Set Sail Again

From March 26 to April 16, 2024 Independent & Image Art Space (Chongqing, China) presents the group exhibition “Set Sail Again”.

Independent & Image Art Space was founded by artist Fu Wenjun in 2008. Originally located in 501 Art Base, next to Sichuan Fine Arts Institute, one of China’s top art universities, we moved in 2023 to Jinshan Yiku Cultural and Creative Industrial Park in Chongqing. The new location signifies the launch of another journey. The first exhibition of 2024, “Set Sail Again,” presents various aspects of contemporary art, gathering artworks and different expressions of art from emerging to established artists, hoping to connect with a broad audience and facilitate exchanges between them. Embracing diversity and inclusiveness, we set sail once again, moving forward together.

Participating artists: Cherrie Yu, Chris Ohlson, Feng Dan, Fu Wenjun, Jing Han, Li Mao, Nero Cosmos, Palirina, Rebekah Okpoti, Sara Gevurtz, Tang Yiying, Wang Chengjing, Wang Maoyan, Zhang Linsong, Zhou Zixiong, Zhu Meilin

independentimage.org/set-sail-again

再次起航

2024年3月26日-4月16日独立映像艺术空间推出群展《再次起航》。

独立映像艺术空间由艺术家傅文俊于2008年创立，初期位于重庆市九龙坡区黄桷坪501艺术基地，这里毗邻四川美术学院，是重庆艺术生长最重要的区域；2023年搬迁至重庆金山意库文化创意产业园。新的地点意味着另一段旅程的扬帆起航。2024年的第一个展览《再次起航》呈现当下艺术的多种样貌，汇集从青年艺术家到资深艺术家的艺术作品和不同的艺术表达，希望与广泛的观众建立联系，促进彼此间的交流。海纳百川，有容乃大，再次起航，共同前行。

参展艺术家：Cherrie Yu、克里斯·奥尔森、冯丹、傅文俊、经涵、李茂、Nero Cosmos、Palirina、丽贝卡·奥克波蒂、萨拉·格乌兹、唐意盈、王成婧、王茅俨、张琳松、周子雄、朱美琳

展览画册 Exhibition Catalog

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Mars: The Red Mirror explores our connection to the planet Mars, synthesising 12,000 years of culture, art, history and science, from ancient times to the present day. Capturing our imagination like no other planet, Mars has fascinated humanity for millennia. Mars: The Red Mirror takes visitors on an expedition through history and across cultures to learn how our neighbouring planet has been seen as the god of war, a god of agriculture, an ancestral symbol for masculinity and a muse for science fiction. It features over 300 objects, including rare scientific manuscripts, historical artefacts, an authentic Martian meteorite, films and contemporary art. First shown in Barcelona in 2021, this new version of Mars: The Red Mirror turns its lens to Asia. It traces Mars’ ancient imprints in China, India, and Japan, and celebrates the legacy of pioneering Asian astronomers. It provides a glimpse into Mars’ portrayal in Southeast Asian pop culture, and also features work from Singapore’s Space Faculty, who champion space technology’s transformative potential in Asia.

Mars: The Red Mirror
25 November 2023 – 7 April 2024
ArtScience Museum, Singapore

Featured works:

Nero Cosmos, Marsonauts, 2023. AI-generated images, lightboxes // Luke Jerram, Mars, 2021. Inflatable sculpture, fabric, internal lighting, accompanying soundtrack // Michael Najjar, starbase, 2022. Archival pigment print, non-reflective Diasec plexi, aluminium frame // Florian Voggeneder, The Kepler Station, 2018. Fine art print, satin baryta paper, aluminium-dibond, wooden frame

Mars: The Red Mirror is curated by Juan Insua, and presented by ArtScience Museum and the Centre of Contemporary Culture of Barcelona (CCCB). The original version of Mars: The Red Mirror was developed and first exhibited at the Centre de Cultura Contemporània de Barcelona (CCCB) in Spain. CCCB is a multidisciplinary cultural centre that deals with the key challenges of contemporary society through different languages and formats, with an extensive programme that includes major thematic exhibitions, series of conferences and literary meetups, film screenings and festivals.

