing the initial knowledge of art history”. Aurèce vettier explores the borders between the physical and virtual worlds.
<img src="https://cdn72109500.ahacdn.me/news/upload-2855706148.jpg" alt="AD.VM.AV.IA, aurèce vettier x Vera Molnár, photo: Marc Domage: " width="1089" height="553"> AD.VM.AV.IA, aurèce vettier x Vera Molnár, photo: Marc Domage
Refik Anadol, known worldwide for his site-specific three-dimensional data sculptures and digital paintings, uses machine learning algorithms to create abstract artworks. This year he opened Dataland—the first museum focused entirely on AI art. Krista Kim creates abstract digital algorithms as well, but, in her case, she reconsiders the modern state of this tool in everyday life. “Algorithms are everywhere, and they are controlling what we see through social media platforms, "sharing" and "liking" has created a narcissistic and egocentric society that is lacking in humanity and authenticity.  It is our very "connectedness" on social media platforms that is diminishing real human connection”, she wrote ten years ago in her Techism manifesto. By turning this tool upside down, Krista turns all the disadvantages of algorithms into healing artworks.
<div class="interactive-block">283</div>
Alper Derinboğaz, an architect and digital artist used algorithmic modelling tools to process geological data for his project Neogene. The curiosity towards movement continues to capture the minds of digital artists, following their kinetic predecessors, including MAOTIK and IX Shells. Known as well as Itzel Yard, IX Shells created an educational group Creative Code Art, focused on algorithmic and generative art, using her background in Architectural Technology and Computer Science.
<div class="interactive-block">244</div>
Whether it is a captivating pattern, a sequence of movements or the funding core of generative art, algorithms play a significant role in contemporary art, both traditional and digital. With the evolving technology in art, algorithms are taking more room in the global art sphere. The question is— where will they take the art community?

Algorithmic art: from graphical and kinetic to digital

CIF Dialogues Stage

A panel talk with the participation of TAEX Head of Development which took place at the 19th edition of Contemporary Istanbul art fair on October 23.

<h3 dir="ltr">CIF Dialogues by İGA Art in partnership with Artsy reopened in the framework of the 19th edition of Contemporary Istanbul. This annual series of panel talks focuses on the changing landscape of contemporary art through a variety of perspectives, the social and public impacts of art collecting, and digital art in the age of AI.</h3>
TAEX Director of Development Stefanie de Regel was eager to participate in the CIF Dialogues panel talk “How To Own &amp; Exhibit Digital Art Today?” moderated by Digital Sales Strategist Sureyya Wille with Founder and Director of bitforms gallery Steven Sacks, and Art + Tech Consultant and Director of Sales at Feral File Lauren Jones. An intensive conversation touched on the dynamics of the changing art market, the emergence of a new generation of collectors and the rise of new features specifically related to digital art collecting. A panoramic view from players in the digital art market with various backgrounds gave a stimulating picture of this doman’s future.
Sureyya Wille: The first use of the term 'digital art' was formed in the early 1980s, when computer engineers devised a programme which was used by the pioneering digital artist Harold Cohen. So the point is that digital art has a long and I think much overlooked history if you put it in the canon of the history of art. And here we are today, where it is increasingly accessible in this contemporary moment, there are infinite ways and also more affordable ways to own digital art and to present it in your home. Knowing all that, can you tell the audience and myself what are the advantages to collecting digital art versus traditional art? 
Steven Sacks: I think that digital art, it is really what someone is interested in, but if they do want to purchase these I’d say ‘new media artworks’, as I prefer this term more than the TATE’s definition mentioned previously. When we speak of digital it’s really almost everything, a tool that's being utilised for so many things. ‘New media’ is a way of producing in an experimental way, which of course uses modern technology.
I started bitforms gallery 23 years ago. Back then I would have answered differently to the same question. But today its accessibility is incredible, the amount of people who have a better understanding of what ‘new media’ is, and how to collect this type of work has grown dramatically. This sounds trite or simple, but even the equipment that is utilised today is much more affordable and way better quality and it lets people showcase works much easier now. Actually it is letting artists create work more affordably, which is in fact a big deal.
Stefanie de Regel: The dialogue that I often encounter with collectors is that, of course, people want something tangible, right? They are used to collecting something that they can physically see or feel by placing their house and the digital is a bit different. Indeed, the development, the quality and accessibility of software is increasing. Around a year ago I had a conversation with a collector who said to me "I'm not interested in this kind of art". When I asked "Why not?", he replied "I don't really understand this. And I cannot hang it in my house".
Then I started to explain that it is the contrary, you can hang a digital artwork basically everywhere you go and always have it with you, whether it is your summer house or your residence. It is extremely easy to transport, the taxation is different. It is important to understand all these advantages. What I see, is that there is an obvious need for communication and education. That’s why at TAEX we are investing a lot in dinners and panel talks. Even participating in art fairs might be challenging for us, for instance it was quite tricky last year to join Contemporary Istanbul. I’ve heard that ‘in Turkey people are not interested in digital’, but what I see this year even after one day of work is quite the opposite. People are very curious, they collect. We’re very happy that the dynamics are changing.
Lauren Jones: Everybody collects for different reasons. And one of the reasons is indeed an investment. In my perspective, there is a better and exciting opportunity to collect and see an increase in value. Since media art has been so undervalued for so long, all other paradigms shift, our next Gen-Z collectors are younger, they are about to inherit a great amount of wealth. They are more likely to appreciate the value of digital media and disrupt the top level of media where we see canvas and sculpture. This is exciting, as it makes the market more accessible for younger collectors. 
There's been a lot of talk about how auction sales are down about 20% to 25%. But at the same time in 2024, prints and multiples are up, as younger collectors become more obsessive about them.
Sureyya Wille: Taking it from the accessible pricing, we cannot not talk about NFTs and their insane rise and fall. Do you treat NFTs as distinct from the rest of ‘new media’ or ‘digital art’ or are they a part of it? 
Steven Sacks: For my gallery that emerged way before NFTs it was incredibly disruptive and stressful. This was a completely new community that was not really part of the traditional art world which my gallery and I personally was part of.
We tried and succeeded, however it took a long time to integrate this type of work into the mainstream contemporary art world. Of course the Beeple sale of $70 million attracted a lot of attention. The art world woke up and started to get involved. For me in the beginning it was challenging because I don't think that at first the audience was looking at those works as art, it was more of a financial asset and a certain way to legitimise crypto. And many of those works were not art at all. And the big thing, which maybe we'll get into, was that the presentation was completely discarded, which is a huge part of experiencing art. 
But on the positive side, the market did grow for 4-5%, which is a big deal. Of course, we're in a different moment where the market has somewhat crashed. Now, there are more thoughtful and interesting projects being made, than when NFTs actually started.
Lauren Jones: Well, I've worked with different collectors and in the traditional gallery. I had to onboard people to use MetaMask and that was impossible. I did not have success with it, but I'm always interested in talking to traditional art collectors and asking them what they think about this media. 
I always start with art itself. Area Harvey is a pioneer in digital sculpture and 3D modelling, and her practice is very much within the tradition of sculpture. So for her NFT is just a media, and each of her pieces has a certificate of authenticity. 
Recently, the ArtNews Top 200 Collectors list came out and I did outreach to a bunch of them. I tried to get in touch with collectors of contemporary art, especially when they were investors in technology, or who worked in technologies. I reached out to at least 40 of them, and I ended up with five people that got back to me, and I’ve sent them a presentation or set up a meeting.
I have a feeling that after the bubble and then the crash of the NFT market and the crypto market, that followed up with negativity, that now the dust is settled. A lot of banks are now offering ETF for cryptocurrency. And people started to come back and ask: What’s happening over there? It’s a time for some optimism and more thoughtful interest.
Sureyya Wille: I'm curious about the overlap or lack of our collectors. Who are they? Who are the people buying digital art versus traditional art? Are they a completely different distinct group of aficionados, or are they kind of one and the same? Are there trends that you see from traditional art collecting that are similar to digital art collecting?
Stefanie de Regel: At TAEX we are onboarding a lot of traditional art collectors towards digital art. We don't even like to make that distinction: it is all contemporary art. And it's just a different way of collecting, receiving it, and having it at your place.
NFT is a word that scares a lot of people away, but essentially it is a vehicle. It is a smart contract—the most contemporary way to actually possess a digital piece of art. But if you're not familiar with how to create a crypto wallet, then, of course, it can scare people away. I think, a very important mission for galleries, platforms, and art advisors is to guide collectors through that journey, which is actually not that complicated as it may seem. And once you get a hold of it, you'll find it very enjoyable and want to collect more. I see a lot of people from the tech industry, like tech entrepreneurs, traditional collectors.
Three weeks ago when we had an event in Geneva a big Swiss collector who is around 75 y.o. approached me and said “I love this piece”. It was a work by our artist MAOTIK. He was mesmerised and asked “How can I collect this?”. So what we do at TAEX, we create a room to have this kind of dialogue. It just has to be the right format, right space, right artworks and artists, and magic will happen.
Sureyya Wille: Steven, since your gallery has been around for 23 years. When I think of a traditional art collector as someone who just ‘has to have it’ and they keep buying more and they are running out of space and pass their collections in storage. Do you see a similar enthusiasm and zeal in the digital art/new media collectors?
Steven Sacks: If you come to my stand at Contemporary Istanbul, you could see it's not always a moving image. It is not always plugged in. I am a big supporter of artists utilising new technologies but actually creating very traditional formats. Not just because the artist is doing it. I think it is nice to have that diversity in the programme and to offer collectors different ways of participating in this new type of work.
One of the most interesting things over the years, which kind of relates to all of us on the panel is that having the screen in your home devoted to art was a very, very new concept when I started. Once collectors understand that conceptually it is incredible, because I have very wealthy collectors and their apartments can only be so big, right. And a lot of them become very upset about putting artworks in storage and not having an opportunity to live with it. So works that are screen-based in many cases you could have 10/20/30 pieces in a single screen and be your own curator of that work. 
And that is the pinnacle moment for these collectors, once they figured that out. They don't have to deal with moving work. They just have to have the hardware like a screen. It has been a really interesting shift that I saw and once the collector gets this idea.
Sureyya Wille: What do you recommend to your collectors in terms of how to install the work, how to live with the digital art collection and enjoy the works? Shall one have screens up all over your house? Do you carry around your phone? 
Lauren Jones: The fact that most people now have a digital canvas in their home, in a television smart TV is also a game changer. We are not far from the moment when people would say “gosh, you can't believe we just have these black boxes, these black culture boxes”.
<blockquote>
We all saw a little test case with the Samsung frame and the popularity of the Art Store, but those are high resolution photographs of Old Masters works, and as it looks for me just like elitist posters. The theorist and philosopher Walter Benjamin talked about the aura of art and the way that it's lost when it's mechanically reproduced. But digital art, that file based art, is digitally needed. 
</blockquote>
Most collectors take into account the aesthetics of what they are, you know, they want something that would look nice in their interior. The ability to live with that kind of work is their opportunity to change it over with our app. You can make playlists and set up the time for them, for example for a dinner party. I think that a smart TV is a great starting point to start living with digital art. 
Stefanie de Regel: There's also the psychological element and the power of habit. For most people TV is used as a medium for watching news, movies, and entertainment. A sudden switch to use it as a canvas, it requires some time. There are also really nice frame solutions like digital frames. When last week collector Hélène Nguyen-Ban opened up her house during Art Basel Paris, I spotted a beautiful frame that was 2-3 metres high. It didn't look like a TV.
Steven Sacks: I can't force this situation, but what I suggest to collectors is to have a devoted screen to art because it changes everything. Once that destination is about art versus you flipping to a football game. One very ridiculously simple way to achieve that is to make the screen vertical. Where they'd be having some trouble watching TV. And not all works of course are in that portrait landscape, but actually it's a lot are. And in my home, for example, I have one landscape, one portrait. They're only devoted to art. 
And once again collectors experienced this and they understand the ease of doing it; they won't want to watch television and will feel that connection to the screen as an art experience.

CIF Dialogues: How To Own & Exhibit Digital Art Today?

Hôtel Plaza Athénée

Digital Dialogues are spreading all over the world. This time, the stop was in Paris, where Art Basel, TAEX and Digital Art Week co-hosted a very special evening.

At the peak of Art Basel’s Paris art fair, TAEX co-hosted a dinner in Paris together with Art Basel and Digital Art Week. An exclusive evening celebration of the intersection of digital innovation and art gathered over 50 thought leaders from the contemporary and digital art worlds. A cocktail reception was followed by a dinner at Hôtel Plaza Athénée on avenue Montaigne.
<img src="https://cdn72109500.ahacdn.me/news/upload-4233010500.jpg" alt="Art Basel, TAEX, and DAW dinner during Art Basel Paris 2024" width="1200" height="800">
It was a pleasure to host prominent collectors, curators, writers, museum and fair directors, and crypto pioneers, and exchange about the perspectives of digital art and its expansion in the art field. The synergy of great minds boosted our ideas and plans over the moon. 
Over a glass of champagne our guests have observed a video recap of our past projects. The dinner started with a welcoming speech by Art Basel Chief Digital Officer Craig Hepburn who pointed out that “the bridge between contemporary art and digital art has to be built.”. 
“That is essentially what we’re trying to do at Art Basel: to create conversations, dinners, meetings like that to bring together these two poles. Digital Dialogues started one year ago in Hong Kong where we brought together some collectors, artists and it went down really well. I’m glad that we’re starting to build into bigger ideas and concepts. We believe that the future of digital technology is exciting.”
<h4>Craig Hepburn, Art Basel Chief Digital Officer</h4>
<img src="https://cdn72109500.ahacdn.me/news/upload-2162689538.jpg" alt="Art Basel Chief Digital Officer Craig Hepburn" width="1200" height="916"> Art Basel Chief Digital Officer Craig Hepburn gives a welcoming speech
TAEX Head of Development Stefanie de Regel expanded: “Last June we were really excited to participate in Digital Dialogues in Basel. It is amazing to see how Art Basel puts real efforts and attention to the digital sphere. It is such a vibrant, exciting part of contemporary art. And it is a delight to see in this room so many important players of the digital world and very esteemed guests”.
<img src="https://cdn72109500.ahacdn.me/news/upload-2495772086.jpg" alt="TAEX Head of Marketing and Communications Francesco Marchiaro and Head of Development Stefanie De Regel and " width="1024" height="682"> TAEX Head of Marketing and Communications Francesco Marchiaro and TAEX Head of Development Stefanie De Regel
Co-Founder and CEO of Digital Art Week Shaina Silva shared that the ultimate reason to create Digital Art Week was “to fill the gap between traditional and digital art worlds.” “We wanted to make sure that everyone can come together, learn about each other, and build new relations.”
We’re hoping to see you soon in Miami Beach from December 4th to 8th among the audience of our further panel talks with Art Basel.
See the video recap of the event on our <a href="http://link/">YouTube</a>.
Please explore the integrity of TAEX’s collections of curated digital art from world-renowned artists in our <a href="/drops">Collection section</a>.

How it went: Digital Dialogues cocktail reception and dinner  for Art Basel Paris 

Photo courtesy: N°OW’HERE”

Digital art ideas start from N°OW’HERE”. TAEX co-hosted a private event and a panel talk with Art Genève and private members club N°OW’HERE”.

A special event in Geneva co-organised by N°OW'HERE", TAEX and Art Genève on September 24th was beyond a doubt a night to remember. A full house of digital art lovers gathered to attend a panel discussion you heard the latest inputs by the prominent art world professionals: collector Pierre Sigg, the Museum of Art &amp; History of Geneva’s curator Samuel Gross, and Stefanie De Regel, Head of Development at TAEX moderated by Santiago Rumney-Guggenheim, Director of Arts and Culture at N°OW’HERE”, and to continued to exchange ideas over a cocktail. The support of Art Genève ensured the high-level of our event. 
<img src="https://cdn72109500.ahacdn.me/news/upload-532049280.jpg" alt="TAEX Head of Development Stefanie De Regel giving an introductory speech" width="1512" height="1010">
TAEX Head of Development Stefanie De Regel giving a speech
The panel talk “Redefining Value: The Intersection of Digital and Traditional Art” showed a panorama of accelerating ideas and opened-up the process of the pioneering thinking that will become tomorrow’s reality. The principal goal of the discussion was to provide an extensive perspective of the contemporary digital art market, whether they are art platforms, museums, art foundations or curators. The welcoming space of N°OW’HERE”, created as a space of exploration for the tech elite, leaders in the fields of art, fashion, entertainment, and business was boosting the creative and entrepreneurial networking on a higher scale.
Visionary strategies are impossible without talents. That’s why TAEX and N°OW’HERE” presented a selection of digital artworks by pioneering digital artists at N°OW’HERE” Club—a historic mansion dating back to 1875, renovated by the Italian firm Galante-Menichini. Right by the entrance at the reception area we presented two works by MAOTIK—MATERIA: Liquid and MATERIA: Gas—that reflect on the eternal and the natural. Continuing to ponder the nature we showed Neogene by  Alper Derinboğaz, who invites the audience to rethink our perception of time by contemplating the transformation of one of the oldest metals on Earth, bismuth. 
<div class="interactive-block">202</div>
Moving further to the Satoshi room, TAEX offered a moment of a digital escape created by Krista Kim. Her Continuum Collection is inspired by Buddhist philosophy and turns digital technologies at the service of mental health and mindfulness. Further to the next room, TAEX displayed the HOLO Collection by Oğuz Emre Bal, whose digital droplets represent a raw material of urban elements and an architectural equivalent to a cell in biology. 
<div class="interactive-block">283</div>
At the Conference room, where a panel talk took place, TAEX showed a brand new artwork SUPERNATURAL by MAOTIK, a generative art piece which allows the viewers to enter the mind of an artist at the precise moment — when the artist’s entire self is captured under the spell of creative forces. In the same room, the Face of Universe series by Tatsuru Arai was presented as well. It focuses on the physical nature of the Universe. Particularly interested in geometric structures and perception of sound, Arai offers a fundamental pillar that allows us to understand the true nature of the universe.
Please explore the integrity of TAEX’s collections of curated digital art from world-renowned artists in our <a href="/drops">Collection section</a>.

