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Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Monsters Between Worlds installed in Venice as part of Strange Rules at Berggruen Arts and Culture’s Palazzo Diedo @berggruendiedo 04.05-22.11.2026, Curated by Mat Dryhurst @matdryhurst , Holly Herndon @holly_herndon , Hans Ulrich Obrist @hansulrichobrist and Adriana Rispoli @adrianarispoli_curator , featuring many of my new machine paintings alongside a masterwork from 1987 by Harald Cohen.
This installation brings together a conversation prompted by the curatorial team with thinker/writer Venkatesh Rao @vgururao , threads of my recent work looking at the confluences between Italian Futurism and Defence tech as outlined in Epic Fury, the text I wrote (with vital help and feedback from Alex Estorick @alexestorick ) for this month’s Artforum @artforum edited by Rachel Wetzler @rachelwetzler and Daniel Wenger.
A special thanks to everyone who helped with bringing this together – Julija Zaharijević@julijazahahaha , Jakob Sitter @jakobsitter , Harris Rosenblum @harris.rosenblum , Moya Lawson @mlawsy , Tyler Jackson @tylerjackson.space in the studio, all those at Berggruen Arts & Culture especially Pietro Lunetta and Luca Palandri for production magic. Conversations and feedback from countless others including Nina Franz @nina__franz , Yngve Holen @yngveholen , Maria Paula Fernandez @maria_____paula____ , New Models @newmodels_io , Carly Busta @cbcb2000 and the loan of the Cohen from Neil Hutchinson from Fellowship @fellowship.xyz
https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
Final day today of my 3 day exhibition “Forces of the Unknown” at the J W Marriott hotel in Stauffenbergstrasse 26, with its view onto the German Resistance Memorial Center, inside the Ministry of Defense campus.
The show launches my new series of machine-produced paintings mixing contemporary images from Defense Tech companies with AI trained on those images mixed with Italian Futurist images.
Thanks to @kraupatuskanyzeidler who presented this exhibition with me and to various artists who were instrumental in developing the tech and the series with me, including @harris.rosenblum , @julijazahahaha , @tracy_hjz@inte_n_t and countless others in feedback and discussion.
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
OPTIMISM at the Auckland Art Gallery @aucklandartgallery commissioned by @contemporary_benefactors, curated by @natashaconland was in the museum’s atrium for most of 2024.
Responding to repeated calls for optimism from technologists, and to the 🇳🇿🇺🇸company @rocketlabusaRocket Lab’s visibility in the powerful space industry, OPTIMISM overlaid a complex AR collage onto giant 3D prints interpeting drawings from two of Rocket Lab’s patents.
The patent drawings became space colonies - reinvigorating popular old and new fantasies of new lands in space.
OPTIMISM would not have been possible without the AR wizardry of @easisi (with help from @jakobsitter ), the incredible musical score of @villehaimala, and the insane 3d print and engineering capacity of @palmerautomation.nz .
A special thank you also to @kirsten.e.lacy #scotteverson @hutch.d.wilco and all the countless others who supported the project at the musuem.
Forever grateful for the steadfast support of @michaellettgallery @michaellett and @andrew__thomas_ .
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
DUNGEON this past February at @petzelgallery , New York, was the most substantial presentation of new artworks I exhibited in 2024. It brought together objects made about the imaginary that dungeons have given virtual space.
One of the most important idioms for online life from gaming to metaverses, dungeons continue to both inspire and repel. The exhibition included artworks inspired by objects and images from games like @dndwizards , Mall Madness, @heroquest2.0 and defense tech companies like @anduril_industries .
Among the intense reactions the exhibition, Dungeon, prompted a debate between the NyTimes and Palmer Luckey about what gaming means culturally. (See last slide for Palmer’s response to Travis Diehl‘s in depth review).
Thanks again to all at @petzelgallery including Friedrich, @libbybuck, @kat.herriman and all who worked on this with me in my studio and beyond.
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
A new exhibition, ‘Dungeon’ and a group show I curated, ‘Multi User Dungeon (MUD)’ open tonight at Petzel, 67th st, NYC– on view until March 30th.
Both shows reflect on the Dungeon as an idiom, often influential in online world design since computers were networked. The group show includes works by inspirational artists who have made work from the 60s until today that somehow to me describe the frothy space between online worlds and the afk, screens and objects – as those worlds forever morph closer together.
‘Dungeon’ in particular draws a line from Dungeons & Dragons to Defense Tech - this year’s growth industry. It’s a partial cultural history of where the virtual meets the kinetic, from #Heroquest and #MallMadness through @anduril_industries .
My new artwork in the video post was made using a tshirt I bought from a @grimes ebay wardrobe sale a few months ago, and a power plug strip that used to be at the former Twitter offices, until Elon liquidated it along with other office dead stock last year.
special thanks to all the artists and lenders for the group exhibition, @petzelgallery @libbybuck
the other galleries involved @kings_leap @saras.worldwide #47canal @ulrik.nyc @galerie_neu @annelyjuda @postmastersgallery
#etoy.corporation #ÖyvindFahlström @genevieve_goffman #JackGoldstein @matthiasgroebel @peterhalleystudio @yngveholen @tishanhsu @joshklinejoshkline @ham_m2a #sethprice @harris.rosenblum @thoughtsondeck #SuzanneTreister @anickayi_studio
the people from and adjacent to my studio @lenam.arie @afgin @chotenius #marianstindt @mjmorriss @jakobsitter @leo__elia
and @maria_____paula____
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Read Write Own opens tonight @altmansiegel in San Francisco - combining my Metaverse Landscape paintings of digital land plots with new sculptures made from “Dry Erase Room Divider Whiteboards” formerly used at Twitter before being auctioned off by Elon Musk at the Twitter clearance sale. I laser-cut into the whiteboards with a “plus” symbol an enlarged version of the plus button used to post tweets, both on Twitter and now on X.The whiteboards-turned-sculptures are hung now on walls, dividing the paintings and creating levitating “cublcles”.