Mars in the Anthropocene

The climate emergency is our Sword of Damocles—a closely approaching disaster. It is a force that threatens every species on planet Earth, yet the irony lies in the fact that it is a product of human activity. We are facing the most crucial dilemma of our present and future: to preserve the one and only home we have ever known, or to migrate to outer space in search of ‘Planet B’. It is amidst this radical change in humanity’s awareness of our need for survival that Mars acts as a mirror to Earth, highlighting its very essence. This new chapter in humanity’s millennia-long adventure, to discover our place in the Universe, is marked by three main features: climate chaos, the slow process of learning to coexist with all species and the dream of a multiplanetary life.

Science & Fiction of the Red Planet

Towards the end of the 19th Century, science, based on reason, evolution and progress, became the driving force. As humanity’s fascination with the mythologies of the gods faded, the captivating and enduring stories persisted and grew alongside a changing society. Maps of Mars drawn by early astronomers were revolutionary but unknowingly, scientifically inaccurate. This, in tandem with real Mars-related scientific breakthroughs established the conditions under which science fact and science fiction collided, driving a narrative that continued to develop throughout the 20th Century. With humanity coming to terms with the trauma of two World Wars, alongside a Space Race that offered hope for an exciting, technologically driven future, Mars, the Red Planet, was catapulted into a golden age. In just over a century, Mars had become a cultural icon.

Mars in Ancient Cultures

This story begins in the distant past, at a point in history when planets were just mysterious spheres in the sky—regarded as mystical symbols rather than scientific discoveries. The dawn of Mars, the Red Planet, is as much a riddle as the origins of the universe itself. Hymns were sung and epics were written by ancient civilisations, who believed this celestial body contained an ancient energy, regarding it as a distant god. Through the centuries, humanity’s understanding and relationship with the Red Planet has evolved, yet across history and cultures it is consistently associated with and is represented as a god of war. Every culture has given it a different name—Nergal, Mangala, Harmakhis, Auqakuh and Ares are just a few—but it is most widely known by the title Mars

Exhibition ‘Yes to all’ from 20 November 2022 to 20 February 2023 on the screens of the Plenilunio Madrid and Vialia Estación de Vigo shopping centres.

The screens in shopping centres are large windows to information, advertising and cultural content. Yes to all opens the opportunity for international artists to rethink how the context in which their work is to be shown can condition the work itself, challenging the limits of software, distorting possible advertising realities and proposing new ways of looking at hardware.

The shopping centre is a space without limits, without rules, without truth, it is an empire of confusion where there are no prejudices, order or hierarchy; a space of saturation where the ambition for “more” and accumulation as an end in itself reigns. A place that organises ideas, invades our senses and seduces us, goes straight to our tastes and attacks our weaknesses. This space learns from us, knows us better than we know ourselves, expands into all areas of our lives (Rem Koolhaas, Junkspace, 2002). The shopping centre is, for many, the new public space. A sort of air- conditioned city that hosts some of our most important life experiences. The first moments of adolescent independence, the first aesthetic decisions, the first kisses, the first adventures. A non-place-home (Marc Augé, Non-places: Introduction to an Anthropology of Supermodernity, 1992) that accompanies us wherever we go. A safe, comfortable space, but at the same time saturated, crowded, where we are one among many, where the collective overcomes the individual. A phenomenological space, built from the senses. A place that satiates us, that excites us and that bores us.

In the same way, the Internet has become a perfectly organised space of disorder. In a few decades of history, the way we consume content on the net has been established. The structure is always the same; the formats are getting closer to each other. The same code and the same goal: a social vision and a need for visual recognition in less than a second. It is so fast because there is no night; everything is on and available 24 hours a day (Rafaël Rozendaal. Exhibition at Bonniers Konsthall, text by Marti Manen, 2016).