How it went: N°OW’HERE”, TAEX and Art Genève special event in Geneva

Two weeks before the official closure, TAEX summed up the group show in Venice and presented a new book on art and crypto by curator Antonio Geusa.

For many the beginning of September is the start of a new education year. On the 2nd of September, after five months of sharing with you the main vectors of digital craftsmanship, we are finally letting you—art lovers, collectors, artists and explorers—to float free. Certainly, we didn't want to let you go empty-handed, so we've prepared for you the new guide by Scoletta dell’Arte curator Antonio Geusa on the mutual influence of art and the crypto universe, that is available for download <a href="/news/50/new-book-antonio-geusa">here</a>. A limited hardcopy edition of the guide was distributed among our guests.
We presented the exhibition’s newest collection—You’re Making Art collection by Andrea Meregalli—that comprises 350 images. The artist personally guided our collectors and friends through his AI-powered installation. Each visitor got a unique printed image. We’re looking forward to minting the collections by two other participants of the show—Accurat and MAOTIK.
Just to remind you that three other artists of Scoletta dell’Arte: Digital Reform are already available on our platform:
• <a href="/drop/43">Error#0 by Franceso d’Isa</a>
• <a href="/drop/40">Neo-Mastr by Funa Ye</a>
• <a href="/drop/18">Сollection by Shu Lea Cheang</a>
 
This year TAEX had proved itself as one of the fastest-growing digital art platforms. We’re delighted that our values and mission are shared with so many of you. Our Head of Development, Stefanie de Regel, presented a recap of this intense season and our plans for the next one. Stay tuned, however, for a huge project to come that has not been unveiled yet!
 
Enjoy the full image archive of the event via the link. Note, that any reproduction of the photographs must be credited.

How it went: Scoletta dell’Arte all'infinito

We're delighted to announce the release of a guide written by TAEX curator Antonio Geusa titled What Crypto Can Do for Art — What Art Can Do for Crypto.

New book by Antonio Geusa

What Crypto Can Do for Art — What Art Can Do for Crypto is available for free download

<h4 dir="ltr">We're delighted to announce the release of a guide written by TAEX curator Antonio Geusa titled What Crypto Can Do for Art — What Art Can Do for Crypto.</h4>
 
It is designed for the art community that is curious about crypto input into the art field. At TAEX, we believe the art community requires not only navigation through the crypto universe but theoretical reflections and analysis of its potential development.
 
Geusa starts by exploring the possible discoveries that can be brought by crypto into art. Then he offers a brief overview of NFT art and crypto art history in 10 artworks each. Then Geusa reflects on the reciprocal influence of art on the crypto world, by raising the financial, psychological, and institutional aspects. After the conclusion, Geusa points out the bullet points and provides to readers a room for further thoughts.
<h4>  You can download an electronic copy right away via <a title="Download new book by Antonio Geusa" href="https://drive.google.com/file/d/11YgUtGbw_B-N6VAc8cIB4BdzVtXN1ikT/view?usp=sharing" target="_blank" rel="noopener">the link.</a></h4>

New book by Antonio Geusa is out now

Tatsuru Arai, "FaceOfUniverse" Korea2

Digital art market news, blockchain releases, TAEX collections—you name it. Highlights of August in our new monthly digest.

TAEX Digest: August 2024

Please note that TAEX launched a special column and newsletter about digital highlights of the month. Please <a href="https://forms.sendpulse.com/14ae90e13c/">subscribe</a> to learn first the news selected by TAEX. 
 
<h3 dir="ltr">World News</h3>
 
<h4 dir="ltr">Investors halting stablecoin accumulation caused Bitcoin to become unstable.</h4>
 
As major institutions have stopped accumulating stablecoins, Bitcoin price <a href="https://cointelegraph.com/news/bitcoin-price-drops-below-59k-institutional-stablecoin-pause">fell below</a> $60,000 in the first two weeks of August, with its low point being just under $54,000. It has since been unstable, but close to the psychologically important price of $60,000. 
 
<h4 dir="ltr">Artists brought a lawsuit against SEC regarding security issues of NFTs</h4>
 
Two American artists <a href="https://cointelegraph.com/news/artists-sue-sec-over-confusing-nft-security-status">reportedly have sued</a> Securities and Exchange Commision (SEC), a US securities regulator, over a confusing treatment of NFTs. Filmmaker and law professor Brian Frye and songwriter Jonathon Mann filed a subpoena against ‘unlawful enforcement actions’ by SEC towards their NFT projects.
 
The attorneys representing Mann and Frye based their strategy on the example of secondary sales of Taylor Swift concerts. They argue that neither concert tickets, nor NFT art projects should be considered as securities or collectibles just by the fact of being NFTs. 
 
As they stated, “the SEC’s approach threatens the livelihoods of artists and creators that are simply experimenting with a novel, fast-growing technology or have chosen it as their preferred medium”.
 
<h4 dir="ltr">Scotland to open a first ‘fully digital museum’</h4>
 
Scottish Historic Building Trust just <a href="https://museumsandheritage.com/advisor/posts/objects-optional-designs-revealed-for-scotlands-first-fully-digital-museum">unveiled</a> their plans to transform a Georgian building in Edinburgh to Scotland's first ‘fully digital museum’. As stressed by the Trust's director Mr Gallagher, a future museum will incarnate a ‘world-leading approach’ to share local history through a lens of ‘Leith and Scotland outstanding digital creative sector’.
 
The concept of eight digital exhibition halls is currently presented at Leith Custom House. The creators of the venue aim to combine the civic museum structure with digital art innovations.
 
<h4 dir="ltr">Sony launches a new blockchain platform </h4>
 
Sony Block Solution Labs <a href="https://nftplazas.com/soneium-blockchain/amp/">announced </a>a release of the beta version of a new blockchain platform Soneium. Its goal is to give room to everyone to create crypto projects by providing necessary up-to-date tools and creating a community of innovators and collaborators. Soneium seeks to overcome ‘social, economic, and regional constraints, allowing every idea to flourish’.
 
By creating a public blockchain platform Sony is reassuring the global spread of Web3 technologies and the transformation of the current agenda.
 
<h4 dir="ltr">Cryptopunk and Beeple at Sotheby’s Digital Art Day</h4>
 
The end of August was marked by <a href="https://blockchainreporter.net/cryptopunks-leads-weekly-nft-sales-with-7-19m/">Sotheby’s Digital Art Day</a> featuring NFTs by Cryptopunk, Beeple, Vera Molnar and Tyler Hobbs. The auction was running for an entire week from August 15 to 22. This time, the sales were specifically focused on pioneering women digital artists. 
 
Among the lots are ‘CryptoPunk #491 created by Larva Labs (est. of $ 70 000 - 100 000) and ‘Mother of Evolution’ by Beeple in collaboration with Madonna (est. of $ 70 000 - 100 000)
 
<h3 dir="ltr">TAEX News</h3>
 
Last but not least, TAEX ends summer with its own diverse agenda :
 
<h4 dir="ltr">Scoletta dell’Arte all’infinito, TAEX’s Finissage of the Scoletta dell’Arte: Digital Reform to be held on September 2 in Venice</h4>
 
On September 2, our Venice exhibition will be closed to the general public, as we will be hosting our Finissage, Scoletta dell’Arte all’infinito. Head of Development, Stefanie de Regel, will be sharing our upcoming plans, curator Antonio Geusa will present his special guide, while Andrea Meregalli will help the guests in the exploration of his AI-powered installation. More details via <a href="/news/47/scoletta-dell-arte-all-infinito">the link</a>!
 
<h4 dir="ltr">TAEX joins Contemporary Istanbul 2024 gallery lineup</h4>
 
We are delighted to join the 19th edition of Contemporary Istanbul this October, presenting artworks by Krista Kim, MAOTIK, and Alper Derinboğaz. Stay tuned for more details!
 
<h4 dir="ltr">How has digital art been represented at the Venice Biennale?</h4>
 
Read a comprehensive <a href="/news/46/digital-path-of-venice-biennale">article</a> by our Editor Anastasiia Spirenkova on the half-century-long digital journey of the Biennale and its complicated relationship with the medium. 
 
<h4 dir="ltr">Interview: Francesco D’Isa on AI art</h4>
 
Renowned theorist, philosopher and artist of the Scoletta dell’Arte: Digital Reform exhibition Francesco D’Isa <a href="/news/48/francesco-d-isa-on-ai-art">spoke at length</a> about the integration of AI into the arts. 
 
<h4 dir="ltr">New Collection: Natively Digital</h4>
 
Following our open call, we present <a href="/drop/44">a group collection</a> of the winners — artists with a Natively Digital mindset — Maria Mavropoulou and Tatsuru Arai. Just as digital natives seamlessly navigate the ever-evolving landscape of technology, we sought out artists who harness this mindset to push the boundaries of artistic innovation. The collection is curated by Daniel Peace and is available for purchase via the link.
<h4> Not subscribed to the TAEX Newsletter yet? Click <a href="https://forms.sendpulse.com/14ae90e13c/">the link</a> and stay in the loop of current news and upcoming collections!</h4>

Francesco D'Isa, Errors, Installation view.

Philosopher, theoretician, and prominent digital artist Francesco D’Isa shares his thoughts on challenges and benefits brought into the art field by artificial intelligence.

Francesco d’Isa on AI art: data, errors and kitsch

Philosopher, theoretician, and prominent digital artist Francesco D’Isa shares his thoughts on challenges and benefits brought into the art field by artificial in telligence.

Acronyms:
FI - Francesco D’Isa
AS - Anastasiia Spirenkova
 
AS: In your work for the TAEX exhibition Scoletta dell’Arte: Digital Reform, curated by Antonio Geusa, you raise the topic of the aesthetic beauty of errors. In the course of creating this artwork you even taught artificial intelligence how to make mistakes. How did you come up with this idea? Is the pursuit of perfection a bad thing?
 
FI: Let's say that AI in its production of images often repeats biases and prejudices and therefore provides very stereotyped images. When I work on it, I find it more interesting when the machine is ‘taken away’ from this. Normally, AI has this tendency to create average, mediocre images that are more stereotyped, even kitsch. By forcing a machine to make mistakes I prefer to detect its potential creativity, novelties and elements of surprise or interest. 
 
So let's actually say that it's a ‘malfunction’ of the machine that is able to return images that are not exactly the most predetermined, but more unusual and where, from an artistic point of view, much more material of interest can be discovered. It also happens in art in general, when through a mistake you can distinguish the new potential ideas.
 
I find it to be a part of creative thinking. Errors are invaluable for an artist as they lead to new perspectives and unveil the freedom of thought. If you think about it, all new visions were mistakes at the beginning. 
 
<img src="/storage/news-image/cr7jgearprek5an8pn90.png" alt="Francesco D'Isa, Errors, Installation view" width="670" height="447">
<pre>Francesco D'Isa, Errors, Installation view. <a href="/news/21/scoletta-dell-arte-digital-reform">The exhibition is open till September 15 in Venice</a></pre>
 
AS: You often evoke probability theory. Are errors the products of calculation?
 
FI: From statistics and quantitative perspective, generative artificial intelligence produces the average image based on the most probable answer. With error, instead, you get the most improbable answer, the least likely one that can be, in my opinion, the most interesting one, where you can find the most creative scope.
 
AS: What can these mistakes teach us? How errors influence us on the level of concepts and our perception of aesthetics?
 
FI: Errors teach us, first of all, to escape from the classical, stereotyped representation. They make us realise how often the new look at something that is at first judged to be a mistake is getting out of the ordinary and becomes a new way of looking at things or showing us the different paths.
 
AS: Is there still something interesting in the aesthetic of camp and kitsch that can be detected through AI? 
 
FI: There is indeed, if camp or kitsch is an aesthetic part of one’s artistic approach. But only if somebody makes a true creative path out of it, but most mass-generated images are essentially always the same thing. 
 
AS: You are a philosopher by training. But you are an artist, journalist and curator as well. What is your main professional identity? 
 
FI: I have never understood which identity is most important. For me making art means performing a philosophical investigation, it’s a way of doing philosophy with images instead of verbal or written language. It’s a part of the same intellectual journey. Internally, I do one thing even if it looks from the outside as two separate paths. On the other hand, I use images to do philosophy as well. Sometimes I can express a concept or do a philosophical investigation better with images than with text. 
 
AS: You say that every work is an accumulation of experiences, of ideas, of predecessors. Hence the question: what becomes stronger in the case of AI, the probability theory or the free will and the choices of the artist?
 
FI: Here I have to answer as a philosopher, in the sense that I don't believe in free will and that we are free to choose things. I’m sure that we simply cannot predict our own actions in the future. But even setting aside the physical inevitability of events and <a href="https://thephilosophicalsalon.com/uncausal-seterminism-why-the-future-cannot-be-otherwise/">other philosophical arguments</a>, the social and political context in which a work of art is created is very important.
 
The “will” of the artist plays a crucial role as well, without a shadow of a doubt, because it is the one through which the whole social and cultural context is filtered. The final result is unpredictable only because we are not able to foresee it, not because it is given a priori, but every element contributes to it.
 
AS: We all know that some artists are stronger than others. How does it impact the artworks made with AI technologies?
 
FI: I believe that every true artist makes a personal contribution that differs from others with respect to the context. Of course it’s not only the context that drives them. Behind every artist lies their own sensibility, their psychology, their life, their history that influences them. Many of those personal things are not chosen, such as native country or language. Certainly the individuality of the artist filters through the whole cultural world and each time does so in a different and original way. So the artist always gives a different imprint to the work. 
 
AS: You say that artificial intelligence accumulates experiences. However those experiences vary, could you develop on that?
 
FI: AI processes an immense amount of data, which comes from certain parts of the world. Some of it is more Western, some—more Eastern, it depends on where the AI was initially created. Each AI has the limitation of the dataset, which is immense, but it turns out that it was given. So the artist may force this situation and play with this data in such a way as to obtain something unexpected and different. But AI in itself will always be restricted by the data. Humans are restricted as well, we simply possess much more of it.  
 
AS: This experience of predecessors includes biases such as sexism, xenophobia, etc. As you say there are no universal ethics. So who will decide what we should get rid of and what we should preserve?
 
FI: That's a good question. At the moment, unfortunately, the production companies decide, and they are full of prejudices. They tend to do so by virtue of the era of the place where they are, so an American company will implement American ethical principles, a Chinese company—Chinese ones. The time is also a significant element as now we’re operating ethical criteria of 2024. If we had an AI from the 17th century or from the 1930s, ethics would vary. Moreover we have no idea what ethical criteria we’re going to have in the 2300s.
 
AS: Is there a possibility to create a truly free AI? Without biases and without prejudices?
 
FI: In my opinion, no, as it is data-dependent anyway, and all data is always biassed per se. The fact of choosing which data to put in is already a bias. A ‘truly free AI’ is impossible from a logical point of view. Still we can improve the situation. For instance, the more data there is, the more diversification there is in the data, the more possible it is to go in various directions. If instead it gets circumscribed, the more closed the data is and more likely it will end up as a strong bias. 
 
AS: How about the subconsciousness of AI and its difference from the subconsciousness of human beings? 
 
FI: I don't know because we don't really know fully how the human brain works yet. Same goes for AI. Subconsciousness is possible in both cases. Some biases come from a certain accumulation of data in AI, as well as human beings, tend to give the most probable answer. After all, if you ask me, “How are you?” I reply to you “I’m fine”, the most probable answer. In this sense the fact that there is a statistical factor behind even unconscious mechanisms and therefore that the most probable answer is always given, creates a habit that produces a certain behaviour. Then the rest is a bit of a mystery, we don’t know our subconscious, let alone what it does. There's the element that we don't know how it's calculated, so it's still mysterious to us, always. 
 
