The TRANSFER Data Trust reports the record-breaking acquisition of Carla Gannis’ digital triptych The Garden of Emoji Delights (2014)—a new high for womxn artists on the Tezos chain. Sold for 32,221 XTZ, or $45,000 USD, the NFT of the internet-age take on Hieronymus Bosch’s iconic 16th-century altarpiece comes with the original, 4 metre-wide print Gannis premiered at her 2014 TRANSFER gallery solo show (image). Instead of biblical immorality, the piece depicts the ‘sins’ of contemporary consumer culture.

Aram Bartholl bids farewell to his 2010 Google Streetview performance 15 Seconds of Fame, after the company updated its severly outdated Berlin image set. In October 2009, the German artist interrupted his coffee break on Borsigstraße to run after a passing Google Streetview car, creating the whimsical chase sequence that’s been online since the service launched in Germany in 2010. “15 Seconds of Fame turned into almost 15 years,” Bartholl jokes on Instagram. “The work is finally complete.”

German media artist and Post-Internet purveyor Aram Bartholl unveals Delusion And Survival (2023), a collection of custom-made steel paper clips in @ sign form. Created in collaboration with The Internet Shop for an upcoming group show at Berlin’s A:D: Curatorial, the whimsical artifact fuses two concepts whose overlapping histories permeate contemporary digital culture—the paper clip that lives on in our interfaces and as a metaphor for AI dystopia, and the now ubiquitous @ sign, first introduced in 1971.

Art blogger Régine Debatty reflects on Éva Ostrowska’s series of post-internet wool tapestries, currently on view at the “Swipe Right! Data, Dating, Desire” exhibition at iMAL, Brussels (image: I am not the only one wondering…, 2019). Rather than using craft for romantic commentary, the French mixed media artist “holds a facetious and slightly cruel mirror to our new dating habits,” notes Debatty. “Her woolly compositions lay bare our insecurities, little infamies, and anxieties.”

Arno Beck’s not one to let a good pun go to waste: with “Don’t Put All Your Becks In One Basket,” the Bonn-based postdigital artist shows a new series of pen plotter drawings at Schierke Seinecke in Frankfurt, Germany; his third solo show with the gallery. The drawings, colourful bursts of pixels and compression artifacts that reference videogames and image processing software from the 1980s and ’90s, are presented ‘sitting’ in iconified shopping carts Beck drew on the gallery wall—one Beck per basket.

After excursions into lenticulars and tapestries, Dutch-Brazilian artist Rafaël Rozendaal renders a new series of digital drawings (reminiscent of his trademark browser canvases) on enamelled steel plates at Amsterdam’s Upstream Gallery. These Mechanical Paintings explore “the abstraction of everyday objects and scenes through the lens of the early internet’s innocence and optimism,” contrasting the heavy, long-lasting material with Rozendaal’s spontaneous and playful compositions.

A hat tip to the star-studded browser space of Olia Lialina’s net art classic Some Universe (2002), the 11th edition of Eastern Bloc’s Sight + Sound Festival opens with the online exhibition “Some Universe—Internet Spaces in a Postdigital World.” Featuring 13 VR, video, and net art pieces by AAA, Banz & Bowinkel, Ronnie Clarke, Mara Eagle, Jiwon Ham, Jakyung Lee (image: Exodus, 2020), and others, curators Erandy Vergara and Tina Sauerländer explore how the pandemic shift online has changed our sense of space.

As part of an Inke Arns-curated show on Galerie Barbara Thumm’s New Viewings online platform, exhibiting artist Aram Bartholl installs the first-ever USB-C Dead Drop outside the gallery’s Berlin exhibition space. An ongoing series of interventions launched in 2010, Bartholl embeds empty USB flash drives into the urban landscape to encourage spontaneous and anonymous acts of peer to peer file sharing. To date, over 1,400 of these ‘dead letterboxes’ have been set up in dozens of countries around the world.