These two worlds come into contact through very thin devices that are superimposed on any material. A thin but very deep digital layer that covers the marble or the landscape and transports us to an immaterial reality, that of the 0’s and 1’s transformed into brilliant points of light that, together in thousands, become technological windows that take us to new, imagined places. These moving images augment the spaces and adapt their rhythm to the ever faster changing society. Images move, circulate in an infinite loop of screens, are copied and reproduced (Hito Steyerl, Duty Free Art: Art in the Age of Planetary Civil War, 2017). Digital baroque, technological mannerism, data- sensitive cornucopia. This liminal space, where anything can happen, is a place for art.

SMTH in collaboration with MMMAD Festival are proud to present the II International Open Call for Digital Arts under the theme ‘Yes to all’ in Plenilunio Madrid and Vialia Estación de Vigo shopping centers. In this second edition, they are looking for digital artworks that experiment with the space and format where they will be exhibited: SMTH’s large scale screens located in several of the most important shopping centres in Spain.

The call opened on 1 September 2022 and closed on 25 October 2022 at 23:59 (GMT+1). A total of 284 proposals were received, of which 132 were accepted as they fulfilled all the requirements of the call.

The members of the jury, composed of Claudia Maté, Doreen A. Ríos, Joel Blanco and an institutional vote (composed of a representative of SMTH and a representative of MMMAD), evaluated the works received independently.

On 3 November at 19:30 (GMT+1), meeting telematically, the different evaluations were discussed and the following 20 finalists were selected (in alphabetical order):

Álvaro Ruiz, España
Ben William Dawson, Reino Unido
Caesar Arenas, España
CROSSLUCID (Sylwana Zybura & Tomas Toth), Polonia / Eslovaquia
Debbie Ding, Singapur
Dorian Rigal Minuit, Francia
Isabel Merchante, España
Ivo Loyola, México
João Pedro Oliveira, Portugal
Juan Covelli, Colombia
Kinnari Saraiya, India
Lilia Li-Mi-Yan and Katherina Sadovsky, Turkmenistán – Rusia
Manuel Bueno, España
Manuel Lareo Fernandez, España
Nero Cosmos, Suiza
Robert Seidel, Alemania
Serafín Álvarez, España
Taichi Machida, Japón
Theo Ellison, Reino Unido
Yorgos Papafigos, Grecia

The jury highlighted the high quality and heterogeneity of these 20 finalists, deciding after a round of debate to award the five prizes and exhibition to the following 5 works:

‘You Press The Button’ de Debbie Ding, Singapur
‘The limit is a facade’ de Dorian Rigal Minuit, Francia
‘Objetos perdidos’ de Ivo Loyola, México
‘Moving cities’ de João Pedro Oliveira, Portugal
‘Pantalla-espacio’ de Manuel Lareo Fernández, España

The 2022 edition of GESTE Paris Meta_Contra_Verse Exhibition
curated by Shiva Lynn Burgos, the founder of GESTE, Camille Gajate and Georg Bak.
October 28 – November 27, 2022

Single Image Winners: Bart Krozelek, Alvin Ng, Jurgis Peters and Adam Starr
Single Image Shortlist: Anna66 Andrzejewska, Cristobal Ascencio, B. Bogart, Polina S., Synchrodogs and Mouneb Taim

Video / Moving Image Winners: Benjamin Freedman and Claudia Fuggetti
Video / Moving Image Shortlist: Nero Cosmos, Marte Hodne Haugen, Flavia Souza, Alex Verhaest, Ernest Wu and Charlotte Yao

For this 6th edition of GESTE Paris the curatorial team seek shape-shifting avatars, intangibilities, NFTs and minted physical representations thereof, WEB 3.0, A.I. generated, digital and blockchain based works, the metaverse, and verse in general as a lyrical contra post to dialogue with historical art concepts of imaginary worlds.