Also today from 4pm PT we’ll host a discussion including @martingrasser (artist and designer of the OG bird Twitter logo), the Washington Post’s Deputy bizz editor for tech & personal finance Christina Passariello & AI obsessed philosopher and entrepreneur @rees.tobias
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
Metaverse Landscapes' first full exhibition opens Saturday at the Kunstverein Hannover. Paintings of five metaverses, depicting their land property ownership tokens, each with their own pictorial language: The Sandbox @thesandboxgame , Voxels @cryptovoxels, Otherside @othersidemeta, Somnium Space @somniumspacelatam and Decentraland @decentraland_foundation .
Each landscape synthesises colonial painting and various modernist tropes with layers of oil paint and UV ink-jet, layering up in very gestural, material surfaces. Incredible advances in formats for UV printing enable me to print layers of ink-jet over layers of wet oil paint, working back into the fusion of print and paint in a weird digital/analogue powdery combination, so appropriate for depicting the intangible/tangible "new" worlds of these emergent metaverses. Early settler meets early adopter.
All paintings come with new tracking tokens that point to the owners of the land each painting depicts, viewable by scanning the QRs on the side of each canvas.
Thanks to the curatorial invitation of @therealchristophplatz , the incredible @kunstverein_hannover and team, my team in the studio for this project @noemi_lia2000 , @chotenius , Marian Stindt, @jakobsitter for the token contracts + deployment and our patient master of print, Silvio Thiede.
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
‘Metaverse Landscapes’ – a new series of oil and UV print on canvas paintings linked to NFTs – are gridded landscapes depicting existing digital real-estate tokens from ‘Decentraland’, @decentraland_foundation, the most visible metaverse land project on Ethereum. Each painting is accompanied by a new dynamic ‘Title Deed’ NFT which I designed with the assistance of @jakobsitter . These ‘Title Deed’ NFTs point to the owners of the physical painting, and the original owner of the Decentraland token depicted. These NFTs will reflect ownership changes in real time as they happen, pointing to the new owners’ wallets if/when the tokens change hands. While the paintings are faithful representations of Decentraland land parcels (or, ‘metaverse landscapes’), they also resonate with earlier traditions of landscape painting and abstraction, which were sometimes used to naturalize different kinds of ownership claims in the past. They are depictions of abstracted land, with forever-linked series of receipts, cascading land deeds, framed with a new Ethereum wallet containing the dynamic ‘Title Deed’ NFT.
The series launches Monday in the group exhibition ‘Peer To Peer’, curated by @tinariversryan with the @buffaloakgartmuseum and @feralfile . The following week, others in the series will be on show at @artbasel Miami Beach, as part if a solo Meridians booth, ‘Virtual Property’ with @petzelgallery and @altmansiegel
Dotcom bust 👔📉 companies from 2001 get reanimated🧟♀️📈 in the commercial heart of London tonight and every Sunday until December. Dotcom Séance, my nft project collaboration with @guile.work, launched last December with Folia.app @billyrennekamp @refilled_aesop_bottle , is being reheated by the “Outernet” @outernetarts in the very spectacular “Now” building at Tottenham Court Road with a new soundtrack by @villehaimala . Time and space are warped forever. Special thanks to @marcobrambillastudio, @ttremlett , @robo_wagner_graphics , @ruthywaters @glassworksvfx
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
Made some quilted Patagonia adventure wear to show in Australia – a hiking rugby jersey and some hiking shorts – out of scarves from the estate of Brigid Berlin (Warhol superstar, Hearst media empire), combined with a knitted vest from Bernie Madoff’s “Madoff Securities” and vintage Cannibal Corpse, Metallica and Ramstein tshirts. The shorts I worked back into come from an special edition Patagonia released prior to the 2020 US election, with a tag “vote the assholes out” sewn into the label. The frames are modeled after evidence frames used in US courts. “Resident 3” and “Resident Shorts 1” will be on show in the upcoming Sydney Contemporary @sydneycontemporary , 8 – 11 September, with @fineartssydney and @michaellettgallery
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
More Creation Stories: Portrait of Palantir cofounder Alex Karp, made from layers of a Palantir image identification patent, followed by beautiful collages produced by Karp’s mother, Leah Jaynes Karp, in 1982 in response to the Atlanta murders of 1979-81. A key theme in Creation Stories is intergenerational knowledge sharing, and value creation through social graphs - used by Palantir Technologies and families alike. Here also a special detail of a painting produced by @shanecotton_ gesturing towards his own intergenerational knowledge and family histories. Thanks for the loan of Karp’s works by the @highmuseumofart Atlanta.
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.