NfTNeTArT. From Net Art to Art NFT
Have a look at our current exhibition „NfTNeTArT. From Net Art to Art NFT“ – a cooperation between panke.gallery and OFFICE IMPART.
The exhibition NfTNeTArT. From Net Art to Art NFT brings together nine international artists that use algorithmic or generative systems as their artistic language. Their tools are digital codes and automatisms, which manifest themselves in a variety of unique and fascinating aesthetics.
In the confrontations of the just very recent technologies and blockchain developments, the artists’ strategies range from more aesthetic or narrative, critical or almost performative investigations and they equally investigate the limits and possibilities of NFTs alongside each other.
The exhibition will feature works ranging from early to very current works, developed specifically for the exhibition and therefore showcasing a diverse range of generative art in the context of Net Art’s history. The exhibition will create a dialogical environment in which classic network phenomena and cutting-edge technologies will interact.
Works by Kim Asendorf, LaTurbo Avedon, Sarah Friend, LIA, Jonas Lund, Rhea Myers, Rafaël Rozendaal, Cornelia Sollfrank and Harm van den Dorpel will be on show.
digtially hosted at jpg.space
powered by ZORA
Online Exhibition at jpg.space
Have a look here: jpg.space
Eiditon of 256, 0.25 ETh each
Sabotage pictures the constant fight of order versus chaos. It takes shape of a series of real time animations that move pixels in a simple but oddly surprising way. Central to the animation are various sets of patterns such as grids, lines and gradients that are arranged on the canvas to create an initial state of order. The rows start to shift to the left and right and in the middle of the canvas, the 'saboteur' is shifting pixels from the top to the bottom to manipulate the order of the patterns. The process runs endlessly and mixes pixels into new compositions while also restructuring the order on its edges.
Each work has been composed by the artist via parametric settings in a web tool, coded by the artist himself. Additional to the Main Series there is a limited edition Custom Series that will be created in a video chat with the artist and the collector, where the collector is invited to influence the artist's decisions and the outcome.
As final act, the Editor itself is offered for minting. The owner of the Editor will gain control over the main series and can be a 'saboteur' while being able to alter the artworks. The initial state of each artwork is safely preserved and can be recovered by the editor's owner or artist.
Kim Asendorf, 2022
NFTs are available for minting on the Ethereum blockchain via a custom smart contract written by the artist. The MetaMask wallet is required to connect and mint directly from this website. Minting starts on Wednesday, 09.03.2022, 20:00 CET.
If the Editor has not been minted within the next 24 months, it will be disconnected from the main series and become a standalone tool that will be auctioned. Eventually the entire project will move over to IPFS.
Kim Asendorf is creating abstract visual systems, conceptually set and realized in algorithms, that are open for a wide range of interpretations. He is working on a per pixel level to create worlds, that mix simplicity with complexity, that never sleep, that can put the viewer in a mesmerizing state. He loves to experiment, is driven by curiosity and finds satisfaction when the results of his work surprise himself. With roots in Net Art, he likes to keep his work easily accessible and the Internet is his favorite canvas.
Kim is widely know for the creation of a Pixel Sorting algorithm he made Open Source and that has been used by thousands of artists and designers since 2012. He created image file formats as work of art or the first animated GIF sent into Deep Space.
New Sculpt, 2013
„New Sculpt“ is a series of dramatically detailed polygonal 3D structures.
The process has been to reinterpret photographs using various 3D rendering tools. Returning to the now-aged Second Life platform, LaTurbo Avedon used the process of importing sculpt maps or ‘sculpties’ as a way to look at images differently. Where the rendering engine is anticipating a prepared sculpt map, which often looks like a smooth gradient of several colors, LaTubo is feeding it a much more complicated sequence of colors when giving it a photographic image. Each imported image has its own conversion to a three-dimensional shape. The resulting objects are often duplicated and arranged to create new formations.
For this exhibition, the artist has minted a selection of the 3D structures as NFTs.
LaTurbo Avedon is an avatar and artist, creating work that emphasizes the practice of non-physical identity and authorship. Avedon has spent the past decade developing a body of work that illuminates the ever-growing intensity between users and the virtual, pursuing creative environments that deepen the meaning of immaterial experiences. They curate and design Panther Modern, a file-based exhibition space that encourages artists to create site-specific installations for the Internet.
Lifeform Display Suface #1, #2 + #3 (First Generation), 2021
Display 18 × 12 × 10 cm
2.500 € (net), each
Lifeforms are NFT-based entities that need regular care in order to thrive – without proper care, the lifeform will die and its corresponding NFT will disappear. How do you care for a lifeform? Within 90 days of receiving it, you must give it away. By interjecting unexpected dynamics into a smart contract system, Lifeforms invert the typical logic of NFTs, which is to buy, hold, and hope it increases in value, and instead asks the „owner“ to become a custodian or caregiver that must consistently maintain or care for their NFT in collaboration with others. Lifeforms as an artwork exists on two levels: one as an artist edition of NFTs, and another as a series of relations between the carers/collectors of lifeforms, that is intangible, ephemeral, and in a deliberately ambiguous relationship to the market.