The accomplished international jury will select six winning entries to be included in the exhibition open to the public from October through late November and online in conjunction with Paris Photo. GESTE Paris will purchase at least one work from the jury selection which will be added to the GESTE permanent art collection. All shortlisted artists will be included in a screen presentation which will be displayed during the exhibition. The jury will look for works which address the theme of the exhibition, Meta_Contra_Verse, in a striking and original manner with a strong interplay between process, form and content.

The Open Call section of the exhibition receives submissions from all over the world and provides an opportunity to showcase new artists’ work that has not received the exposure it deserves alongside established artists. Beyond the exhibition itself there is a program for artist, curator and expert led private tours talks and events which will take place throughout the month of the exhibition. This opportunity echoes the very purpose of Paris Photo week and beyond by participating in its abundance and legitimacy among collectors, artists and academics.

Concept: Meta_Contra_Verse

“The future is already here, it’s just not evenly distributed.” William Gibson

GESTE Paris takes its inspiration from influential philosopher Vilém Flusser who described photography in terms of a philosophical action or gesture. Since his passing in 1991 the world of photography and image-making has expanded exponentially. Artificial intelligence is creating algorithmic hyper-interpretations, virtual and augmented reality let us explore worlds both real and simulated. Glitches in these systems are self-reflective and catalyse further creative opportunities.

What would Flusser say when confronted with these novel realities and potentials?  How can we play within and alongside (meta) the machine rather than against it (contra)? How have the means shifted our future’s future vision of creation? How are fears attached to these transformational media? Why is it contra_versial? Is there space for everyone in this space? What does it look like? Feel like?  Smell like?  Where do these bubbles divert and connect artistically?
Shiva Lynn Burgos is the founder of Geste Paris. An internationally exhibited artist, collector and curator, she has had a longstanding involvement in experimental image-making, 360 VR, MR and blockchain as well as analog processes.

Independent curator and exhibition coordinator, Camille Gajate learned about the conservation of photographs and the appreciation of their artistic value within the archives of the Guimet Museum and the Old Photographs Archives in Nagasaki. After her master’s degree at INALCO and in the desire to disseminate the collections, she achieved a degree in Cultural Management and Exhibition Curatorship at IESA in 2016. Camille has worked for Kyotographie, Paris Photo and Photo Doc. In 2018, she became coordinator of the Manuel Rivera-Ortiz Foundation and consequently, in 2020, joined Emmanuelle de l’Ecotais for the creation of Photo Days. Concurrently, in 2019, Camille Gajate founded the international residency and annual open-air festival BZH PHOTO.

Georg Bak, Art Advisor & Curator, Crypto + Blockchain Art served in senior positions for Hauser & Wirth in Zurich and London and as an art advisor at LGT Bank in Zurich before running his own gallery SCHEUBLEIN + BAK in Zurich for seven years. He specialised in generative art and curated shows such as “Thinking in Algorithms”, “Against Photography” and “Perfect & Priceless. Value Systems on the Blockchain”. Bak currently advises digital art collectors and companies in the blockchain industry and is a strategic art advisor to 4ARTechnologies. He is also on the curatorial board of RARE Art Festival in New York, an advisor of MoCDA ( Museum of Contemporary Digital Art London), a board member of Art Identification Standard (AIS) and an independent curator of digital art exhibitions.

GESTE Paris 2022 Open Call Jury

Charlie Gepp leads an underground art practice under the alias Emil de Negroponte, AKA The Levantine. He is a former journalist, investment banker and entrepreneur who is deeply involved in the development of artists and art organizations in New York City. He is an International Board Member of Mariko Mori’s FAOU Foundation and a founding member of the recently created German Institute of Photography, an initiative of Andreas Gursky with a group of renowned German photographers. Charlie also leads a pro-bono coaching practice that supports the efforts of creatives looking to navigate their way to their goals. He is also an art accumulator with emerging storage concerns.