AS: What advice would you give to artists starting to work with AI? Why are there still so few of them? Is there anything to avoid for an artist starting to work with AI? 
 
FI: Probably the thing to avoid is to stop the process at the very beginning, when you realise that you get immediately the results that do not satisfy you. It’s the first wall to break through. You should understand that AI is not a tool that will provide you a desirable result immediately and easily. As with any other media you have to work hard enough. In short, you must not settle for the first thing. And it’s not as easy as it seems. 
 
AS: What is the potential of artificial intelligence in art now? Is there something undiscovered?
 
FI: Certainly, the AI potential is enormous. A new tool was born, just as the camera was born in the past. We still have no idea how it will influence art for those who use it and therefore choose to explore this tool. 
 
Moreover it will eventually influence those artists who do not use it. As will still live in a world where artificial intelligence exists. In the same way as it happened with the invention of photography.
 
AS: AI accelerates quite fast. Does the theory on AI follow its development fast enough?
 
FI: The theory is much slower for now. And still we are left to deal with the first questions. Whereas technology is moving forward. So we are chasing it, but from a theoretical point of view we are still behind. In my opinion it will take some time.
 
AS: There is still a lot of scepticism towards AI, including the academic sphere. Does the theory follow the actual AI agenda? 
 
FI: It's more of a practical problem. We still don’t know all the effects of AI and without it we can’t provide decent theory. We can only imagine, speculate, think about what might happen. The theory should be built not only on technologies but on its effects.
 
AS: And how can we collect the information about these effects? 
 
FI: In my opinion we have to look at those who use them in the first place, the artists. We have to observe the fruits of their work, their reactions to technology and their experiments. If we look at how technologies of the past have changed the social structure we may notice that our reactions are always the same, it's the technologies that are different. However we react to them more or less always in the same way. Someone would be afraid, someone would be passionate and excited.
 
AS: And what is the role of the institutions including museums and universities? We know that most of them are quite conservative and slow, there's so much bureaucracy. Is there anything we can do?
 
FI: I would like that, I would be happy. I think we should, in the sense that institutions, especially cultural ones, like museums, universities and so on, should experiment with AI a lot more. If they won’t experiment they won’t be able to study. Many of them stop at conservative positions, without getting their hands dirty, without experimenting a bit. Thus they stay away from the avant-garde of technology. 
 
So I think all institutions, especially cultural ones, should be much more courageous in experimenting with AI to better understand the limits, the problems, the potential, and study it more profoundly.
 
AS: As a professor what feedback about AI do you get from your students? 
 
FI: I teach at the Academy LABA in Brescia where I show students how to use these tools and how to integrate them with other artistic practices. It is very interesting because in this way you also discover a lot of reactions that you won’t get otherwise. They use AI in so many different ways showing impressive results. In fact it is one of the reasons why I believe they should be taught precisely. 
 
AS: You sound very enthusiastic. Do you feel any kind of scepticism or decay? Looking at what’s happening in the world and how AI may be used. The unprecedented amount of information is also quite difficult to grasp and to make a choice between something precious and ordinary.
 
FI: Indeed, I’m enthusiastic about artistic use of AI but I have to say that I share many criticisms of this instrument. Obviously there are dangers and very critical points that need to be addressed. For instance the military use is quite worrying, or the pollution and energy consumption. These are quite technical aspects. But there is also the risk that, precisely, prejudices brought with artificial intelligence will spread and will be reinforced in society. And any work-related issues, even if these are not technological but social problems.
 
The impact of AI on the world is not clear yet, whether positive or negative. They seem to be questions of the existence of technology but in fact they are problems of the society that produces and receives it. And it’s the society that has to react and reflect on it. 
 
AS: What is the real hierarchy between technology and humans?
 
FI: Actually we can never separate human beings from their technology. If you take language and writing, it’s still a technology, and yet it has also changed us at the level of the brain, precisely the brain structure on the physical level. Therefore human beings can never be clearly distinguished from technology. Maybe we are hybrid creatures? 
 
AS: Are the first results produced by artists with AI less valuable than the later ones?
 
FI: Generally yes, because at the beginning there is still some learning to do with the machine. So the results of first interactions tend to be worse.  Then they get better. It’s like sketches before an oil painting. 
 
AS: Would it become necessary for artists to use AI?
 
FI: No one is forcing artists to use layout programmes, Photoshop, Midjorney and others. However they have to be part of the basic knowledge, because one day they can serve you. It may happen that you will never use them in life, but they can be useful. 
 
Artists who learn to use AI even if they won’t use it will have an advantage because it is a technology that is helpful. I don’t think that the knowledge of AI replaces everything or that AI steals work from artists. Certainly it makes the field more competitive. AI just should be included in the syllabus of art academies. The more tools you know about, the better. 
 
AS: Would it be truthful to say that thanks to AI the whole structure of the art world became more horizontal, more open to every person, and that everyone now became an artist? 
 
FI: No, I don’t think so. More people now know how to use technologies, but very few use them to their full capacity. It is very similar to photography, that is, anyone can take pictures. It is indeed very easy, but only a few people can take a good picture. It’s the same with AI. 
 
AS: Which skills for artists are most important in your opinion? 
 
FI: Well, in my opinion the most important skills are never technical, but are more mental, that is, creativity is the most important skill for the artist, whether you pour it into painting, into artificial intelligence, 3D, video, drawing. If you don't have a creative mind or you haven't educated your mind to be creative you will always stay behind.
 
AS:  So we can’t learn creativity from scratch, can we? 
 
FI: From scratch or not, you can develop it. Like muscles. There are people who are born stronger, the others may train. Musicians require constant practice of their skills as well.
 
<h4>Read more:</h4>
 
<img src="/storage/news-image/cr7jkoqrprek5an8pn9g.png" alt="" width="670" height="1064">
La rivoluzione algoritmica delle immagini (The algorithmic revolution of images Art and artificial intelligence)
Francesco D'Isa, published by Luca Sossella Editions, 2024.
<a href="https://lucasossellaeditore.it/libro/arte-intelligenza-artificiale/">https://lucasossellaeditore.it/libro/arte-intelligenza-artificiale/</a>

Francesco D’Isa on AI art: data, errors and kitsch

Scoletta dell’Arte: Digital Reform, Exhibition View

TAEX is throwing a finissage of a group exhibition Scoletta dell’Arte: Digital Reform that united six artists in the heart of Venice.

Scoletta dell’Arte all'infinito

<h4 dir="ltr">Two weeks before the closing of the Scoletta dell’Arte: Digital Reform exhibition, TAEX is throwing a special event in Venice. With lots of news and projects to share, we decided to gather our friends and art lovers to experience, talk, and think together about the future of digital art.</h4>
 
TAEX Head of Development, Stefanie de Regel, will provide a brief recap of the season's highlights and explain how our platform has become one of the fastest-growing digital art platforms. She will also share some of our upcoming plans, but not all of the secrets! It is very important for us to share our mission, recent accomplishments, and insights with our community.
 
To honour our commitment to research and education (and to further celebrate the exhibition's main concept), TAEX Curator Antonio Geusa will present What Crypto Can Do For Art, What Art Can Do for Crypto—a guide for artists, curators, collectors, and all art lovers to get to know better how blockchain technology and art interact. In the course of the evening, a limited print edition of the guide will be distributed among our guests. Whether you’re a collector, an artist, or an explorer, this book is a must have. 
 
Among the works of the artists presented at the exhibition Scoletta dell’Arte: Digital Reform, three collections are already being showcased by TAEX:
 
• <a href="/drop/43">Error#0 by Franceso d’Isa</a>
• <a href="/drop/40">Neo-mastr by Funa Ye</a>
• <a href="/drop/18">Сollection by Shu Lea Cheang</a>
 
We are happy to announce that the exhibition will continue its journey in digital format on our platform, TAEX. During this special evening, TAEX will launch the freshly-minted You’re Making Art collection by Andrea Meregalli, which consists of 350 images, and we also will know what is new with Accurat and MAOTIK. 
 
Meregalli will personally assist our guests in their interactions to make art together with his AI-powered installation, a real hit among the public of the exhibition with over 10,000 works produced since the opening in April this year. Moreover, our guests will have a chance to receive a personal art gift from the artist—a unique image gednerated via the installation.
 
The exhibition will be open to the public until September 15, 2024*, with an exception of September 2nd.
 
*closed on Mondays
 
To access Scoletta dell’Arte all'infinito, please RSVP via <a href="https://6kdkkh9ypk4.typeform.com/to/dBiJrNYY">the link</a> till August 23.
 
<h4 dir="ltr">Date:</h4>
 
September 2, 2024
6pm till 9pm 
 
<h4 dir="ltr">Location:</h4>
 
Scoletta Battioro e Tiraoro di Venezia
Salizada San Stae, 1980, 30135 Venezia VE, Italy
 
<h4 dir="ltr">For any inquiries please contact:</h4>
 
TAEX Head of Development 
Stefanie De Regel 
<a href="mailto:stefanie@taex.com">stefanie@taex.com</a>

Scoletta dell’Arte all'infinito 

I Will Follow The Ship by Matthew Attard

A recap of digital art representation at Venice Biennale over the last half of the century.

Digital path of Venice Biennale

Throughout decades the Venice Biennale has been witnessing and hosting various steps of digital art in its evolution. In the 1960s, the Venice Biennale prize was awarded to the international network and movement New Tendencies created in Zagreb in 1968, which according to scholars Jussi Parikka and Darko Fritz was at the time “the only long-term initiative” that “started to contextualise digital art within contemporary art with a historical discourse”.
 
Later on in 1970, 35th Venice Biennale was featuring computer art by showing Running Cola by a Japanese collective of art and engineering students The Computer Technique Group founded by Masao Kohmura and Haruki Tsuchiya, which according to Jussy Parrika and Darko Fritz were believed to be “one of the earliest examples of the computer image morphing technique”. Descendants of the post-war generation, they were positioning themselves as a think tank aiming to “deliberate carefully the relationships between human beings and machines” by a “strategic collaboration with artists, scientists” without falling into praising or criticising the computer era.
 
In 1986, when the Venice Biennale was focused on art and science, the presence of digital media, in the framework of Laboratoria Ubrica curated by Roy Ascott, Tom Sherman, and Tommaso Trini presented Planetary Network, which was a worldwide computer network–slow-scan TV project with participants from all over the world. The pictures and faxes that were created in the process were then exchanged between different continents and the texts were sent via the medium of ARTEX. The project was questioning the very principles of an established art system of museums and galleries. Its results, as Ascott later mentioned in his book Das Gesamtdatenwerk (1989) “broadened the scope and possibly the nature of individual creativity” by activating “a whole stream of interactive communications media” including “electronic mail, computer conferences, videotext, slow scan TV” and various kinds of interfaces.
 
In the early 2000s, the Venice Biennale was among major art events that according to the philosopher and specialist on digital art Hervé Fischer ‘reignited the debate over the state of the arts’ and the return of traditional and digital arts towards craftsmanship.
 
The 59th Biennale in 2022 celebrated a new milestone of digital art by featuring 200 NFT artworks at the Decental Art Pavillion. The Digital Odyssey summed up the preliminary results of the development and transformation of digital art over the past almost six decades since mid 1960s. That year's Biennale definitely inscribed artificial intelligence and phygitals into the context of contemporary art.
 
<img src="/storage/news-image/cqv0da2rprek5an8pn70.png" alt="Artwork by Matthew Attard" width="670" height="377">
<pre dir="ltr"> Will Follow The Ship by Matthew Attard, 2024</pre>
 
However, as <a href="https://www.theartnewspaper.com/2024/04/17/venice-biennale-2024-the-must-see-pavilions-in-the-arsenale">noticed</a> by art critics, the current 60th Biennale of 2024 lacks a visible input of digital art, with an exception of Malta pavilion project I Will Follow The Ship by Matthew Attard curated by Elyse Tonna and Sara Dolfi Agostini. Attard’s artwork lies on the intersection between the physical and digital realms. He even <a href="https://www.labiennale.org/en/art/2024/malta">shares</a> the credits of the project with a machine—an eye-tracker. By comparing old anonymous ship drawings with contemporary digital drawing Attard invites us to reflect on the shifts of power in the era of latest computer technologies.
 
Reflecting the contemporary era, the Venice Biennale has made several attempts to approach digital art over more than half a century, sometimes in juxtaposition with different disciplines. One way or another, digital art, constantly changing predicates and names, is as imminent as climate change, and its waves have already reached the threshold of the exhibition halls.
 
<h4 dir="ltr">Read more:</h4>
 
<img src="/storage/news-image/cqv0bdarprek5an8pn50.png" alt="Histories of Post-Digital: 1960 and 1970s Media Art Snapshots" width="670" height="1202">
<pre dir="ltr"> Histories of Post-Digital: 1960 and 1970s Media Art Snapshots Jussi Parikka, Darko Fritz. Edited by Ekmel Ertan. The catalogue of the exhibition curated by Ekmel Ertan and Darko Fritz, took place at Akbank Sanat between 17th December 2014 and 21st February 2015. <img src="/storage/news-image/cqv0bsqrprek5an8pn5g.png" alt="At a Distance. Precursors to Art and Activism on the Internet" width="670" height="856"> </pre>
<pre dir="ltr">At a Distance. Precursors to Art and Activism on the Internet Edited by Annmarie Chandler and Norie Neumark. 2005 Massachusetts Institute of Technology, 2005.</pre>

Daniel Peace

<pre dir="ltr">Acronyms: Daniel Peace — DP Anastasiia Spirenkova (TAEX) — AS</pre>
 
AS: Daniel, how did you become a curator in the first place? How did you decide to do that and why do you find it important?
 
DP: Originally I was doing event management in London, where I moved in 2010 from my hometown. I was doing music and teaching before that, and in London I started working with lots of venues and was trying to push the local scene. I don't think that back then I really thought about being a curator or having a gallery myself. At that moment I was a photographer. It was the main path I wanted to pursue, but couldn't really afford to practise it fully. That’s why I moved to Berlin. There I started to work a lot in the fashion industry with brands, models, and artists. Finally, when I was working as a photographer for Alternative Fashion Week (AFW), I ended up being asked to do an exhibition during the AFW, because I knew so many artists in the city. 
 
Later on, still being a photographer, I moved to Mexico, where, again, I was surrounded by artists. I left the country quite abruptly but that time helped me to understand better what I’d like to do on my own.  In a city that doesn't have a lot of contemporary art but a lot of artists and good ideas, I felt that it’s really important to promote the underrepresented artists. I was reflecting more and more about opening my own gallery, which I did. Eventually, I moved to Athens and focused on curation and promotion of other artists' works.
 
AS: And at what point did you start to focus on digital art?
 
DP: The gallery space that I set up myself was predominantly based on photography and video. There is a big crossover anyway with photography and digital art, even in the way the works are produced and sold. It really falls in line with how one adds value to prints.
 
I was researching more on how we can commission works as a gallery. For photographers, it can be very difficult to sell works, particularly when the realms like blockchain were becoming popular, as well as virtual exhibitions, and virtual art spaces (VAS). So photography and video art sales could become digital as well, essentially a new class of value to artists who were producing works this way in the same way an edition could be done in different formats of print photographic work displayed virtually and sold as a digital asset made a lot of sense. Mediums were crossing over.
 
At first it was a natural progression, but the real dive into everything was when COVID-19 hit. Virtual projects like Discord Club and Clubhouse appeared. The virtuality was part of a lot of panel discussions. During the pandemic, we were not sure that it wouldn't stay forever. So I was reflecting on how we can still be proactive within art scenes. I got really interested in digital art entities, virtual exhibition spaces, VR exhibitions, and so on.
 
AS: You're also a researcher working on cultural representation in virtual art spaces. Can you tell a little bit about the subject of your study and what does cultural representation mean to you? 
 
DP: I decided that I really want to expand my knowledge and was trying to pursue a practice-based PhD. In a way I’ve already written my PhD proposal, which was accepted, but I had to complete a separate course first. I ended up applying to do a Postgraduate certificate (PGCert), which is an MA level degree, about digital curation and collections. 
 
Traditional galleries always got their ‘white paper’. They select artists which typically have been white, especially Western male artists. However, in the last 20-30 years, curators got more inclusive and liberal in their selections. Sometimes it's not really a choice, many people do it because they feel it's just a necessity to say which isn’t true representation, which is something that is very important to me and what my PHD proposal specifically about “Cultural representation and inclusivity of under-represented artists in digital spaces”. 
 
I suppose that NFT's give control back to the artists for work sales and virtual exhibitions. Virtual galleries, spaces, or viewing rooms essentially give artists a platform to choose their own curatorial topics, to select their own artists from around the world without a cost, and then to be able to share audiences without people having to physically attend the shows. 
 
