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Algorithmic art: from graphical and kinetic to digital

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. 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. 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. 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. 283 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. 244 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?

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

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.

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. TAEX Director of Development Stefanie de Regel was eager to participate in the CIF Dialogues panel talk “How To Own & 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”. 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.  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.

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

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. 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.” Craig Hepburn, Art Basel Chief Digital Officer 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”. 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 YouTube. Please explore the integrity of TAEX’s collections of curated digital art from world-renowned artists in our Collection section.  

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

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 & 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.  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.  202 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.  283 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 Collection section.  

How it went: Scoletta dell’Arte all'infinito

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 here. 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: • Error#0 by Franceso d’Isa • Neo-Mastr by Funa Ye • Сollection by Shu Lea Cheang   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.  

New book by Antonio Geusa is out now

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

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. 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. You can download an electronic copy right away via the link.

TAEX Digest: August 2024

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

Please note that TAEX launched a special column and newsletter about digital highlights of the month. Please subscribe to learn first the news selected by TAEX. World News Investors halting stablecoin accumulation caused Bitcoin to become unstable. As major institutions have stopped accumulating stablecoins, Bitcoin price fell below $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. Artists brought a lawsuit against SEC regarding security issues of NFTs Two American artists reportedly have sued 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”. Scotland to open a first ‘fully digital museum’ Scottish Historic Building Trust just unveiled 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. Sony launches a new blockchain platform Sony Block Solution Labs announced 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. Cryptopunk and Beeple at Sotheby’s Digital Art Day The end of August was marked by Sotheby’s Digital Art Day 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) TAEX News Last but not least, TAEX ends summer with its own diverse agenda : Scoletta dell’Arte all’infinito, TAEX’s Finissage of the Scoletta dell’Arte: Digital Reform to be held on September 2 in Venice 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 the link! TAEX joins Contemporary Istanbul 2024 gallery lineup 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! How has digital art been represented at the Venice Biennale? Read a comprehensive article by our Editor Anastasiia Spirenkova on the half-century-long digital journey of the Biennale and its complicated relationship with the medium. Interview: Francesco D’Isa on AI art Renowned theorist, philosopher and artist of the Scoletta dell’Arte: Digital Reform exhibition Francesco D’Isa spoke at length about the integration of AI into the arts. New Collection: Natively Digital Following our open call, we present a group collection 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. Not subscribed to the TAEX Newsletter yet? Click the link and stay in the loop of current news and upcoming collections!

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.    Francesco D'Isa, Errors, Installation view. The exhibition is open till September 15 in Venice   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 other philosophical arguments, 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.   Read more:   La rivoluzione algoritmica delle immagini (The algorithmic revolution of images Art and artificial intelligence) Francesco D'Isa, published by Luca Sossella Editions, 2024. https://lucasossellaeditore.it/libro/arte-intelligenza-artificiale/  

Scoletta dell’Arte all'infinito 9 | ART + NFT: True Love or an Arranged Marriage?

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

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. 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: • Error#0 by Franceso d’Isa • Neo-mastr by Funa Ye • Сollection by Shu Lea Cheang 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 the link till August 23. Date: September 2, 2024 6pm till 9pm Location: Scoletta Battioro e Tiraoro di Venezia Salizada San Stae, 1980, 30135 Venezia VE, Italy For any inquiries please contact: TAEX Head of Development Stefanie De Regel stefanie@taex.com

Digital path of Venice Biennale 6 | Antonio Geusa: How do we conceptualise NFT?

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

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. Will Follow The Ship by Matthew Attard, 2024 However, as noticed 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 shares 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. Read more: Histories of Post-Digital: 1960 and 1970s Media Art SnapshotsJussi 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. At a Distance. Precursors to Art and Activism on the InternetEdited by Annmarie Chandler and Norie Neumark.2005 Massachusetts Institute of Technology, 2005.

Daniel Peace: Сrypto Art is like the Wild West

Acronyms:Daniel Peace — DPAnastasiia Spirenkova (TAEX) — AS 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. NFT's give control back to the artists for work sales and virtual exhibitions. 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. It’s a pinnacle moment at the minute. 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. It's like the Wild West. 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. Helin Sahin, Sanguine Spirit, Available to purchase on TAEX 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. NFT technologies may provide a next step in the evolution of archiving and provenance. 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. Tatsuru Arai, "FaceOfUniverse" Korea2, Available to purchase on TAEX 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. With these artists we are like-minded in our politics and our sense of darkness and beauty. 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.

TAEX Digest: July 2024

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

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 subscribe to our newsletter. ETH ETF is live! After a long legal and political discussion, the ETH ETF is finally live! 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. Bill Viola dies at 73 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 The Art Newspaper. AI, digital art market and technologies at Christie’s Art+Tech Summit 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 ARTnews. Was it worth it? A pioneering NFT trading platform is to be shut down two years after being acquired by eBay 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 & 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 NFT Now. Olympics in Paris: is the art world suffering? Paris art galleries are dramatically influenced 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. Last but not least, TAEX has its own intense agenda without any summer breaks: Error#0 by Francesco D'Isa 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 our latest collection. We promised to provide you with guidance once you purchased a digital artwork. In this article 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 it can solve social issues. 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. Not subscribed to the TAEX Newsletter yet? Click the link and stay in the loop of current news and upcoming collections! Cover image: ARTnews, SHANTI ESCALANTE-DE MATTEI