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.

“A dreamy Edisonian wonderland awaits, where a rolling landscape of electrical conduits and vintage-style lightbulbs undulates like waves, or like gentle hills or playground jungle gyms.”
– Art critic Shana Nys Dambrot, describing Nancy Holt’s Electrical Systems (1982) at Sprüth Magers Los Angeles. “It feels good to see this erasure being corrected,” Dambrot says of the inclusion of 1960s photo series by the land artist, noting similar work by Holt’s male peers has (historically) received more attention.
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“Abstain from romanticized post-rationalizations.”
– Software artist Karsten Schmidt, in “Personal Considerations for Creating Generative Art,” an itemized collection of methods and models to aid algorithmic creativity. Not a dogmatist, he notes his suggestions are “fluid, incomplete, and highly subjective.”
“…I am prone to circumnavigate video installations. Are monitors curved or flat, LED or liquid crystal? Power cords—are they a tangle, discreetly bundled, altogether hidden?”
– Artist and educator Sowon Kwon, sharing her rubric for evaluating the installation of video-based work, in an attentive review of Paul Pfeiffer’s Red Green Blue (2022) at Paula Cooper Gallery

“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).

Q
“Handles like ‘Gorgon Horror,’ ‘The Wizard,’ and ‘Einstein’ were common. My brother’s name was ‘Blue Dragon,’ and his favourite colour was blue. My favourite colour was red, so I picked ‘Red Wolf.’ I liked wolves.”
– Journalist and tech historian Benji Edwards, on the 1992 kickoff of his “secret life as an 11-year-old BBS sysop,” in a memoir about his (pre-World Wide Web) introduction to online culture

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.

“We can keep suppressing the wages of Uber drivers—keep them below the cost of living—because they can always supplement by renting out their apartment on Airbnb.”
– Technology studies scholar Aaron Shapiro, describing the circular logic of worker exploitation under platform capitalism. Chatting about his latest article on dark stores and ghost kitchens, he describes the recent failure of several post-Amazon “flimsy logistical companies.” [quote edited]

“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.

“She represents us—an idealized us—with all of our body dysmorphia and best and worst qualities, warts and all. That’s who we are as consumerists, which is filled with those contradictions.”
– Sculptor Tom Sachs, discussing Barbie, whom he interprets as “a spaceship, because she’s a vessel for genetic code.“ Beyond his recreation of the iconic blonde, other ‘spaceships’ in his eponymous current exhibition include the Titanic and the Technics 1200 turntable.

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).

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“It’s in our DNA to acquire paintings when the paint is still drying—acquire contemporary art when it is contemporary. That continues here: we’re exploring what work a museum can do in the blockchain space right now.”
– Buffalo AKG Art Museum Curator Tina Rivers Ryan, in conversation with Simon Denny, Sarah Friend, and Rhea Myers to mark the launch of “Peer to Peer,“ an NFT exhibition co-presented with Feral File

“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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