<h3 dir="ltr">NFT's give control back to the artists for work sales and virtual exhibitions.</h3>
 
One can create immersive exhibitions very easily on any curatorial topic. This type of inclusivity allows a curator to incorporate in the exhibition people with various backgrounds. This gives artists an opportunity to share their audiences and to reach out to new people and collectors without being physically present. It then opens up this huge, this huge door to establish new ideas by new artists. 
 
I’m sure that one may live on the other side of the planet and make their work visible to a brand new audience. I sincerely do see the world moving more towards it. I love that all these new augmented reality, VR headsets, the big consoles and computer companies are pushing these applications and developing them. More people are sitting down and creating from the comfort of the living room and becoming visible for the people from every country of the world. One can create any form of collectives and meetings and put on amazing exhibitions and have complete freedom over the type of work they're showing.
 
AS: In this situation, how do you gain the trust of potential collectors? 
 
DP: I’m pretty sure that there won’t be a lot of traditional old style collectors diving into the NFT world except maybe the more forward thinking ones, but a new type of collectors of artworks produced with an essentially new medium. It's a whole new crowd. There are new artists who are computing new artistry and becoming successful in this digital space right now. It opens the doors for people who might have no formal interest in Art History or anything like this.
 
There is no real historical research written about it yet, because it's happening right now. There's not enough data yet, to see where NFTs and virtual art spaces are going.
 
<h3 dir="ltr">It’s a pinnacle moment at the minute. </h3>
 
It’s a pinnacle moment at the minute. Either everything will get pushed back under the water and fall back into a traditional system, or people will really pioneer the way for this. Currently, there is a lot of scepticism about NFTs and VAS, but I'm quite optimistic. It is important that artists and curators are able to take control of these new spaces and exhibitions away from galleries with a completely different attitude.
 
AS: Do you see any place for sort of ‘underground’ crypto art there? You just mentioned that many artworks are getting viral, what about the non-viral ones?
 
DP: It's very interesting that even some of the stuff, which has become super hype about the value of crypto art, cannot disappear and is archiving. In 20 years from now, we could be witnessing a museum of underground artworks stored as NFTs, which might have been popular once. We may even be nostalgic about it one day.
 
<h3 dir="ltr">It's like the Wild West. </h3>
 
It's like the Wild West. Twitter is the main marketing force for crypto art, then some curatorial platforms enter the room and provide guidance. It's a minefield in some respects because there's so many people spending their own money to make works, without really a clue, and making money or losing it in the process. You may call it ‘the stock market of art’. A new medium for art sales.
 
AS: In this new system, with new artists, new collectors, what is required from a new type of curator?
 
DP: I suppose a new type of career path and an open mind is required. A number of things have been changing rapidly since the Industrial Revolution, but things are changing especially rapidly now in the Internet era that we're living through. 
 
And I think concepts will become more important for our time. There's a massive resurgence obviously off digit lot, software and the technology quality work is important especially in the abundance of it. There is so much going on. From a political standpoint, I think the environment needs to be inclusive. This is a perfect opportunity to really shout about amazing artists which haven't been traditionally represented.
 
<img src="/storage/news-image/cqpoulqrprek5an8pn40.png" alt="Helin Sahin, Sanguine Spirit" width="670" height="905">
<pre dir="ltr">Helin Sahin, Sanguine Spirit, Available to purchase on TAEX</pre>
 
AS: When you see established art institutions that are trying to adapt to the crypto art world, do you think that they are really capable of doing it? 
 
DP: It’s funny because these institutions, galleries, art fairs have all the resources to do something great. However, still, many virtual viewing art rooms look more like PowerPoint presentations. Also, rather than pushing to validate new artworks created as NFTs they’re just using them as marketing tools to look relevant to what's going on. 
 
Smaller galleries and institutions end up doing more with fewer resources. The big players in the art world are way behind with what can actually be done to represent themselves and artists in this new realm. Smaller galleries find a much more proactive and exciting way to pave the way for more than just the future of digital art and how it's viewed, archived, and collected. 
 
Developers are creating much more immersive types of experience, where people are able to communicate through a chat room as little avatars and walk around a space designed for VR. In other communities for instance there are virtual DJ sets from Berlin, where you can go to a club virtually and actually meet your friends in essentially a virtual chat room rave.
 
AS: Do you think it's possible that the crypto art community will have a huge impact on traditional art institutions? Do crypto artists need to approach and persuade huge art fairs and museums at all?
 
DP: If we look at it from a standpoint of archiving, as you know many museums keep so many artworks in storage. However, the access to it is vital for Art History and for people to research. So it is always up to the curator to bring out what is in the museum to be seen by the general public. 
 
<h3 dir="ltr">NFT technologies may provide  a next step in the evolution of archiving and provenance.</h3>
 
But museums and galleries are archiving online anyway, taking pictures, collecting information about the provenance — they have  metadata. With NFT technology, art pieces could be completely available for people to view, explore and purchase. For instance, if an institution needs to raise funds, it may sell digital versions of artefacts which are stored in archives which people would really love to own or have ownership of, but not necessarily have it physically, you know. I see it as a next step in the evolution of archiving and provenance.
 
AS: You were talking about these virtual rooms and some spaces where collectors and artists can all chat together. And what's the best way for you personally to present crypto art? 
 
DP: When crypto art started booming, many exhibitions had floating artworks in the middle of the universe or some sort or other background. Curators have endless opportunities. You can literally put an artwork on the sides of a volcano, in the middle of a rainforest, in space, or anywhere else. I prefer traditional white wall spaces however, I'm a minimalist. 
 
I also love seeing digital lots displayed physically, as well on monitors, or screened with projection mapping. I think a lot about the way we display things, and the value attached to NFTs. It's hard work to display video art and to figure out what gives the video its value.
 
If Mona Lisa was tokenised, then became a crypto art piece, people could have ownership of it and show it in their own virtual exhibition spaces. You know, there's always a talk about this sort of thing that may happen. It's just a very thin line, which is why I think, as it matures, this will become a bit more clear.
 
AS: I see this concept of sharing in this different notion of ownership: one can own an artwork in order to let others see it.
 
DP: Exactly, I think it's a really fascinating time to be in and I think it's really growing at the moment.
 
AS: Where do you think this potential for support of emerging and underrepresented artists lies? Where do you think it's possible to find resources for it?
 
DP: One unknown artist on Instagram on one side of the world who follows another unknown artist on Instagram on the other side can contact each other and put a virtual group show together and have their works displayed online and exposed to completely different audiences, who had never crossed their works before. It has a huge potential for growth and audience building. It’s a socialist way to share work when I think about it.
 
<img src="/storage/news-image/cqpov9qrprek5an8pn4g.png" alt="Tatsuru Arai, &quot;FaceOfUniverse&quot; Korea2" width="670" height="375">
<pre dir="ltr">Tatsuru Arai, "FaceOfUniverse" Korea2, Available to purchase on TAEX</pre>
 
AS: How can a curator help collectors to navigate in all these endless numbers of artists and galleries?
 
DP: I suppose the role of the curator is to explain the value of artworks. It's a bit of a gamble in a way — which one has the value? Collectors need some guidance in this new asset class. It's harder for some people to wrap their heads around this new collectible. 
 
I feel that there's going to be so much value added to crypto art in the future because that's the way technology is going and has been going for years.
 
AS: When you started working with TAEX, why did you choose this particular platform to collaborate with?
 
DP: First of all, it was good timing. At some point I wanted to launch a Patreon campaign and raise funds to onboard new artists into the world of NFTs and guide them through minting their artworks and helping promote them. Then I understood that the platform I wanted to do was already built. I mean, completely ready. So instead of putting in 100 hours a week to establish it I was essentially able to join an already existing platform that shared the same ideology which is rare and it's been great. 
 
It's important that I follow the same ethics in regards to ideas about duration and development of crypto art. I had the same mission statement with TAEX. We share the same views on curation and the kind of oversaturation of crypto art in marketplaces and why curation is important in such a new sort of asset class.
 
<h3 dir="ltr">With these artists we are like-minded in our politics and our sense of darkness and beauty.</h3>
 
AS: You travel a lot. Do you see any difference in the attitude towards crypto art among artists, collectors, and institutions in different parts of the world?
 
DP: I was in Athens before, and there, the concept of NFTs and such is pretty much nonexistent at the moment. No one is really talking about it other than perhaps a couple close circles. Then I moved back to Berlin, which has such a big tech startup industry. Surprisingly, although there are events and snippets of things going on, I am not seeing here as much as I would expect, compared to places like Los Angeles, New York and Asian markets such as Japan, China, Korea. Perhaps, the States are currently at the forefront of NFT's in the West and the way it's promoted and spoken about.
 
AS: And if we take just Europe, which country is going to be first?
 
DP: I have to say Germany, specifically — Berlin. I believe that Berlin has a huge potential, since it has so many artists and a massive tech industry. That’s why I moved back here. I think it's a melting pot of artists and creatives alongside developers and a good place to explore new ideas, so in theory it seems like a perfect place for a big boom. Obviously, people also want to monetise crypto art without being vulgar about the financial aspect. I think that soon, here the tech people, 3D designers, and artists are going to collaborate with each other more. I hope it progresses in that way while I'm here.

Daniel Peace: Сrypto Art is like the Wild West

Digital art market news, blockchain releases, TAEX collections—you name it. Highlights of July in our new monthly digest.

<h4 dir="ltr">From now on TAEX will keep you posted about digital highlights of the month in a special column and newsletter. If you’re already subscribed, there is no need to worry, you’ll be first to know. We present the first, July edition. To stay informed, please <a title="Subscribe to TAEX Newsletter" href="https://forms.sendpulse.com/14ae90e13c/" target="_blank" rel="noopener">subscribe</a> to our newsletter.</h4>
 
<h4 dir="ltr">ETH ETF is live!</h4>
 
After a long legal and political discussion, the <a href="https://www.ft.com/content/8e4aef77-4ba6-4a26-91f0-912bac779f06" target="_blank" rel="noopener">ETH ETF is finally live</a>! Last Tuesday three major investors in Ethereum, BlackRock, Bitwise Investments and Fidelity, entered US stocks. The funds of approximately $267m, $204m and $71m stood, according to FT, ‘in line with expectations’. The best news is that they’re going to invest directly in the world’s second largest cryptocurrency.
 
<h4 dir="ltr">Bill Viola dies at 73</h4>
 
A prominent American video artist Bill Viola passed away on 12 July at the age of 73. His artistic legacy comprises 45 years of work in new media. Viola will be remembered as a true pioneer of video and web2 art. In 1985 as a part of Whitney Biennial his video works were the first ever to be exhibited side by side with paintings, graphics and sculpture. Ten years later, in 1995, his piece The Greeting was the first video work included in the collection of the Metropolitan Museum of Art. 
 
Through his aspirational video works Viola was reflecting on human life, death, time, and eternity. Read more about his artistic path, influence and insights in the obituary written by <a href="https://www.theartnewspaper.com/2024/07/15/remembering-bill-viola-the-artist-whose-video-work-expresses-the-heights-and-depths-of-human-emotions" target="_blank" rel="noopener">The Art Newspaper.</a>
 
<h4 dir="ltr">AI, digital art market and technologies at Christie’s Art+Tech Summit</h4>
 
Christie’s Art+Tech Summit in NYC was definitely the major digital art event of the month. TAEX attended the key panels of the conference dedicated to the future of AI, current challenges of the digital art market and new paradigms of technology.
 
Steve Wozniak, co-founder of Apple, stated that the investments and costs necessary for AI advancement are far from reflecting its actual value. Others, including Kevin O’Leary from Shark Tank, also question the cost-effective side of AI. 
 
Stay tuned for a TAEX review of the event and for now read more at <a href="https://www.artnews.com/art-news/news/artificial-intelligence-christies-art-tech-summit-1234712444/" target="_blank" rel="noopener">ARTnews</a>.
 
<h4 dir="ltr">Was it worth it? A pioneering NFT trading platform is to be shut down two years after being acquired by eBay</h4>
 
KnownOrigin NFT trading platform announced its closure on 17th of July after six years of existence. As shared in their official statement: “After careful consideration and evaluation we can confirm KnownOrigin will continue to wind down its on-chain marketplaces &amp; minter (and signpost to secondary marketplaces) over the upcoming weeks.”
 
KnownOrigin is not the first among the early influential NFT marketplaces that didn’t survive the current market challenges: in 2023 it was Async Art that announced its shutdown.
 
However, no worries — any purchased NFTs aren’t going anywhere. Check out the full coverage by <a href="https://nftnow.com/news/knownorigin-ebay-nft-marketplace-announces-shutdown/" target="_blank" rel="noopener">NFT Now</a>.
 
<h4 dir="ltr">Olympics in Paris: is the art world suffering?</h4>
 
Paris art galleries are dramatically <a href="https://www.artnews.com/art-news/news/paris-olympics-gallery-closures-dealers-respond-1234712523/" target="_blank" rel="noopener">influenced</a> by the ongoing summer Olympic games in Paris. The high-level security measures as well as the unusual opening ceremony and impossibility to cross the river Seine had basically blocked the access to art spaces in the city centre. 
Art galleries that happened to be in ‘red’ and ‘grey’ security zones were eventually closed due to the absence of visitors. The unprecedented flow of Olympic guests and fans that was expected by French business, including cafes and restaurants, had the opposite effect. French prime minister Gabriel Attal however promised to count the indemnities. It’s still a question whether art galleries will be satisfied by the state reimbursement.
 
<h4 dir="ltr">Last but not least, TAEX has its own intense agenda without any summer breaks:</h4>
 
<img src="/storage/news-image/cql6jfqrprek5an8pmh0.png" alt="Error#0 by Francesco D'Isa" width="670" height="670">
<pre>Error#0 by Francesco D'Isa </pre>
Please check out a new collection Error#0 by a pioneering Italian digital artist and theoretician Francesco d’Isa. His new book ‘The algorithmic revolution of images Art and artificial intelligence’ just published by an Italian editor Luca Sossella is already making headlines. A prominent philosopher Francesco d’Isa offers a profound and serious analysis of the use of artificial intelligence in art. Check out the fruit of his work in <a href="/drop/43" target="_blank" rel="noopener">our latest collection</a>.
 
We promised to provide you with guidance once you purchased a digital artwork. In <a href="/news/38/how-to-keep-and-expose" target="_blank" rel="noopener">this article</a> we break some myths and prejudices about crypto art and suggest the best ways on how to preserve it in your private collection and show it at its best capacity.
 
At TAEX we truly believe that one of our goals is to overcome the scepticism around digital art. Here we unveil three axes of crypto art evolution that prove <a href="/news/39/digital-art-remedy">it can solve social issues</a>. If you were at Digital Art Week in London you may have seen yourself on the example of Krista Kim’s Continuum how digital artwork can heal your emotional state. The artists are rethinking our new reality at all levels including the existential one. Moreover digital art is transforming the entire artworld by establishing a truly open horizontal structures for curators, artists, collectors, and the audience.
<h4> Not subscribed to the TAEX Newsletter yet? Click <a title="Subscribe to TAEX Newsletter" href="https://forms.sendpulse.com/14ae90e13c/" target="_blank" rel="noopener">the link</a> and stay in the loop of current news and upcoming collections!</h4>
 
Cover image: ARTnews, SHANTI ESCALANTE-DE MATTEI

TAEX Digest: July 2024

How digital artists reflect on technologies, our eventual co-existence with them and the changing forms of communication.

Digital art as a social remedy in solving technologically-induced problems

<h4 dir="ltr">Digital technologies make our everyday life easier in many ways. However, excessive use may bring us some struggles such as anxiety from doom scrolling, insomnia, eye strain, and a feeling of social isolation (powered by 5G). At a glance, it could seem that screens and what we see on them are the overbearing evil of today. Hence, one might rightfully question how to “recover” from technologically-induced problems? One of the answers, other than straight-up digital detox, is digital art! </h4>
 
Let’s face it — the digital world has become an inevitable part of our life, to the point that there is no way back, whether we like it or not. The artists’ goal, as usual, is to conceptualise it on an existential and aesthetic level. This includes artistic reflection on technologically-induced challenges that we’re facing. When some artists ponder the prospects of humans coexisting with technology, others analyse the medium — from software to screens.
 