Sarah Friend is an artist and software developer, specializing in blockchain and the p2p web. She is a participant in the Berlin Program for Artists, a co-curator of Ender Gallery, an artist residency taking place inside the game Minecraft, an alumni of Recurse Centre, a retreat for programmers, and an organiser of Our Networks, a conference on all aspects of the distributed web. Recent exhibitions include: Contingent Systems, Illingworth Kerr Gallery, Calgary; Proof of Stake, Kunstverein in Hamburg, Hamburg; Breadcrumbs, Galerie Nagel Draxler, Cologne; Proof of Art, Oökultur, Linz; Salon Solaire, suns.works, Zurich; Panarchist's Dinner, Floating University, Berlin.
drawing machine x4, 2022
Edition 100, 0.22 ETH each
see the whole work series here
The code behind the “drawing machine” series dates back to 2004, and was originally developed to create design elements for the cover of Portuguese musician Vitor Joaquim’s album “A Rose is a Rose”. For “drawing machine x4” LIA has further iterated the code, modifying it to such an extent that the visual outputs that it now produces bear scarce resemblance to those from the original version. The underlying mechanism, however, remains the same: elements are pulled around the canvas by invisible leads, tracing complex patterns that form in the interaction between each element’s internal and external motion.
Austrian artist LIA is considered one of the pioneers of software and net art and has been producing works since 1995. Her practice spans across video, performance, software, installations, sculpture, projections and digital applications.
The artist’s primary working material is code, which consists of LIA translating a concept into a formal written structure that then can be used to create a “machine” that generates real-time multimedia outputs. Since her concept is fluid – opposed to the formality of the written code that requires engineered precision – the translation process between machine and artist can be viewed like a conversation. The process is repeated until LIA is satisfied with the machine’s interpretation; at which point the generative framework, in which the artwork can develop, is considered finished.
LIA’s works combine traditions of drawing and painting with the aesthetics of digital images and algorithms, characterised by a minimalist quality and by an affinity with conceptual art. She focuses on the translation of certain experienced principles into abstract forms, movements and colours in order to allow the viewer to explore the same on a subconscious level.
LIA lives and works in Vienna.
What You Get Is What You See, 2022
64 pieces, 0.25 ETH each
Every visitor to https://whatyougetiswhatyousee.net/ browser size, collected, and played back sequentially, ending with your own. A spin-off of „What You See Is What You Get“ (2012), with the possibility to mint your own style of all the different captured browser windows. Once minted, the HTML structure will remain the same for all the NFTs, only the style changes.
Every time you reload the home page the Style ID updates. You can also put in your own Style ID. Only one NFT can be minted with a specific Style ID. When you mint, the style that you see becomes your NFT’s style.
Once all the 64 pieces have been minted, the page will stop collect frames and move to IPFS.
Jonas Lund (1984, Sweden) creates paintings, sculpture, photography, websites and performances that critically reflect on contemporary networked systems and power structures of control. His artistic practice involves creating systems and setting up parameters that oftentimes require engagement from the viewer. This results in performative artworks where tasks are executed according to algorithms or a set of rules.
Lund questions the traditional power structures that characterize the contemporary art world, as well as the process of making optimal strategic decisions. Through his works, Lund investigates the latest issues generated by the increasing digitalisation of contemporary society like authorship, participation and distribution of agency. At the same time, he questions the mechanisms of the art world; he challenges the production process, authoritative power and art market practices.
Tokens Equal Text, 2019, Ethereum ERC-998 and ERC-721 tokens
Edition of 32, 8 ETH each
Tokens Equal Text, 2019 #20
Tokens Equal Text, 2019 #22
Tokens Equal Text, 2019 #28
Tokens Equal Text, 2019 #29
Tokens Equal Text, 2019 #30
Tokens Equal Text, 2019 #31
„Tokens Equal Text“ consists of an edition of 32 Ethereum ERC-998 composable tokens each of which owns four child ERC-721 non-fungible tokens. The ERC-721 tokens have short descriptive texts encoded as their ID numbers. This makes the ERC-998 tokens compositions of those text fragments. The content of that composition can be decrypted if the viewer knows that the token IDs can be misread as text rather than numbers.
