Alper

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

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.

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.
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

TAEX is an interdisciplinary platform for artists, curators, and collectors to discuss, showcase, and sell crypto art.

description

keywords

Dasha Shkel

White Mass_2A1

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.

White Mass_2A2

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. 

Alper Derinboğaz

Alper Derinboğaz

EXHIBITIONS

PRESS AND NEWS

October 8, 2024

November 20, 2024

COLLECTIONS

ARTWORKS