<h4 dir="ltr">Emotional state</h4>
 
<img src="/storage/news-image/cqbskbqrprek5an8pm1g.png" alt="Continuum Collection v.2" width="670" height="350">
<pre dir="ltr">Continuum Collection v.2 by Krista Kim. Available to purchase on TAEX</pre>
 
Staying in front of the screens for hours and days may let us lose track of time, get us stressed or anxious. However, the very same screens or augmented reality glasses often serve as a tool of psychological and medical support, certified by ministries of health. Indeed, healthcare gets digitised, and mental well-being is no exception. COVID-19 pandemic followed by a global crisis era only increased the demand for new digital ways of healing. No wonder artists have embraced it as well.
Thus, the renowned artist Krista Kim created the digital work Continuum that travels around the globe and was presented in the framework of the last World Economic Forum in Davos. With her shifting abstract minimalist landscape inspired by the Ryoanji Temple Garden in Kyoto she invites each and everyone to take a moment for themselves by offering an environment to mediate. <a href="/news/31/continuum-extended">Currently Continuum is on show at Outernet London</a>, proudly presented by TAEX. Please note that some NFTs from Continuum collection are still <a href="/drop/39">available</a> for collecting on our platform.
 
<h4 dir="ltr">New existence</h4>
 
 <img src="/storage/news-image/cqbsku2rprek5an8pm2g.png" alt="Entangled Others" width="670" height="377">
<pre dir="ltr">'specious upwellings' by Entangled Others</pre>
 
The eventual cohabitation of humans and non-human entities becomes a focus of artistic reflection. The art group Entangled Others is convinced that it’s not only about coexistence but about the intertwining of these two worlds. “The rich substrate of the uncanny, eerie spaces between us and the non-human world cannot remain as an aesthetic space, our world cannot bear this self-imposed distance and denial of our inter-twined state of us and others”. Entangled Others co-founder Sofia Crespo in her solo work shares the idea that on the ontological level “technologies are a biased product of the organic life that created them and not a completely separated object”.
 
Digital technologies affect our self-perception as well. For an American artist Petra Cortright, the fact of constantly recording and being watched became the subject of her artwork Vvebcam (2007).
 
<img src="/storage/news-image/cqbsl3irprek5an8pm30.png" alt="Petra Cortright" width="670" height="483">
<pre dir="ltr">Vvebcam, Petra Cortright</pre>
 
<h4 dir="ltr">Inclusive spaces</h4>
 
Many curators see digital art as a tool to overcome the social boundaries of the traditional art world and to facilitate contact with the audience. As curator Daniel Peace admitted in an interview with TAEX, the development of digital art had “at first a natural progression, but the real dive into everything was when COVID-19 hit. Virtual projects like Discord Club and Clubhouse appeared. The virtuality was part of a lot of panel discussions. During the pandemic, we were not sure that it wouldn't stay forever”
 
Digital art environments have offered this unique opportunity to bring together renowned artists and underrepresented ones. 
 
Facing a digital era, artists are rethinking self-perception, communication patterns and conceptualising the new existence of organic and artificial entities. Where will this new cultural age take us? Hopefully, to a place of progress, minus the eye strain. 
 
<pre dir="ltr">Visuals on cover: 'specious upwellings' by Entangled Others</pre>

Continuum Collection v.9 by Krista Kim

TAEX guide for culturally curious collectors who’d like to gain a clearer vision on how one can proceed after acquiring a digital art piece.

How to keep and expose digital art after purchase?

Our guide for culturally curious collectors who’d like to gain a clearer vision on how one can proceed after acquiring a digital art piece.

<h4 dir="ltr">As tempting as digital art may be, many collectors, still, are hesitating to take the first step. We often get simultaneously excited and scared while encountering the unknown: lots of variables stay unclear, some technical terms seem obscure. It’s fully understandable to ask yourself: “How is this artwork going to look at my place, how do I even expose it?” Here are some tips in a special TAEX guide.</h4>
 
<h4 dir="ltr">Your place is ready for digital art</h4>
 
Today it’s hard to imagine a home without any TVs or film screens. What you may not know is that if you already have a set of screens in your space, the proportion of artworks could be adapted to a particular screen upon request. If you already possess an up-to-date digital screen, you may have a basis to project your first digital artworks.
 
What we do know for sure is that it would take less effort than bringing home a new sculpture or a painting. In the case of digital art, only the resolution and proportion need to be adjusted to show artworks from your collection.
 
<h4 dir="ltr">Get art collection adapted to your current mood and lifestyle</h4>
 
If frequent travels, multiple residency, or even a nomad lifestyle speaks to you, think about the idea that from now on your art collection will always follow you around the globe, with no shipping costs involved. Moreover, depending on your mood, time of day, or social situation you’re free to switch to a precise artwork that feels the most right to you. And when you’re out, it could be switched off, respecting the sustainability.
 
At last it’s not you visiting a major art vault from time to time, but your collection approaching you at any moment you need it.
 
<img src="/storage/news-image/cq788u2rprek5an8plug.png" alt="" width="670" height="382">
<pre dir="ltr">Image: 6pm Eternal (Ancient and Broadly Compliant) by Massimo Magee, available for purchase on TAEX. Background: freepik.com </pre>
<h4 dir="ltr">Leave the myths behind</h4>
 
<ul>
<li dir="ltr" aria-level="1">
Don’t get intimidated by digital migration
</li>
</ul>
 
You may have heard that in order to preserve digital artwork they need to be “migrated” to an up-to-date format that corresponds to current technologies. Well, it's not much more demanding than sweeping dust from a fragile sculpture or maintaining a special light and climate regime for paintings. 
 
Let’s be clear, one does not need an outsourced IT department in order to take care of digital art. Once you purchase it from a solid art platform, you’ll always get technical advice. Sure, digital screens do need software updates as any smartphone or computer. Nothing more, nothing less.
 
Among the advantages are no worries about any physical damage. Even if somehow your screen gets scratched, it will do no harm to your tokenized artwork.
 
<ul>
<li dir="ltr" aria-level="1">
The blockchain doesn’t bite
</li>
</ul>
 
With digital technology, establishing the authenticity of an artwork and its provenance has never been easier, clearer, and more reliable. The information is stocked in the decentralised system that holds all the information linked to the acquisition of your artwork. The very idea of this technology is designed to protect the original artwork and its owners.
 
Once and for all you may not worry about someone copying anything from your collections, as it’s under solid protection.
 
<ul>
<li dir="ltr" aria-level="1">
Auctions, assets and museums. They would still be there
</li>
</ul>
 
As soon as digital artwork is yours, you are in power to keep it, gift it, donate it, or bid on the major auction. Among the benefits of digital art minted on blockchain, you can obtain a clear and verifiable provenance of every item. 
 
<img src="/storage/news-image/cq789earprek5an8plv0.png" alt="" width="670" height="1005">
<pre dir="ltr">Image: Everything flows, nothing dies by MAOTIK, available for purchase on TAEX. Background: freepik.com</pre>
<h4 dir="ltr"> </h4>
<h4 dir="ltr">Get ready for new adventures</h4>
 
<ul>
<li dir="ltr" aria-level="1">
It’s your say
</li>
</ul>
 
Being the curator of your place has never been as easy and exciting as it is with digital art. Whatever the situation or the moment is, it’s you who can easily switch from one artwork to another.
 
We’re glad to observe a dramatic improvement in screen devices that enhance collector experiences. It changes the entire art scene for good.
 
<ul>
<li dir="ltr" aria-level="1">
Take your place in the pioneering collectors’ community
</li>
</ul>
 
Perhaps what’s the most tempting about the digital art world is the fluidity with which all community members, whether collectors, artists, or curators can exchange artworks and have a mutual influence. Thanks to digital platforms, art fairs and conferences, the latest news is accessible immediately. Innovative technologies and the way artists employ them require ongoing reflection and dialogue between all of us.
 
The accelerating dynamics of digital art are followed by a great responsibility of all the actors. Which is why this field simply requires to engage more passionate and extraordinary art lovers.

The impact of digital art in Basel is more significant than one may think.

ARTnews on Basel’s First Digital Art Fair

“There is a need to educate, to show collectors that digital art is an interesting and rich genre,” Georg Bak, the founder of The Digital Art Mile, told ARTnews. The extensive media coverage and the positive response prove that this goal was achieved. As a <a href="/news/30/digital-art-mile">participating platform</a>, we feel the same.
 
Read the ARTnews <a href="https://www.artnews.com/art-news/news/art-basel-digital-art-mile-recap-2024-1234710074/">article</a> with interviews of fair artists and founders to learn more about The Digital Art Mile's significant debut.

Highlights from the panel talks powered by Art Basel with participation of TAEX featuring a special Krista Kim biotech installation.

How it went: Digital Dialogues by Art Basel

<h4 dir="ltr">Nothing feels better than fetching the chairs urgently for a great number of attendees of <a href="/news/32/digital-dialogues">Digital Dialogues</a> hosted by Art Basel last week. TAEX was honoured to participate in this talk. Three people-packed panels were followed by a poetry reading by Sasha Stiles and wrapped by a cocktail reception hosted by TAEX. Our capacities and expectations were indeed exceeded.</h4>
 
<img src="/storage/news-image/cpqqiqirprek5an8pl00.png" alt="Digital Dialogues by Art Basel" width="685" height="457">
<pre dir="ltr">Digital Dialogues by Art Basel, Panel Discussions</pre>
 
The curiosity, initiative, and energy of both participants and the audience was truly intense. Introduced by Art Basel Global Head of Digital Platforms Alain Brusch and TAEX Head of Development Stefanie De Regel, the first panellists artists Cory Arcangel and <a href="/artist/42">Krista Kim</a> moderated by the Editor-in-Chief of Right Click Save Alex Estorick shared their thoughts on social engagement of digital artworks and their own experiments around it.
 
<img src="/storage/news-image/cpqqg4arprek5an8pku0.png" alt="Krista Kim, Cory Arcangel and Alex Estorick " width="700" height="467">
<pre dir="ltr">Krista Kim, Cory Arcangel, and Alex Estorick </pre>
Later on renowned artists Rebecca Allen and Refik Anadol moderated by the Art Basel Head of Editorial Dr Jeni Fulton discussed the impact of digital media on the art world and reported firsthand the latest insights of the avant-garde artistic production.
 
<img src="/storage/news-image/cpqqjairprek5an8pl0g.png" alt="Refik Anadol, Rebecca Allen and Dr Jeni Fulton" width="700" height="466">
<pre dir="ltr">Refik Anadol, Rebecca Allen, and Dr Jeni Fulton</pre>
 
Last but not the least Director of The House of Electronic Arts (HEK) Sabine Himmelsbach and Director of LAS Foundation Bettina Kames moderated by Shaina Silva of Digital Art Week London exchanged their thoughts on the everlasting challenge of introducing new art forms to the public.
 
<img src="/storage/news-image/cpqqk9irprek5an8pl10.png" alt="Sabine Himmelsbach, Bettina Kames, and Shaina Silva" width="700" height="467">
<pre dir="ltr">Sabine Himmelsbach, Bettina Kames, and Shaina Silva</pre>
 
The official part of the day was concluded by a poetry reading by Sasha Stiles, a poet, language artist, and AI researcher. She gave the audience a chance to witness how text and technology intertwine with one another. 
 
<img src="/storage/news-image/cpqqlgarprek5an8pl1g.png" alt="Sasha Stiles" width="700" height="468">
<pre dir="ltr">Sasha Stiles</pre>
 
Finally all the participants and guests continued to exchange continued the vigorous discussion over a cocktail hosted by TAEX. The reception featured a large-scale installation Heart Space: 3256 by <a href="/artist/42">Krista Kim</a>. The number reflects the quantity of heartbeats collected by artists from 3526 people. Each individual algorithm forms a collective visual symphony created with the biometric AI generative technology. Here, Krista Kim is exploring the concept of oneness and the possibility to establish profound connections between people.
 
<img src="/storage/news-image/cpqqmvqrprek5an8pl20.png" alt="Cocktail reception by TAEX" width="700" height="467">
<pre dir="ltr">Cocktail reception by TAEX</pre>
 
It was rare to move theory directly to practise by contemplating the work of one of the digital art leaders in her own presence.
 
Please enjoy the full image archive from the event <a href="https://drive.google.com/drive/folders/1MxWYZ1zkIdNgtzjg1iLF-mjIOeAsBKJd?usp=share_link">here</a>. Note, that any reproduction of the photographs must be credited.

TAEX Booth at The Digital Art Mile

Crypto News reports on the opening of The Digital Art Mile, “an innovative digital art market held alongside one of the world’s oldest and most prestigious art fairs, Art Basel”. 

Crypto News: Sigg Foundation, TAEX and Tezos combine to showcase NFTs at the Digital Art Mile in Basel

“The event transformed Rebgasse”

<h4 dir="ltr">Crypto News reports on the opening of The Digital Art Mile, “an innovative digital art market held alongside one of the world’s oldest and most prestigious art fairs, Art Basel”. </h4>
 
Featuring TAEX, the article dives into the overview of the wonderful platforms and galleries, that occupied the 2 spaces in the heart of Basel for digital and analogue audiences to enjoy.  Read more about TAEX and our booth via <a href="https://crypto.news/sigg-foundation-taex-and-tezos-combine-to-showcase-nfts-at-the-digital-art-mile-in-basel/">the link.</a>

errr10 (2024) by Qubibi

Check out the latest copy of TAN for a take on The Digital Art Mile, where TAEX presented Krista Kim

The Art Newspaper on the rise of the digital in Basel 

Check out the latest copy of TAN Dailies for a take on The Digital Art Mile, where TAEX presented Krista Kim

<h4 dir="ltr">When Art Basel rolls in, there are many things to get excited about.</h4>
&nbsp;
One of them is undoubtedly The Art Newspaper Dailies &mdash; exclusive daily editions of the newspaper. This year, TAEX was featured both in the offline and online editions through the lens of Aimee Dawson, who pondered the question: how will Art Basel respond to a surge of digital-art initiatives in Switzerland?&nbsp;Find out via&nbsp;<a href="https://www.theartnewspaper.com/2024/06/12/art-basel-digital-art-initiatives-in-switzerland">the link</a>.&nbsp;
&nbsp;
Image: errr10 (2024) by Qubibi
&nbsp;

The Art Newspaper on the rise of the digital in Basel

TAEX booth at The Digital Art Mile

Digital galleries unite for a screen-packed show in Basel

Artribune on TAEX’s participation at The Digital Art Mile

<h4 dir="ltr">"The rise of digital art is unstoppable" - writes Artribune in its latest article covering the new digital art fair in Basel, The Digital Art Mile.</h4>
 
Situated in the heart of Basel and coinciding with the main Art Basel show, the fair united leading digital art platforms and galleries, including TAEX. Read more about the show and TAEX’s showcase of Krista Kim via <a href="https://www.artribune.com/progettazione/new-media/2024/06/the-digital-art-mile-basilea-arte-digitale/">the link</a>. The article is available in Italian.

Heart Space:3526 by Krista Kim

TAEX is delighted to invite you to the Digital Dialogues, a series of talks hosted by Art Basel. TAEX will participate in and curate the conversation for the occasion of a digital art show with Krista Kim.

TAEX participates in Digital Dialogues by Art Basel

<h4 dir="ltr">TAEX is delighted to invite you to the Digital Dialogues, a series of talks hosted by Art Basel. TAEX will participate in and curate the conversation for the occasion of a digital art show with Krista Kim.</h4>
&nbsp;
On June 13, tune in to the thoughts and insights of the most influential people in digital art, while they ponder the questions that expand our vision for the future. The event will feature a large-scale installation Heart Space by Krista Kim.
&nbsp;
The doors will open at 3 pm, the programme commencing at 4 pm with introductions by Alain Brusch, Global Head of Digital Platforms, Art Basel and Stefanie De Regel, Head of Development, TAEX.&nbsp;
&nbsp;
Moving to the first panel of the evening at 4.15 pm &mdash; Digital art: transforming public spaces, pixel by pixel &mdash; artists Cory Arcangel and Krista Kim will discuss the socially engaged potential of digital artworks and talk about their experiments with it. Alex Estorick, Editor in Chief of Right Click Save will guide them along the curves of discourse.&nbsp;
&nbsp;
Up next, at 4:45 pm, Dr Jeni Fulton, Head of Editorial, Art Basel will moderate a conversation on how digital media transformed the art world. Artists Rebecca Allen and Refik Anadol will dive into new forms of avant-garde artistic production.
&nbsp;
The last Digital Dialogue of the evening will be dedicated to the question that never gets old: How to introduce new art forms to the public? From 5:15 pm, Sabine Himmelsbach, Director of The House of Electronic Arts (HEK) and Bettina Kames, Director of LAS Foundation will discuss the issue through the lens of digital media, with the help of the moderator Shaina Silva of Digital Art Week London.
&nbsp;
To conclude the official part of the evening, renowned artist Sasha Stiles will do a poetry reading.
&nbsp;
At 6:30 pm, the Dialogues will turn bubbly at the Speaker and VIP cocktail reception (by invitation only), followed by the Speaker dinner at 8 pm, hosted by TAEX (by invitation only).&nbsp;
&nbsp;
Digital Dialogues are open to the public! Please RSVP via <a href="https://rsvp.link/taexatartbasel" target="_blank" rel="noopener">the link</a>&nbsp;to secure your seat.
&nbsp;
<h4 dir="ltr">Date</h4>
&nbsp;
13 June
&nbsp;
<h4 dir="ltr">Time</h4>
&nbsp;
3 pm - 6:30 pm (Including Panel Talks and Poetry Reading)
6:30 - onwards (VIP cocktail reception and Speaker Dinner)
&nbsp;
<h4 dir="ltr">Location</h4>
&nbsp;
Rheingasse 2, 4058 Basel, Switzerland
&nbsp;
<h4 dir="ltr">For any inquiries, please contact:&nbsp;</h4>
&nbsp;
TAEX Head of Development&nbsp;
Stefanie De Regel&nbsp;
<a href="mailto:stefanie@taex.com">stefanie@taex.com</a>
&nbsp;
and&nbsp;
TAEX Client Advisor
Darja Kočerova
<a href="mailto:darja@taex.com">darja@taex.com</a>
&nbsp;

Krista Kim

TAEX is excited to announce that the Continuum project at Outernet by Krista Kim is extended until October 2024. Check the screening schedule to see it at Outernet London. 