That content can be further decrypted if the viewer recognises that these fragments of text describe key visual tropes of the Vaporwave movement. Vaporwave is a 2000s Internet-based musical and cultural genre devoted to the sampling and ironization of muzak, digital kitsch aesthetics, and consumerist signifiers of wealth and property, from the the long 1980s. Its status as appropriation art puts it in a precarious relationship with the ownership of the sources of its tropes as intellectual property. The question of whether a given trope fits the aesthetic of Vaporwave is key to the genre's accompanying discourse, with canonical tropes establishing the content of that aesthetic. A composition of textual references to these canonical tropes at least admits of the question „is this aesthetic“? Which is the key question of art and art criticism, however crookedly reflected.
Using Ethereum Web3 browser app code to displaying the texts of tokens in visual compositions using „aesthetic“ (in the Vaporwave sense) typography and colours nudges along a positive answer to that question, and thereby to decryption of the work’s content. It also prevents the recovery of that content from being a mere puzzle. The easy recovery of the work’s content foregrounds the presence of compositional and indexical structure that reward contemplation.
Rhea Myers is an artist, hacker and writer originally from the UK now based in British Columbia, Canada. Her work places technology and culture in mutual interrogation to produce new ways of seeing the world as it unfolds around us.
81 Horizons, 2021
Edition of 81, 0,81 ETH each
81 Horizons is a collection of 81 fully on-chain landscapes by artist Rafael Rozendaal. Each work consists of a unique combination of two coloured rectangles, hand picked by the artist. Released by Upstream Gallery, smart contract programming by Alberto Granzotto, produced by left gallery.
Rafaël Rozendaal’s artistic practice comprises NFT's, websites, installations, prints and writing. His work takes shape through a range of transformations – from movement into abstraction, from virtual into physical space, and from website to print – with all of them informing each other. All of his works have one thing in common: they stem from a fascination with moving images and interactivity in its most basic form. Although Rozendaal is best known for his artworks in the form of websites, he sees no hierarchy between his websites and physical works: ‘The experience that you have when you are at home using Abstract Browsing on your computer is as authentic as viewing one of the tapestries in a gallery. From my point of view: the Internet is like a waterfall, an exhibition more like an aquarium’.
//OG flowers//, 2022
Edition of 100, 0,25 ETH each
see the wohle work series here
//OG flowers// is a rare collection of early net.art.
The 100 imgs were created by an anonymous user of the net.art generator exactly on 22 May 2010, a historical date in the genesis of crypto currency.
They belong to the anonymous-warhol_flowers series and are part of the on-going artistic research project “this is not by me” (since 2004) in which the artist explores questions of digital authorship, originality, copyright and ownership exemplified by the iconic Warhol flowers.
Cornelia Sollfrank (PhD) is an artist and researcher, living in Berlin (Germany). Since the early days of the World Wide Web she has explored the potential of the digital for rethinking traditional aesthetic categories while also searching for innovative forms for aesthetic and political transformation. Recurring subjects in her artistic and academic work in and about digital cultures are artistic infrastructures, new forms of (political) self-organization, critical authorship, aesthetics of the commons, and techno-feminist practice and theory. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework and led to her academic research. In her PhD “Performing the Paradoxes of Intellectual Property, ” Cornelia investigated the increasingly conflicting relationship between art and copyright. This led to her research project “Creating Commons” (2017–2019) based at the University of the Arts in Zürich. In her current research “Latent Spaces. Performing Ambiguous Data, ” she investigates the potential of social media for political manipulation.
Recent publications include The beautiful Warriors. Technofeminist Practice in the 21st Century (minorcompositions.org), Aesthetics of the Commons (diaphanes.net) and Fix My Code (with Winnie Soon) (eeclectic.de) – all open access. Homepage: artwarez.org
Harm van den Dorpel
Harm van den Dorpel
Death Imitates Language, 2016
Death Imitates Language -Troppie Jackpine Zikowww
Death Imitates Language – Jedjenn Ybhrjgwi Xbcam
Death Imitates Language – Avamarie Biggnigg Flyfishi
A genealogy exploring the emergence of meaning in generative aesthetics using micro feedback and a genetic algorithm. It consists of this website and a series of custom constructed wall pieces.
This website contains an enormous population of speculative works. Each of these works is generated by inheriting sequences of information — a sort of DNA — from its ancestors. These ‘genetic’ codes determine which elements appear in the work and in what form or constellation. The population changes over time by means of subjective ('natural') selection by the artist: micro feedback or 'likes' about which of the works can live on, which ones should die, and who can procreate. This feedback, combined with visitor statistics and simulated aging, causes the genetic program to mutate and (arguably) improve over time.
Harm van den Dorpel is an artist dedicated to discovering emergent aesthetics by composing software and language, borrowing from disparate fields such as genetics and blockchain. Also he co-founded . Based in Berlin.