Josh Hanes is the President and CEO of Uplift Aerospace, a company pioneering advanced technologies for a multi-planetary economy that will revolutionize humanity’s connection with space and promote the conservation of Earth. One of their divisions, Space+, is increasing access and diversity in space as history’s first Web3 space program, integrating VR, AR and blockchain technology to increase access to space. Uplift Aerospace collaborates with NASA, Jeff Bezos’ Blue Origin, Orbital Reef, Zero G, Sierra Space and others and is a pioneer in bringing artworks into space.

Sarah Hughes is a photographer, visual artist, photo editor, writer and producer, working in contemporary art, documentary, and breaking news. Currently a photo editor at The New York Times, she is also the founder of The Persona Project where she leads workshops and consults on projects related to Safe & Sexy, her global portrait and interview series on women, identity and public space.

Tariq Krim is an entrepreneur and technology writer and philosopher based in Paris who says he is working to make the internet a nicer place to live. Tariq is a frequent speaker at global technology and media conferences and summits and is one of the initiators of the Slow Web Movement. He has a strong interest in art, digital anthropology, and social change. A serial business founder, his companies include Netvibes, an early Web 2.0 company, Jolicloud, a cloud computing company, and Polite, a data self-sovereignty platform. He was appointed Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture in 2011.

Dominic Palfreyman is a financier, philanthropist and art collector based in London and Paris. His philanthropic initiative, The Felix Trust for Art has supported many art performances in conjunction with museums and art institutions. He is a co-founder of GESTE and has a long-standing relationship with The Whitechapel Gallery, London as a trustee board member.

Lexïng Zhang is an independent curator currently based between Mexico City and Paris working at the intersection of contemporary art and design. Zhang has been curating international exhibitions of global visual art and culture, in both an independent and institutional capacity, for numerous galleries and organizations. In 2010 she founded ART LEXÏNG in Miami, a creative agency and gallery space. The company has an international roster of artists and clients. Zhang is committed to fostering collaborations and dialogues on a global scale and she takes pride in connecting individuals from disparate cultural backgrounds with a focus on generating a positive social impact.

Pour cette 6ème édition de GESTE Paris, Meta_Contra_Verse, curaté par Shiva Lynn Burgos, Camille Gajate et Georg Bak, présente des œuvres numériques intangibles tels que des avatars en métamorphose, des NFTs, leurs représentations physiques et <forgées>, le WEB 3.0, l’art et le texte générés par l’Intelligence Artificielle, la blockchain, le métavers et le “vers” en général comme un contrepoint lyrique en dialogue avec la photo, la sculpture et le dessin, ainsi les représentations de mondes imaginaires dans l’histoire de l’art.

GESTE se déroule chaque année dans le cadre intime d’un appartement parisien classique réunissant une collection d’art privée avec des œuvres d’artistes sélectionnés.

GESTE Paris s’inspire de l’influent philosophe Vilém Flusser qui décrivait la photographie comme une action ou un geste philosophique. Depuis sa mort en 1991, le monde de la photographie et de la création d’images s’est développé de manière exponentielle. L’IA crée des hyper-interprétations algorithmiques, la réalité virtuelle et augmentée nous permet d’explorer des mondes à la fois réels et simulés. Les dysfonctionnements de ces systèmes sont une source d’autoréflexion et catalysent de nouvelles opportunités créatives.

Que dirait Flusser face à ces nouvelles réalités et potentiels? Comment on peut jouer à l’intérieur et à côté (méta) de la machine plutôt que contre elle (contra)? Comment les moyens ont-ils modifié la vision de la création de notre avenir ? Comment les peurs sont-elles attachées à ces moyens de transformation ? Pourquoi est-ce contra_versé? Y a-t-il de la place pour tout le monde dans cet espace? A quoi ressemble-t-il Peut-on le toucher? Que sent-il? Où ces bulles dévient-elles et se connectent-elles artistiquement ?