Continuum by Krista Kim is extended until October

<h4 dir="ltr">TAEX is excited to announce that the Continuum project at Outernet by Krista Kim has been extended until October 2024. Check the screening schedule to see it at Outernet London. The screenings were originally presented by TAEX at <a href="/news/26/continuum-daw" target="_blank" rel="noopener">London Digital Art Week</a>.</h4>
 
Continuum, a digital Zen garden created by Krista Kim in the heart of London will stay in <a href="https://www.outernet.com/" target="_blank" rel="noopener">Outernet</a>—the largest digital exhibition space in Europe—until the beginning of October. “We’re always on our digital devices, we’re bombarded by information and we’re relentlessly distracted. So I wanted to create a place where people can actually breathe,” admitted Krista in her interview with Katy Wickremesinghe, the founder of The Wick Culture.
 
Conceived in 2018, Continuum was shown at Times Square NYC and at the World Economic Forum. At the end of April 2024 TAEX proudly presented this fundamental project by Krista Kim to Londoners in the framework of Digital Art Week. Due to the vivid response of the audience the project was extended for four months and will be accessible at the same venue, the Outernet London.
 
Inspired by Japanese Buddhist Zen gardens Krista Kim invites us to take a moment for a personal reflection in the era of massive and infinite social media interactions. As a prominent digital artist she has redirected the tools that normally make us ingest huge volumes of information and may cause anxiety towards providing a space for self-awareness and meditativeness.
 
By placing Continuum inside a busy megapolis Kim inserts her digital Zen garden in the London urban landscape. Krista is not only offering each and everyone to decompress from the stresses of everyday life using an up-to-date digital language, but proposes to accept it as a part of a new and more mindful routine of contemporary humans. TAEX is very pleased to present this opportunity to Londoners and to remind you that one of 10 unique NFTs from the Continuum project <a href="/drop/39">may join</a> your collection.
 
Check out the interview with Krista Kim in <a href="https://www.youtube.com/watch?v=y21yE2ZeVs8" target="_blank" rel="noopener">the special edition</a> Culturally Curious Hop by The Wick Culture.
 
Photograph courtesy of Digital Art Week.

Continuum Collection v.6 by Krista Kim

TAEX is proud to present artworks from the Continuum project by the renowned artist Krista Kim at Digital Art Mile Basel from the 10th to 16th of June 2024.

TAEX presents Continuum by Krista Kim at The Digital Art Mile Basel

<h4 dir="ltr">TAEX is proud to present artworks from the Continuum project by the renowned artist Krista Kim at Digital Art Mile Basel from the 10th to 16th of June 2024.</h4>
 
We’re bringing to Switzerland a digital Zen landscape created by Krista Kim in response to the disconnection and distraction pervading society today due to technology overuse. Krista sought to transform digital screens into spaces for mindfulness rather than distraction. The collection includes 10 unique NFTs, segments from the whole Continuum artwork, available for collecting on our platform.
 
The artwork consists of subtle gradients on the screens that gradually shift over time, creating an ever-evolving tranquil scene. Krista’s inspiration came from her time spent in the serene Ryoanji Temple Garden in Kyoto combined with seeing the potential of digital interfaces as portals to peace.  
 
Krista Kim’s intention is for Continuum to serve as a bridge between digital and human - a place for us to reconnect with our presence and tranquillity. This guided meditation we are about to embark on is meant to transport us into that state.
 
Krista Kim is a contemporary artist and a founder of the Techism movement. Having an interest in both digital and physical realms she developed her signature technique that involves a wide range of media including digital software, light, video, glass and plexi. Kim focuses on the concept of digital consciousness and the effects produced by digital technology on human perception, media, social structures, and communication.
 
Krista is a contributing Metaverse Editor for Vogue Singapore. She is a cultural leader at the World Economic Forum (2023) and a member of the Meridian Institute for Cultural Diplomacy. Kim is a keynote speaker of major metaverse conferences all over the globe.
 
Kim’s works are featured in the permanent collections of Louis Vuitton Foundation in Paris (2023), LACMA museum in Los Angeles (2022). Her works were shown at major art events such as Triennale di Milano (2022), Times Square Arts (2022), Venice Architecture biennale (2021), Paris biennale (2018) and art fairs. Kim’s exhibition list includes significant museums and galleries in Europe, US, Canada, China and Singapore. Among her artistic collaborations with brands are projects for Louis Vuitton, Lamborghini, Mercedes Benz AMG and Lanvin.
 
Kim’s artworks were featured on the cover of Bazaar Art, Vogue Hong Kong, and featured in AD, Artnet, NYT, Dezeeen, Vogue (UK, Singapore), FT, The Times, Forbes, New York magazine, The Art Newspaper and many others.
 
Kim holds a master's degree in fine arts at the LASALLE College of the Arts in Singapore (2014) and a bachelor's degree in political science from the University of Toronto (2001).
 
Kim has been featured in UNESCO's list of “50 Minds for The Next 50” and recognized as “the new digital Rothko” by Forbes. Her name appears in the ranks of top 30 Most Influential People of the Metaverse by Read and Write Magazine (2021), top 100 by Architectural Digest (2021), and top 50 “NFTy50” by Fortune Magazine (2022). Kim won the Excellence in Digital Art prize from the Createurs Design Awards (2024).
 
space31 is one of the main Digital Art Mile venues located in a reimagined retailer’s warehouse. It will spotlight the premier NFT galleries, platforms, and projects. and host the Digital Art Mile’s public lounge-an inviting space for visitors to relax and enjoy refreshments amidst the buzz of innovation. 
 
TAEX is a curated digital art platform that is building a new community whose aspirations spread beyond the material. We showcase and co-produce works by leading artists with critical acclaim. Together with like-minded individuals, who believe that the central value in art is created by exciting ideas and expertise, not media hype, we work to reform the art scene.
 
 
<h4 dir="ltr">Date</h4>
 
June 10-16, 2024
 
<h4 dir="ltr">Opening hours</h4>
 
Monday, June 10 — Saturday, June 15, 12:00-20:00
Sunday, June 16, 12:00-17:00
 
<h4 dir="ltr">Location</h4>
 
Booth 5, Space31, The Digital Art Mile, 
<a href="https://www.google.ch/maps/place/Rebgasse+31,+4058+Basel,+Switzerland/@47.5600149,7.5954945,17z/data=!4m6!3m5!1s0x4791b9b058b87191:0xd42b93188f40c71f!8m2!3d47.5600149!4d7.5954945!16s%2Fg%2F11c29fx0s5">Rebgasse, 31</a>
Basel, Switzerland 
 
<h4 dir="ltr">For any inquiries please contact:</h4>
 
TAEX Development Advisor
Stefanie De Regel 
<a href="mailto:stefanie@taex.com">stefanie@taex.com</a>

Neogene Collection by Alper Derinboğaz

Music and visual arts have been merging much longer than we may think.

Music in contemporary digital art

<h4 dir="ltr">Music and visual arts have been merging much longer than we may think. Throughout the centuries, one observes an ongoing interest of artists, composers, writers and philosophers in combining the aesthetics of sound, light, and colours into a unified simultaneous effect. The human ability of synesthesia to associate certain letters, numbers, or sounds with a certain colour attracted various theoreticians, poets, and artists. From Gesamtkunstwerk by Wagner to the theories of Kandinsky, creators never stopped to reflect on the potential of synergy of the visual and the acoustic.</h4>
 
Music as well as visual art faces the challenges of the computer-powered era—materiality, agency, and authorship. As fairly pointed out in Music and Digital Media edited by Georgina Brown (UCL Press, 2022), when we’re speaking about digital music, we have “to consider the materialities of code, of electromagnetic waves, indeed of sound itself: entities that stretch or defy orthodox definitions of an ‘object’”. As noted in the same book, reviewing the research of the last 30 years, digital music’s materialities are “additionally complex in being inherently multiple, built of many communicating and articulated layers of hardware and software” and “digital and analogue devices and processes are invariably combined and mutually compounding”.
 
 
<img src="/storage/news-image/cpc9kkirprek5an8pk50.png" alt="Pipe Dream by Massimo Magee" width="668" height="455">
<pre dir="ltr">Pipe Dream by Massimo Magee </pre>
When an artist happens to be a musician themselves, it provides a unique opportunity to individually create both visual and musical aspects of the artwork. That’s the case for Massimo Magee, an experimental musician and abstract artist who <a href="/drop/32">combines</a> his discoveries into audiovisual digital art. Otherwise, the requirement for the musical dimension leads to collaborations with composers and sound artists. Thus, Alper Derinboğaz for his Neogene collection <a href="/drop/35/neogene">collaborated</a> with Xtopia studio which specialises in immersive sound environments. Krista Kim for her Continuum project <a href="/drop/39">invited</a> long-time guitarist of Smashing Pumpkins Jeff Schroeder to write and perform a 20-minute healing frequency composition. 
 
<img src="/storage/news-image/cpc9ll2rprek5an8pk5g.png" width="663" height="346">
<pre dir="ltr">Continuum Collection v.6 by Krista Kim</pre>
 
No surprise that musicians who are open to such collaborations are observing and testing the potential of interdisciplinary art. As their fellow visual artists, this row of composers and music performers is heading towards new theoretical discoveries by taking risks and as a result pioneering the future of art. The key question is that visual and music aspects of digital art will remain on the same level of its aesthetic and technological development.

TAEX had joined an intense programme of London Digital Art Week by presenting a one-day exhibition Multimodality: The Audiovisual Avant-garde by Massimo Magee, curated by Aurora Garrison. 

How it went. Multimodality: The Audiovisual Avant-garde

Exhibition and performance by Massimo Magee at London Digital Art Week

<h4 dir="ltr">TAEX had joined an intense programme of London Digital Art Week by presenting a one-day exhibition Multimodality: The Audiovisual Avant-garde by Massimo Magee, curated by Aurora Garrison. We were delighted to see our fellow partners and collectors at Cromwell Place in the heart of London and present digital art in all its polyphony. The show featured the installation 3 Colours in 3 Modes including six digital and three physical artworks by Magee. The digital pieces were generously powered by Muse Frames.</h4>
 
The Audiovisual Digital Abstraction Collection was conceived as sound polyptych, where each of the pieces having its own length intertwine with another. The developed sonic conversation evolved over time, changing the image of the exhibition. Together with static colours they shape, as Magee says, a Superformula.
 
<img src="/storage/news-image/cop10darprek5an8oun0.png" width="664" height="442">
 
Since TAEX takes the notion of multimodality very seriously, the show included a first-time music performance composed by Magee. The piece coincides with the Superformula harmonic framework and is called Quartet Derivation. A repetitive music performance by world-renowned contemporary classical music ensemble Apartment House with Massimo Magee’s solo on alto saxophone fused the changing electronic backdrop of the audiovisual installation allowed our guests to expand aspects of their perception.
 
Accompanied by live-performed music, TAEX guests were invited to embrace various aspects of Magee's work united by his signature concept. Even the score of that music piece written by Magee for a string quartered was written with digital tools, including glitching and MIDI degradation.
 
<img src="/storage/news-image/cop10kirprek5an8oung.png" width="669" height="446">
 
Audiovisual Digital Abstraction <a href="/drop/32" target="_blank" rel="noopener">consists </a>of 23 uniquie NFTs that are already available on TAEX.
 
Massimo Magee is an artist, writer, and musician focused on challenging traditional perceptions and representations by interweaving sound and visuals in digital art. In 2017 Magee authored Manifesto (New Unities), a seminal call to action passionately advocating for a radical new approach to creating and consuming art. 
 
We greatly appreciate London Digital Art Week for featuring our exhibition in the official programme. We’d like to thank our partner Muse Frame for the opportunity to exhibit Massimo Magee’s digital artworks in the highest quality and to demonstrate how digital art could be shown in a flawless way.
 
Digital Art Week centres on bringing digital experiences to life in exciting spaces and iconic locations. Powered by NextGen technologies, they bring brand storytelling to life through experiential digital arts.
 
<a href="https://www.museframe.io/" target="_blank" rel="noopener">Muse Frame</a> was founded in 2021 by a group of art collectors, artists, and friends who all craved a simple, yet extraordinary way to display their digital art collection in their homes. They developed projects in gaming, tech, and consumer electronics.
 Please enjoy the full image archive from the event <a href="https://drive.google.com/drive/folders/1pNfvWm8CzknXX_fqr4skQYu6rPuqfhSo?usp=sharing">here</a>. Note, that any reproduction of the photographs must be credited.

On April 18th, TAEX welcomed guests and friends in Venice, at Scoletta Dell’Arte Digital Reform exhibition opening. The visitors were invited to experience pieces that visualise the process of learning to make digital art and its direct links with the History of Art in a playful, yet profound way.

How it Went: Opening of Scoletta dell’Arte: Digital Reform Exhibition in Venice

<h4 dir="ltr">On April 18th, TAEX welcomed guests and friends in Venice, at Scoletta Dell’Arte Digital Reform exhibition opening. The visitors were invited to experience pieces that visualise the process of learning to make digital art and its direct links with the History of Art in a playful, yet profound way. Scheduled to run until the 15th of September, the show features works by renowned digital artists — <a href="/artist/14" target="_blank" rel="noopener">Shu Lea Cheang</a>, Francesco D’Isa, <a href="/artist/32" target="_blank" rel="noopener">MAOTIK</a>, <a href="/artist/33" target="_blank" rel="noopener">Funa Ye</a>, Andrea Meregalli, Accurat — alongside a collection of artworks by old masters — Theodore Gericault, Abraham Bloemaert, George Rouault, Kazimir Malevich.</h4>
<img src="/storage/news-image/cols9i2rprek5an8ouag.png" width="692" height="461">
<pre>Andrea Meregalli, You Are Making Art, Installation</pre>
Emerging from the wind and intermittent rain of Venice, people from all ways of art streamed towards the ornate gates of the former scoletta-turned-digital-art-hub, where TAEX proudly presented its truly foundational exhibition. Despite the unstable weather and the art events overload, <a href="/news/21/scoletta-dell-arte-digital-reform" target="_blank" rel="noopener">Scoletta dell’Arte: Digital Reform</a> garnered a crowd of renowned guests (even the busy Hans Ulrich Obrist paid a brief yet curious visit) — art collectors, gallery and museum directors, artists of La Biennale. 
<img src="/storage/news-image/cols9qarprek5an8oubg.png" width="691" height="460">
<pre dir="ltr">The busy entry to Scoletta</pre>
 
Greeted at the front by the curator <a href="/curator/3" target="_blank" rel="noopener">Dr Antonio Geusa</a> and TAEX Team, the visitors began their journey with a glass of champagne and an interactive installation by Andrea Meregalli. The work, which invited guests to generate their own artworks with their presence, produced over 400 images and many conversations that night.
 
<img src="/storage/news-image/colsa4qrprek5an8ouc0.png" width="695" height="463">
<pre dir="ltr">Opening guests interacting with Vera AI</pre>
 
The evening began at 4 pm and went very much over time, with guests packed tightly across the 3 levels of the exhibition. Vera — TAEX’s text-to-image AI software garnered a queue of users, eager to generate their own images in the 4 genres of digital art.
 
We would like to thank our wonderful guests for their precious time during the La Biennale opening days and of course, the stimulating conversations that keep us going.  
 
Please enjoy the full event image archive <a href="https://drive.google.com/drive/folders/19MUl_xsNi-jA_AYJ9ChHud9-Ppu5uKgJ?usp=share_link" target="_blank" rel="noopener">here</a>. Kindly note that any reproduction of the photographs must be credited.
 
