A solo show featuring Beeple’s HUMAN ONE opens at M+ Hong Kong. Better known for its $29 million price tag than its gravitas, Mike Winkelmann’s wrap-around 16K video sculpture depicts “the first human born in the metaverse.” A beneficiary of the 2021 bull market and NFT boom, the work is now touring globally despite the fact the market that launched Beeple has tanked. Fittingly, Winkelmann will deliver a keynote titled “Beeple Crashes the Art World,” the day after the opening.
“Chronos/Synthesis,” a solo show by Canadian artist Oliver Pauk, opens at Toronto’s J Spot Gallery. For the window gallery show, Pauk presents an array of 3D printed, CNC milled, and hand carved sculptures alongside video and AR works. The selection underscores two driving interests: rendering pure digital form, and his efforts “to replicate the patterns and aesthetics of automated, computerized processes” in more traditional mediums (image: Object #90, 2017).
The 6th edition of the International Digital Art Festival & Biennial (BIAN) opens at Arsenal Contemporary Art Montreal. Co-curated by Alain Thibault and DooEun Choi, the show’s theme of ‘mutation’ is at play in splashy works including Jonathan Schipper’s Slow Motion Car Crash (2009, image) and Bill Vorn’s robot burlesque Copacabana Machine Sex (2018, image upper right). Yunchul Kim, Ying Gao, Rafael Lozano-Hemmer, Lu Yang, and 21 others contribute works.
“ON AIR: The Sound of the Material in the Art of the 1950s to 1970s,” an exhibition excavating the pre-history of contemporary sound art, opens at Kaiser Wilhelm Museum in Krefeld, Germany. Assemblies, experiments, and media by Joseph Beuys, Bruce Nauman, David Tudor, and co-presenter Museum Tinguely’s namesake Jean Tinguley, demonstrate how “sounds, tones, noises, signals, and voices became ‘substantial’ sculptural material” in the second half of the 20th century.
A project of Wm (Bill) Perry, “LOST & FOUND Telidon art of the early ’80s,” opens at Toronto’s Cameron House. Presenting limited edition prints of videotex art made on Telidon (1978-85, Canada’s precursor to the world wide web), Perry resurfaces both an overlooked early digital art movement—predating net.art by a decade—and the burgeoning creative networks that founded Canada’s first media and electronic art-focused artist run centres (image: Robin Collyer Cameraman, 1981).
“Unsupervised,” a solo show by artist Refik Anadol opens at New York’s MoMA. Working with the metadata for the museum’s 130,000 artworks, the Turkish-American artist’s eponymous AI model (image) fluidly morphs through the latent aesthetic space of the collection. Viewers revel in flowing transitions between myriad possible artworks, the experience subtly intensified by camera, microphone, and local climate data-informed real-time interactivity, tweets Anadol.
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