Connect 5th Edition PASA Festival
October 15 – December 4, 2022
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BitEden Space, Seoul. Lotte Center, Hanoi.
LG Discovery Lab, Seoul. Incheon Airport, Incheon

The International Exhibition “Color 2022
CICA Museum, September 7-25, 2022
양촌읍 삼도로 196-30 Gimpo, Gyeonggi-do, South Korea

Featured Artists 참여작가: Ashley Andersen, Jihye Baek (백지혜), Marcus Brown, Reenie Charrière, Anna Choi (최안나), Nero Cosmos, Doug Dabbs and Julia Hagerty, Louise De Buck, Manal Deeb, Ruotong Guan, Belinda Haikes, Hodoo, Luna Sue Huang, Ruby Huh (허성윤), Hwang Ji Young (황지영), Kaloyan Ivanov, Ophelia Jacarini, Yvon Jolivet, Lesya Karebina, Andrew Kaufman, Kim na yoon (김나윤), Kimsunik (김선익), Sujin Kim (김수진), Taeeun Kim (김태은), Michael Laughlin, Chau Le Thai Huyen, Christine McCann, Rosalyn Ng, Maria Rita Nogueira, Anais Öst, Collin Pollard, Rebecca Potts Aguirre, D. Marshall Sharpe, Jaeho Shin (신재호), Jaeyoun Shin (신재연), Catalin Soreanu, Natsuki Takauji & Haksul Lee, Bart Vargas, Anthony Warnick, Yu Yan, Yi Hyunsuk (이현숙), Yu Seojeong (유소정), Xu Yuting, Anna Zhang.

The International Exhibition “Color 2022” catalogue

Started from the artist’s studio in 1994, Czong Institute for Contemporary Art (CICA) became a unique cultural space founded and cultivated by artists. Unlike many modern architecture designed and built in a short period of time, this unique art complex bears 25 years of consistent endeavors of an individual artist and his team. We encourage you to walk around this space, and find out our philosophy, style, and histories here at CICA.

Since 2014, CICA Museum has networked with over 4,000 international artists while organizing experimental publications & international exhibitions including the CICA international exhibition & publication on New Media Art, Art Yellow Book, and Artist Statement. To overcome uniform dissemination of contemporary art from the “center of Art,” we aim to introduce local artists and cultures from different regions to global audiences and connect them with each other. In 2017, CICA Museum formed the CICA New Media Art Conference (CICA NMAC) which has become an annual conference. For CICA NMAC, CICA Museum collaborated with Gimpo City in 2017, Anyang City Cultural & Art Foundation in 2018, and Seoul National University in 2019. CICA Museum also organized “Art Teleported,” the Art Show and Conference for Nomad Artists, held in New York in 2019 and 2020. Through exhibitions, publications, conferences, and diverse experimental platforms, we hope to create a global network among local artists, designers, audiences, and communities so that they can make, appreciate, and live in art in their regions and cultures.

Fluid Time

From August 8, 2022 to September 5, 2022, Independent & Image Art Space is glad to present a group exhibition “Fluid Time”.

Armen Avanessian, an Austrian philosopher, says that “The basic thesis of the post-contemporary is that time is changing. We are not just living in a new time or accelerated time, but time itself—the direction of time—has changed. We no longer have a linear time, in the sense of the past being followed by the present and then the future. It’s rather the other way around: the future happens before the present, time arrives from the future.”

In this new era, time is fluid, and there is no obvious progression from a before, to a during and an after in historical terms. The fluidity of time indicates the blurring of boundaries, escaping categorizations, and not being concretely defined. In such a time how does an artist imagine the future? How to view histories? How to create unexpected narratives and connections to tell untold stories? How to even use time as an artistic medium to interpret the life we experience?