<h4>Location </h4>
Scoletta Battioro e Tiraoro di Venezia
Salizada San Stae, 1980, 30135 Venezia VE, Italy
 
<h4 dir="ltr">Opening times</h4>
19 April - 15 September
Tuesday to Sunday 10 am - 6pm, Mondays closed
 
<h4 dir="ltr">For any inquiries please contact:</h4>
TAEX Head of Development 
Stefanie De Regel 
stefanie@taex.com

Continuum by Krista Kim

TAEX presents Continuum, a one-day exhibition by the renowned artist Krista Kim at Outernet London on April 26th, 2024

Continuum by Krista Kim at London Digital Art Week

Continuum is a digital Zen landscape created by Krista Kim in response to the disconnection and distraction pervading society today due to technology overuse. Krista sought to transform digital screens into spaces for mindfulness rather than distraction. Continuum Collection includes 10 unique segments from the whole Continuum artwork, featured at the Outernet during London Digital Art Week.
 
The artwork consists of subtle gradients on the screens that gradually shift over time, creating an ever-evolving tranquil scene. Krista’s inspiration came from her time spent in the serene Ryoanji Temple Garden in Kyoto combined with seeing the potential of digital interfaces as portals to peace.  
 
Krista Kim’s intention is for Continuum to serve as a bridge between digital and human - a place for us to reconnect with our presence and tranquillity. This guided meditation we are about to embark on is meant to transport us into that state.
 
Krista Kim is a contemporary artist and a founder of the Techism movement. Having an interest in both digital and physical realms she developed her signature technique that involves a wide range of media including digital software, light, video, glass and plexi. Kim focuses on the concept of digital consciousness and the effects produced by digital technology on human perception, media, social structures, and communication.
 
Krista is a contributing Metaverse Editor for Vogue Singapore. She is a cultural leader at the World Economic Forum (2023) and a member of the Meridian Institute for Cultural Diplomacy. Kim is a keynote speaker of major metaverse conferences all over the globe.
 
Kim’s works are featured in the permanent collections of Louis Vuitton Foundation in Paris (2023), LACMA museum in Los Angeles (2022). Her works were shown at major art events such as Triennale di Milano (2022), Times Square Arts (2022), Venice Architecture biennale (2021), Paris biennale (2018) and art fairs. Kim’s exhibition list includes significant museums and galleries in Europe, US, Canada, China and Singapore. Among her artistic collaborations with brands are projects for Louis Vuitton, Lamborghini, Mercedes Benz AMG and Lanvin.
 
Kim’s artworks were featured on the cover of Bazaar Art, Vogue Hong Kong, and featured in AD, Artnet, NYT, Dezeeen, Vogue (UK, Singapore), FT, The Times, Forbes, New York magazine, The Art Newspaper and many others.
 
Kim holds a master's degree in fine arts at the LASALLE College of the Arts in Singapore (2014) and a bachelor's degree in political science from the University of Toronto (2001).
 
Kim has been featured in UNESCO's list of “50 Minds for The Next 50” and recognized as “the new digital Rothko” by Forbes. Her name appears in the ranks of top 30 Most Influential People of the Metaverse by Read and Write Magazine (2021), top 100 by Architectural Digest (2021), and top 50 “NFTy50” by Fortune Magazine (2022). Kim won the Excellence in Digital Art prize from the Createurs Design Awards (2024).
 
Krista Kim is currently based in Los Angeles.
 
Outernet is a global media and entertainment company. They create connected city-centre entertainment districts where music, film, art, gaming and retail experiences come to life in new breath-taking ways courtesy of our unique creative and technical capabilities.
 
Digital Art Week centres on bringing digital experiences to life in exciting spaces and iconic locations. Powered by NextGen technologies, they bring brand storytelling to life through experiential digital arts.
 
Screening of Continuum will happen twice every hour in the Outernet space.
 
<h4 dir="ltr">Date</h4>
 
April 26th, 2024
 
<h4 dir="ltr">Screening Times</h4>
<h4 dir="ltr"> </h4>
10:00, 10:31, 10:39, 11:08, 11:25, 11:45, 12:15, 12:35
12:51, 13:08, 13:34, 13:43, 14:08, 14:25, 14:45, 15:15
15:36, 15:52, 16:08, 16:34, 16:41, 17:08, 17:25, 17:45
18:15, 18:36, 18:52, 19:08, 19:37, 19:44, 20:08, 20:25
20:45, 21:15, 21:36, 21:52, 22:08, 22:37, 22:44, 23:08
23:25, 23:44
<h4 dir="ltr"> </h4>
<h4 dir="ltr">Location</h4>
 
Charing Cross Rd, London WC2H 8LH
 
<h4 dir="ltr">For any inquiries please contact:</h4>
 
TAEX Head of Development 
Stefanie De Regel 
<a href="mailto:stefanie@taex.com">stefanie@taex.com</a>

Scoletta Battioro e Tiraoro di Venezia

Exhibition at the peak of the 60th Venice Biennale

TAEX Presents Scoletta dell'Arte: Digital Reform

<h3 dir="ltr">TAEX is delighted to announce the exhibition Scoletta dell'Arte: Digital Reform, dedicated to digital art in a truly foundational way. </h3>
 
Taking place at Scoletta dell’Arte dei Tiraoro e Battioro — an 18th-century college of the guild of artisans who produced gold threads and leaves — the exhibition provides a journey through digital craftsmanship. By observing the works of contemporary digital artists, the pioneers of the genre, and some of the most notable old masters, the visitors are invited to experience pieces that visualise the process of learning to make digital art and its direct links with the History of Art.
 
Curated by digital art researcher Dr Antonio Geusa, the exhibition restores the old building to its original role as an informal school — gold threads and leaves replaced by lines of code and audio-visual artefacts. Yet, the learning process is nothing but conventional. The visitors are invited to grasp the most important skill — of looking at, contemplating, and enjoying digital art oeuvres. Among the artists involved are TAEX’s Shu Lea Cheang, MAOTIK and Funa Ye; alongside new artists to the platform with a very established past: Andrea Meregalli, Francesco D’Isa, and Accurat.
 
The route of learning begins with an interactive installation by Andrea Meregalli You Are Making Art, which places the viewer in the role of both the art maker and the art piece with the help of an artist-programmed AI platform constantly producing new images throughout the 6 months of the show. The roots of this installation go back to the mid-60s of the last century, when artists began to produce performative situations to bring the process of dematerialisation of the work of art to its maximum. You Are Making Art takes up this mission, updating it with the use of AI and problematising the very idea of the authorship of the digital work of art. 
 
From a conceptual work, we move towards an analytical one centred around the rules of governing aesthetics. Francesco D’Isa’s Errors consists of a set of digital prints and an interactive installation. In both works, the artist comments on the subjective nature of what constitutes a mistake in making art in collaboration with artificial intelligence. Using text-to-image programs available on the Internet, the artist composes custom prompts that generate bugs in the system, causing unexpected answers that disrupt the original request yet maintain internal consistency. Here, the artist works as a human psychoanalyst, trying to probe the complexity of the machine's subconscious.
 
MAOTIK's immersive installation is the next “class” in our school. It channels those pivotal chapters in Digital Art History about the work of those artists (who were also skilled engineers) who, since the mid-1960s, built special equipment and created custom programs to help them find a “new visuality” for their contemporaneity. Accordingly, the artist has written original software and programmed the multi-channel installation to create a total, direct, and gripping audio-visual experience for the viewer with the digital work of art.
 
The exhibition continues with an “exhibition within exhibition”, filled with sketches of the old masters that have a direct connection with the process of learning and the nature of the digital. Featuring the works of Theodore Gericault, Abraham Bloemaert, George Rouault, Kazimir Malevich, among others from the private collection, this section showcases the process of making: from sketching to structuring; from classical craftsmanship to breaking with convention. 
 
Jumping a few centuries ahead we meet Neo-Mastr Portraits by Funa Ye, a work that speaks about technology and identity. This series of unique pieces, made using GAN technology, delves into the multifaceted identity, culture, and aesthetics of modern China through AI-driven artistic representation. Looking much like a wall filled with old portraits, the project analyses online images of Chinese ethnic minorities and the selfies of Smart — a well-known subculture in China that has a very distinct sense of identity — to create distinct avatars. 
 
Approaching the end of the exhibition, moving towards the windows overlooking the Grand Canal, visitors are presented with a research installation by Accurat — an Italian studio which practises Data Humanism approach to analysing information. This is a work that questions the role of “landscape painting” today and how it can be rethought and reinterpreted in the digital age. Using a data-driven approach and the city of Venice as subject, Accurat creates a new “painting” which is the visual representation of metadata related to the city morphology and its social functioning made by a plotter behaving like a human painter.
 
Last, but not least, each method has its discontents, which often come from misuse. This is the topic of Shu Lea Cheang’s work UKI Virus Rising, which brings the process of learning to the level of a warning. Unquestionably, an essential admonition when new technologies are taken into account. This action-filled animated story is a cautionary tale about the dangers of using/abusing technology when not mediated by reason, in the form of a digital animation.
 
Two special projects devised by Dr Antonio Geusa and TAEX are also included in the exhibition to enrich the learning experience even more. At the disposal of the exhibition’s visitors, there is a computer running Vera, TAEX’s custom text-to-image program. With the help of AI that has been specifically trained on a database of images of works belonging to the History of Digital Art, users can turn their prompts into original artworks that they can eventually own. 
 
For those who fancy a more analogue investigation into the reliability of artificial intelligence when it comes to the knowledge of art history, there is a quiz card game that visitors can play by themselves, in couples, or in groups. All questions and answers are given by AI, which was asked to make a quiz game. Each card presents a question, 4 possible answers, the right one according to AI, and a much-needed explanation when the machine does not get it right. 
 
<h4 dir="ltr">Featured Artists</h4>
 
Andrea Meregalli is an Italian artist and architect. He is involved in design at different levels. He has always developed research projects through painting, drawing, printing techniques, digital technologies and the creation of one-off books. He worked for years without showing anything, then, almost by chance, he processed his grief and began to make his work public.
 
Francesco D’Isa is an Italian philosopher and artist. He has exhibited his works internationally in galleries and contemporary art centres. He debuted with the graphic novel I. (Nottetempo, 2011) and has since published essays and novels with renowned publishers such as Hoepli, effequ, Tunué, and Newton Compton. His notable works include the novel La Stanza di Therese (Tunué, 2017) and the philosophical essay L’assurda evidenza (Edizioni Tlon, 2022). Most recently, he released the graphic novel Sunyata with Eris Edizioni in 2023. Francesco serves as the editorial director for the cultural magazine L’Indiscreto and contributes writings and illustrations to various magazines, both in Italy and abroad.
 
Funa Ye is a Chinese artist exploring the relationship between the realities of everyday life and the perceived connection between authority and social life. Her practice studies the different power structures, ethnic groups, and the fictional space of propaganda striving for the concept of ‘perfection’ within an ideological system, and a utopian landscape.​
She has been an artist-in-residence at K11 Foundation (Hong Kong), Pro Helvetia Swiss Council 2018 Studio Residency (Bern) and exhibited her work internationally.
 
MAOTIK (Mathieu Le Sourd) is a French digital artist, who creates work at the intersection of art, science, and technology — immersive environments, interactive installations, digital architectural sculptures, and audiovisual performances. MAOTIK uses generative tools to create a mirror-like synergy between the real and digital worlds, coding algorithms inextricably inspired by nature. He creates audiovisual sculptures that can breathe, move, and change shape; a mixture of nature, science, and technology that brings unique and unrepeatable experiences to the audience.
 
His works were exhibited at Art Basel, Frieze London, FIAC Paris, the British Film Institute and recently at the Digital Art Fair in Hong Kong with TAEX. 
 
Shu Lea Cheang is a Taiwanese-American artist and filmmaker, working with net art, participatory multi-player performance, video, and installation. Having an extensive background in art activism, her work promotes freedom of expression and critiques political oppression, technological, and environmental issues.
 
As a multimedia artist, she gained recognition for her net art piece BRANDON (1998-1999), the first-ever Guggenheim Museum’s web art commission. One of Cheang’s most recent and extraordinary commissions is the solo exhibition 3x3x6 for the 58th Venice Biennale (2019), where the artist represented Taiwan.
 
TAEX is a digital art platform that is building a new community of collectors who shape the future of art. We showcase and co-produce works by leading artists with critical acclaim, selected by qualified curators.
 
The exhibition will be open from April 19, 2024 till September 15, 2024, with a private view on April 18th, 2024. 
 
<h4 dir="ltr">Location</h4>
 
Scoletta Battioro e Tiraoro di Venezia
Salizada San Stae, 1980, 30135 Venezia VE, Italy
 
<h4 dir="ltr">Opening times</h4>
 
19 April - 15 September
Tuesday to Sunday 10 am - 6pm, Mondays closed
 
<h4 dir="ltr">For any inquiries please contact:</h4>
TAEX Head of Development 
Stefanie De Regel 
stefanie@taex.com

TAEX Presents Scoletta dell'Arte: Digital Reform exhibition at the peak of the 60th Venice Biennale

Artwork by Massimo Magee

TAEX cordially invites you to an exhibition and special event at London Digital Art Week celebrating the work of artist and musician Massimo Magee on the 24 April 2024.

Multimodality: The Audiovisual Avant-garde

Music event and exhibition by Massimo Magee and TAEX at London Digital Art Week

<h3 dir="ltr">TAEX cordially invites you to an exhibition and special event at London Digital Art Week celebrating the work of artist and musician Massimo Magee on the 24 April 2024.</h3>
 
Staged at Cromwell Place in London, the exhibition is centred around the installation 3 Colours in 3 Modes, a group of three pieces from <a href="/drop/32" target="_blank" rel="noopener">Audiovisual Digital Abstraction</a> Collection by <a href="/artist/34" target="_blank" rel="noopener">Massimo Magee</a>, alongside 6 digital art pieces curated by <a href="/curator/5" target="_blank" rel="noopener">Aurora Garrison</a>, which are designed to sound together, live in the room. Each of the pieces, in its audio reading, has a slightly different length, which over time alters and evolves the sonic image of the exhibition. The pieces are shaped from audiovisual data, creating an immersive world of static colours and shifting electronic tones, all within a unique harmonic framework referred to as the Superformula. The visual reading of each piece is presented on aluminium.
 
The event will feature a first-time live performance of a composition for string quartet by Massimo Magee, also derived from the Superformula harmonic framework, called Quartet Derivation, which will be performed several times throughout the evening, against the changing electronic backdrop of the audiovisual installation. 
 
Quartet Derivation is a contemporary classical piece—written to accompany 3 Colours in 3 Modes as part of a larger, ongoing electroacoustic project—that combines an avant-garde approach with unexpectedly Romantic-era undertones. Although it is an acoustic, classically-notated work for a string quartet, it was created using very digital techniques such as glitching and MIDI degradation, making for an intriguing contrast of the traditional and the cutting-edge. 
 
The piece will be performed by the world-renowned contemporary classical music ensemble Apartment House, which has been performing vital new music from revered contemporary classical composers for nearly 30 years. Massimo will also perform live on the alto saxophone.
 
Massimo Magee is an artist, writer, and musician. He creates avant-garde digital art that challenges traditional perceptions and representations by interweaving sound and visuals into a single file. Magee authored Manifesto (New Unities) in 2017 —a seminal call to action passionately advocating for a radical new approach to creating and consuming art. Magee’s call to action embodies his oeuvre's innovative spirit and relentless experimentation. 
 
Moreover, Magee's work as a recording artist on the esteemed New York label 577 Records has garnered him a dedicated following within the experimental music community. Massimo Magee is based in London, UK.
 
<h4 dir="ltr">Agenda</h4>
 
The event commences at 4 pm, open for general admission till 6pm, followed by 3 15-minute performances from 7 pm till 10 pm.
 
<h4 dir="ltr">Date</h4>
 
April 24, 2024 at 5 Cromwell Place, London, SW7 2JE
 
Ticket reservation via <a href="https://www.eventbrite.co.uk/e/multimodality-the-audiovisual-avant-garde-music-event-and-exhibition-tickets-877978837337?aff=erelpanelorg" target="_blank" rel="noopener">Eventbrite</a> is required. 
 
For more information and press inquiries contact:
TAEX Head of Development Stefanie De Regel events@taex.com

TAEX booth at NFT Paris 2024

"Architect Alper Derinboğaz has used artificial intelligence and research data to create Neogene, a series of 3D artworks created to resemble the mineral bismuth."

Dezeen on the Neogene Collection by Alper Derinboğaz

<h3>"Architect Alper Derinboğaz has used artificial intelligence and research data to create Neogene, a series of 3D artworks created to resemble the mineral bismuth."</h3>
 
We are excited to share with you this article <a href="https://www.dezeen.com/2024/03/27/alper-derinbogaz-neogene-3d-artefacts-taex/" target="_blank" rel="noopener">on Dezeen</a>, the world’s leading design and architecture magazine, dedicated to TAEX’s presentation of the Neogene collection at <a href="/news/22/how-it-went-nft-paris-2024" target="_blank" rel="noopener">NFT Paris 2024</a>.
 
