Curated by Karie Liao, “Geofenced” opens at (and around) Toronto’s InterAccess. Presented on the artist-run centre’s steps, at a local parkette, microbrewery, and other sites, the show features AR works by Cat Bluemke & Jonathan Carroll, Scott Benesiinaabandan, Jenn E Norton, and Adrienne Matheuszik. The latter’s Proxima-B (2021, image) superimposes scenes from an “extraplanetary resort … free from the troubles of the earth” in the InterAccess gallery, at a nearby parking pad, and on a billboard.
Twitter user and Blockchain sleuth Zuwu shares an incriminating paper trail revealing a senior employee of the NFT platform OpenSea has been engaging in insider trading. In a Twitter thread they list a number of suspicious transactions from wallets connected to OpenSea Head of Product Nate Chastain—indicating purchases of NFT projects right before they were featured on the site’s homepage, and then corresponding sales when the price spiked. While unscrupulous NFT collectors engage in a range of dubious practices including scalping, bribing miners, and gas wars, this is the first instances of a major NFT platform employee being caught red-handed.
Huidi Xiang’s “How to Be an Artist in Minecraft” opens at Ender Gallery. A sculptor who became obsessed with the routine (and implicit labour) of Animal Crossing during the pandemic, Xiang’s Ender residency culminates with the presentation of a spreadsheet of every act she performed in Minecraft over a three-month period. Building construction, skin customization, tutorial creation, every minute of her residency—and for those that can’t visit in-game, note the complete log on the artist’s website.
“My Future is not a Dream,” a show presenting Cao Fei’s early works opens at Espace Louis Vuitton München. Dealing with the virtualization of place, labour, and leisure, selections include RMB CITY: A Second Life City Planning (2007, image), which depicts the collision of Chinese urban life with immaterial space, and Imbalance 257 (1999), which presciently imagined youth “subjugated by entertainment … disguising themselves as manga or videogame characters to play out a fictional life.”
Focusing on stewardship, eco-aesthetics, and inter-species communication, “gREen” opens at Munich’s Muffatwerk. Curated by Jens Hauser and featuring Adam Brown, Thomas Feuerstein, and Agnes Meyer-Brandis, the show is presented as a garden, foregrounding climate politics in the art-science space. Meyer-Brandis’ ONE TREE ID (2021, image) allows visitors to don a perfume synthesized from a tree’s unique Volatile Organic Compound signature and, once scented, engage in biochemical conversation with plants.
For the New York Times, James Gorman profiles a geneticist team led by Christopher B. Kaelin and their recent findings in cat coat pattern formation. An instance of reaction diffusion (formulated in Alan Turing’s 1952 paper “The Chemical Basis of Morphogenesis”), embryonic analysis of 200 kitten litters identified Dkk4, the gene that acts as an inhibitor to create “spots, stripes, and everything in between,” and how tissues lay the groundwork for those patterns—before hair or hair follicles appear.
Alex Schweder’s “The Sound and the Future” opens at Clifford Gallery in Hamilton, New York. Its name borrowed from its lone work, the exhibition offers a fun glimpse into Schweder’s world of “performnace architecture”—dynamic architectural and sculptural forms. Here, a made-to-order very Detroit installation, first shown at Wasserman Projects (2016, image) sways again; a homage to Motor City’s dance music genre, silvery nylon inflatables undulate, animated by blown air, to a slowed down techno soundtrack.