The piece features an exclusive comment by our COO Vlada One, “The synergy fostered by this partnership propels us towards visibility and transparency in the inner mechanisms of architectural practices, especially in the nuanced integration of data, like in Neogene.”
 
Read full article via <a href="https://www.dezeen.com/2024/03/27/alper-derinbogaz-neogene-3d-artefacts-taex/" target="_blank" rel="noopener">the link</a> and explore the Neogene collection <a href="/drop/35/neogene" target="_blank" rel="noopener">on TAEX</a>.

In the meta-universe, an artist can create ornamentation out of anything. In the case of crypto art, the question is, how and why artists may use it? 

Ornamentation in Crypto Art

<h3 dir="ltr">In the meta-universe, an artist can create ornamentation out of anything. Moreover, AI makes it quite easy to do so. Ornament could be a way to demonstrate the infinity of space and time. In the case of crypto art, the question is, how and why artists may use it? And does ornamentation have the potential to become a medium itself in this particular field?</h3>
 
From a purely decorative element to a conceptual centre, the role of ornament in an artwork may vary. In sacred art, ornamentation serves to express fundamental ideas such as the world's infinity and divine omnipresence, where “harmony is central” as Daud Sutton <a href="http://islamicmanuscripts.info/reference/books/Sutton-2007-Design/Sutton-2007-Design-00-33.pdf">wrote</a>. Instead in geek aesthetics glitch art, that uses software errors as a medium, artists may create vivid ornaments from the point of computer program mistakes and disruption, in other words, out of something opposing the very idea of harmony.
 
When it comes to crypto art, we see that anything could become an element of a pattern and could be turned into an ornament. An artist can pick any kind of data in order to construct an ornament. And then express it in various forms. Repetitive visual, textual or music loops can show a perpetual expansion of space and time. The curiosity towards ornaments is expanded towards commercial crypto art presented by luxury jewellery brands such as <a href="https://www.voguebusiness.com/technology/emeralds-rubies-and-nfts-inside-bulgaris-new-era-high-jewellery">Bulgari</a>. 
 
<h4 dir="ltr">From optical illusions to quirky kaleidoscopes</h4>
 
<img src="/storage/news-image/cnuq5parprevf54j1kh0.png" alt="Tyler Hobbs - Fidenza #58" width="960" height="1151">
<pre>Tyler Hobbs, Fidenza #58 </pre>
Some crypto artists as Tyler Hobbs (b. 1987) <a href="https://www.sothebys.com/en/buy/auction/2023/grails-part-ii/fidenza-479">prefer</a> minimalist and abstract patterns, some stick to letter or geometric forms as the pioneer of generative art Vera Molnar (b. 1924). Inspired by organic patterns of crystals, natural stones or microscopic images of cells, certain artists as Jason Sims (b. 1981) <a href="https://www.artsy.net/artist/jason-sims">explore</a> the limits of optical illusion and the perception of space.
 
London-based artist Funa Ye took the elements of Chinese ‘Smart’ (or ‘Shamate’) subculture and state propaganda to create utopian and campy landscapes, ornamentation plays a significant role. In her <a href="/artist/5">Neo-Mastr series</a> members of the Smart community and the visual elements that surround them make up a quirky kaleidoscope where ideology and underground culture are combined. Ornament here is the way to show the social complexity and the existence of an individual in modern China and the simultaneous presence of various aesthetic elements in everyday life.
 
 
<img src="/storage/news-image/cnuq6c2rprevf54j1khg.png" alt="Funa Ye - Neo-Mastr Portraits" width="670" height="486">
<pre>Funa Ye, Neo-Mastr Portraits, Available for purchase on TAEX via <a href="/drop/31" target="_blank" rel="noopener">the link</a></pre>
 
How ornaments may affect identity? Jason McGrath sees digital multitudes as something that “begins with sameness” in the contrast to mass human ornaments that aim, as he <a href="https://www.jstor.org/stable/43492533">writes</a>, to ‘make what are organic and different—individual human bodies—look, as much as possible, mechanised and identical’. However Funa Ye’s NFT drop is neither of those things. She uses ornamentation as the tool to show agency of the members of a subculture community.
 
Ornamentation has always been associated with decorative art i.e. applied art. Which by many may still be considered as secondary or even not art at all. For Victoria Salinger ‘the argument that beautiful or interesting patterns are not art—along with the corollary idea that “mere ornamentation” is not art, not valuable, and not interesting—lies at the heart of discussions of abstract art from the early twentieth century, including from the very artists so many 1960s and 1970s computer artists showed interest in and emulated, such as Mondrian, Wassily Kandinsky, and Paul Klee.’. 
 
<h4 dir="ltr">Ornament as a result of labour or observation</h4>
 
Thanks to several generations of female artists, finally such media as embroidery or needlework, which previously were often labelled as secondary or considered as ‘female crafts’, have taken their rightful place among other techniques and are less and less questioned. Hopefully ornamentation as an idea will follow the same path and all the prejudices will stay aside. Salinger <a href="https://direct.mit.edu/grey/article-abstract/doi/10.1162/GREY_a_00207/10736/Writing-Calculations-Calculating-Writing-Hanne?redirectedFrom=fulltext">argues</a> that the process of calculation may and should be perceived as a kind of human labour. She suggests looking at numerous handwritten tables of numbers created by a German conceptual artist Hanne Darboven as a ‘consciously political choice, engaged with questions about the changing nature of labour, authorship, and responsibility in the information age’.
 
<img src="/storage/news-image/cnuq7sirprevf54j1ki0.png" alt="Hanne Darboven" width="981" height="682">
<pre>Hanne Darboven, Section of the Century Calender</pre>
 
Most of the ornaments that we see in crypto artworks are software generated, however there is always a place for ‘found patterns’. Moreover crypto art may be seen as a source of a ‘new organic’, i.e. in Mat Collishaw in his project ‘Heterosis’ <a href="https://www.theartnewspaper.com/2023/04/17/haroon-mirza-mat-collishaw-nft-projects-ethereum-eco">offers</a> collectors to cultivate animated digital flowers, by combining floral genetic coding with computer algorithms. The collector can impact the final result, but Collishaw aims to encourage collectors to interact with each other through cross-breeding digital flowers with each other. The artist has laid down recessive genes that can produce unpredictable results in certain combinations. This opens a participative potential of crypto art and manifests how synthetic can transform into organic and backwards.

On the 23-24th of February TAEX joined an inspiring crowd at the 3rd edition of NFT Paris to present a new collection Neogene by world-renowned architect Alper Derinboğaz featured on our platform.

How it went: TAEX at NFT Paris 2024

<h3 dir="ltr">On the 23-24th of February TAEX joined an inspiring crowd at the 3rd edition of NFT Paris to present a new collection Neogene by world-renowned architect Alper Derinboğaz featured on our platform. Throughout two rainy days in Paris digital art collectors and leaders of web3 were exchanging about the future of industry at Grand Palais Éphémère, right in front of the Eiffel Tower.</h3>
 
TAEX proudly presented <a title="Neogene Collection" href="/drop/35/neogene" target="_blank" rel="noopener">Neogene</a> — the first digital art collection by Alper Derinboğaz. A globally-thinking architect, he expanded his interdisciplinary approach towards digital art using the tools of big data analysis and artificial intelligence. As someone who had been using technologies as the founding base for the future constructions of his architectural projects, Alper perfectly anticipates the future merge of ideas, art and technology.
 
<img src="/storage/news-image/cnsqo0arprevf54j1kfg.png" alt="" width="701" height="1052">
 
<img src="/storage/news-image/cnsqoj2rprevf54j1kg0.png" alt="" width="698" height="465">
 
Dedicated to one of the oldest metals on Earth — bismuth — Neogene shows its geological transformation throughout the existence of our planet. In a couple of minutes we witness the dynamics of bismuth over tens of thousands of years. Ten unique 3D artefacts were presented at the TAEX booth with black mirrors that were reflecting the artwork and inviting the visitors to contemplate the flux of time inside a huge temporary building—Grand Palais Éphémère.
 
<img src="/storage/news-image/cnsqmd2rprevf54j1kf0.png" alt="" width="705" height="470">
 
TAEX together with Makerspace hosted a Collectors Club dinner in order to share ideas and get fully ready for the NFT Paris fair, uniting art collectors curious about the perspectives of digital art.
 
<img src="/storage/news-image/cnsqov2rprevf54j1kgg.png" alt="" width="698" height="465">
 
We would like to thank our partners MakersPlace for the outstanding collaboration!
 
<h4 dir="ltr">Please enjoy the full event image archive <a href="https://drive.google.com/drive/folders/1b5kXvfrUAkbyDSY3TapzyBcZHGaaUmBj?usp=share_link" target="_blank" rel="noopener">here</a>. Note, that any reproduction of the photographs must be credited.</h4>

Neogene by Alper Derinboğaz

TAEX Presents Neogene by Alper Derinboğaz at the 3rd edition of NFT Paris

<h3 dir="ltr">TAEX joins the 3rd edition of NFT Paris to present the Neogene collection by award-winning architect and artist Alper Derinboğaz.</h3>
 
Neogene is a collection of works by the renowned architect and artist Alper Derinboğaz. The series consists of 3D artefacts, generated using Data Morphosis methodology, based on simulations of geological formations from prehistoric times. The collection aims to transfer the geological time markers of our planet into a digital archive, as the continuity of our existence is more and more debatable with the emergence of AI technologies and environmental threats. Each artefact has a unique pairing of generated 3D forms and earth-based material qualities. This collection reminds us that humankind exists on the Earth just for a singular moment of its global history. However, our limited perception of temporality poses a significant threat to human existence, within the realms of architectural and geographical issues. The collection is curated by Dasha Shkel.
 
The first release of the collection features the White Mass series, re-morphed from bismuth — a mineral that has been present since the formation of the Earth and changes with time. While observing the object’s alluring transformation, we witness the entire human life on Earth only in a single frame of animation. This material is a unique visual spectacle exhibiting a spiral, stair-stepped structure, deceiving the observer’s time perception. By the end of each loop, the time passed corresponds to 19 quintillion years. 
 
Alper Derinboğaz is an architect and artist known for his focus on seeking communal relationships between the environment and spatial elements through scientific strategies. His projects range from cultural institutions, including the upcoming Istanbul City Museum, to architectural installations and masterplans. As a Fulbright Scholar and winner of dozens of prestigious awards, including the Europe 40 under 40 by The European Centre for Architecture Art Design and Urban Studies, Alper showcased his research at notable events like the Venice Architecture Biennale. 
 
Explore the Neogene collection online and visit our booth G at NFT Paris from 23rd to 24th of February 2024.
 
<h4 dir="ltr">General Admission</h4>
 
February 23-24, 2024
 
<h4 dir="ltr">Location</h4>
 
Grand Palais Éphémère, Champ de Mars,
2 Pl. Joffre, 75007 Paris
 
For any inquiries please contact:
TAEX Head of Development 
Stefanie De Regel 
<a href="mailto:stefanie@taex.com">stefanie@taex.com</a>

TAEX Presents Neogene by Alper Derinboğaz at the 3rd Edition of NFT Paris

TAEX is delighted to present a new series of interactive websites by the pioneer of Internet art Angelo Plessas.

TAEX presents Angelo Plessas at Art Dubai Digital 2024 

<h3 dir="ltr">TAEX is delighted to present a new series of interactive websites by the pioneer of Internet art Angelo Plessas.</h3>
 
In his new series of interactive websites uniting spirituality and technology, Angelo Plessas opens three portals for the formation of a new cosmic consciousness. He engages the viewer in a step-by-step process of TechnoShamanistic healing — through meditation, blessing, reflection, and rebirth. 
 
The websites were created within the long-term project The Noospheric Society, which Angelo has been running since 2017. The term ‘noosphere’ here embodies a sphere, which has advanced from the biosphere into a new layer of global human intelligence. The booth will also feature a selection of physical works by Angelo — neon sculptures and anthropomorphic quilts.
 
The first website — QuantaMirage.com —inspired by shamanic and tantric iconography sets a celestial landscape where users are invited to explore the symbiosis of ancient wisdom with algorithms. This website is becoming a TechnoShamanic tool for healing, blessing, and meditating.
 
The second portal — CycleOfEndlessRebirths.com — envisions an altar of forgotten cosmogonies and computer-generated symbolisms, inspired by ancient and cybernetic symbols which usually adorn plates and heraldry. While the user is tapping or clicking on the screen the organic forms are being re-arranged and re-constructed endlessly.
 
The final website — BehindTheSolarGlow.com, transforms each movement of your cursor into a melodic crescendo, turning the luminous mandala strings into a celestial harp. While this celestial curtain unfurls, the pulsating heart of a solar eclipse is being revealed.
 
Angelo Plessas (b.1974) is an artist investigating the ambiguous approach of spirituality with technology and exploring different cosmologies which connect ancient, folk and cybernetic histories. Since the early years of the Internet, Plessas’ research has been focused on the fluid relationship between online and offline worlds and has been initiating communal experiences between beings, symbols, and machines. 
 
His activities range from performances to artist residencies; from self-publishing books to interactive websites; from quilted sculptures to live-stream events; and from neon installations to educational projects. Recently his practice has expanded to teaching, writing, curating, and different forms of healing. 
 
Angelo’s work has been exhibited internationally in recent shows such as the 8th Thessaloniki Biennale, the Onassis Foundation (Athens), the 8th Biennale of Gherdëina (Val Gardena), the Serralves Foundation (Porto), and the 13th Gwangju Biennale in South Korea. Other projects have also been exhibited in documenta 14 in both Kassel and Athens, The Museum of Contemporary Art (Chicago), the Jeu de Paume (Paris), the DESTE Foundation (Nea Ionia), and the National Museum of Contemporary Art (Athens). 
 
He is the founder of the independent space P.E.T. Projects in Athens, a Fulbright alumnus, and the recipient of the DESTE Foundation Prize in 2015.
 
<h3 dir="ltr">Art Dubai Digital</h3>
 
Madinat Jumeirah, King Salman Bin Abdulaziz Al Saud St, Al Sufouh 1, Dubai, United Arab Emirates
 
VIP Previews 
28-29 February 2024
 
Public days 
1-3 March 2024
 
<h4 dir="ltr">For more information or press inquiries please contact <a href="mailto:stefanie@taex.com">stefanie@taex.com</a></h4>

TAEX Presents Angelo Plessas at Art Dubai Digital 2024

Questions to unlock Joey’s projects, practice, and ethos.

Three Questions: Artist Joey Holder

Answers that unlock the artist's projects, practice, and ethos.

Acronyms:
TAEX — TX
Joey Holder — JH 
 
TX: How was the Selachimorpha project born? 
 
JH: The project takes a particular scene from the 1975 film Jaws to look at the ways in which manipulated images are appropriated and circulated by Internet culture as ‘fact’. The scene, which shows a shooting star flaring behind the hero Roy Schneider, has become a fodder for conspiracy theories. The ease of ‘adapting’ and then distributing images – such as deserts, outer space, and oceans – offers a rich breeding ground for the fictional and make-believe. Taking its name from a scientific classification for sharks, this project morphs between factual and fictional images, symbols and memes; exposing the continually shifting belief systems we use to define our world. With the increased use of image and video generation platforms using AI, we are discovering all the more mutations and monsters lurking here.
 
<img src="/storage/news-image/cmgn8jqrpreuojp51a70.png" alt="Joey Holder, Selachimorpha: Squaliformes" width="1000" height="888">
 
TX: What themes do you explore in the project and how have they evolved in your current artistic practice? 
 
JH: For me, the sighting of a UFO/shooting start in this particular film is of some poignancy. Like space, the ocean is a largely unexplored territory, and therefore a rich breeding ground for myths and conspiracies. Mistakes about marine life have ranged from inaccurate assumptions about the behaviour of known species to fanciful depictions of animals that "might" exist. It's a fact that most lifeforms on earth remain undiscovered by humans, our world is made up mainly of that which remains hidden, and our western systems of classification fall short in their attempts to categorise them.
 
 
<h3 dir="ltr">"We live in a time of ‘hyperpolarisation’ where we think that people with different political or religious beliefs live in different worlds."</h3>
 
 
TX: What research and methods were used in the creation of the project?
 
JH: I am interested in examining the nature of belief in today’s climate and particularly how belief can be 'manufactured' online. We live in a time of ‘hyperpolarisation’ where we think that people with different political or religious beliefs live in different worlds. Our beliefs are reaffirmed in social media echo chambers whereby abstract manipulation occurs through background algorithmic processes, pulling us further into rabbit holes and making atomised groups. These times of predicted and customised media have resulted in a landscape rife with conspiracy theories — if you want to believe something you just type it into Google to have it confirmed and connect the dots. 
 
<h4 dir="ltr"><a title="Selachimorpha NFTs by Joey Holder" href="/drop/15" target="_blank" rel="noopener">Explore Joey's drop</a></h4>