Artists: B. Quinn, Cécile Lobert, Chris Ohlson, Christy Love, Claudia Habringer, digger, JBeaumont, Liu Xiaoyu, Nero Cosmos, Sarah Kathryn Ahearn, Tiziana Rasile, Tom Rosenthal, Yuho

independentimage.org/fluid-time

artland.com/exhibition/fluid-time / artland.com/artist/nero-cosmos

artspace.kunstmatrix.com/exhibition

inde-image.medium.com

issuu.com/independentimage

youtube.com

流动的时间

2022年8月8日-9月5日，独立映像艺术空间推出群展《流动的时间》。

奥地利哲学家阿尔曼·阿瓦尼斯安认为，“后当代的基本论点是时间处于变化之中。我们不仅生活在一个新的时代或者说加速的时代，而且时间本身——时间的方向——也发生了变化。我们不再拥有线性的时间。线性的时间意味着，过去之后是现在，现在之后是未来；恰恰相反，未来发生在当下，时间由未来而至。”

这意味着在这个新时代，时间是流动的，不再是由过去发展到现在、由现在发展到未来的渐进。时间的流动性意味着边界的模糊，不被划分，没有具体的定义。那么在这样的时间下，艺术家如何设想未来？如何看待历史？如何创造意想不到的叙述和关联，讲述不为人知的故事？甚至如何把时间作为艺术媒介，解读此时此刻正在体验的生活？

参展艺术家：B.奎因，塞西尔·洛伯特，克里斯·奥尔森，Christy Love，克劳迪娅·哈布林格，digger，JBeaumont，刘筱雨，Nero Cosmos，莎拉·凯瑟琳·阿赫恩，蒂齐亚娜·拉西雷，汤姆, uho

independentimage.org/fluid-time

artland.com/exhibition/fluid-time / artland.com/artist/nero-cosmos

artspace.kunstmatrix.com/exhibition

inde-image.medium.com

issuu.com/independentimage

youtube.com

When art meets artificial intelligence

Diapo NFT Art gallery Exhibition, July 1 — 25, 2022

To date in France, no exhibition has yet been dedicated to art and to artificial intelligence. However, what was once science fiction is now becoming reality. 

The big technology companies like Google, Microsoft, Apple, IBM, Facebook, and others, are very interested in these topics. The fields of science, health, and daily life are all Influenced. Artificial intelligence is a science which involves all the sectors and particularly that of art. 

Artificial intelligence (AI) consists of, using algorithms, to imitate human logic. A true virtual neural network, its technology thus reveals all the appearances of human intelligence in its rationality and irrationality. 

These algorithms use the recorded data to form models that produce images. This process allows artists to produce various generative works. There are several types of intelligence and different ways to produce generative NFTs. These are, to quote Dr. Alex Alter, senior AI scientist for Altered State Machine, “far beyond what other NFTs can do today.” 

Combining advanced technologies and human imagination, AI is emerging as a sophisticated new genre whose performance and style are constantly evolving. Recently, events around AI have been organized by CryptoPunks or the Bored Ape Yacht Club. 

This exhibition, presented by Diapo Gallery, is dedicated to artworks generated by artificial intelligences (NFTs Generative AI). It presents the emerging AI scene: the artists of the French collective as well as other artists belonging to the movement: Charlesia, Thibaud Zamora, Takyon, Ainigma, SID, Nero Cosmos, Thomas Crypto, Fireman, Elliryk Krypto and KaptN. 

Although Christie’s marked the launch of of AI in art with the record sale of a work by the French collective Obvious, this exhibition is the first entirely dedicated to the subject in France.

Authentic genre for some or a disconcerting trend for others, AI is now a controversial subject. its possibilities seem to be infinite, which provokes both fantasy and concern.

Opening Friday, July 1st 7 pm at 14 rue droite in Nice. In presence of the artists : Charlesai, Thibaud ZAMORA and Takyon. On the occasion of the opening, Jean Baptiste Pin, the founder of Diapo, will present you the next launch of the first decentralized autonomous organization artistic organization (DAO).

The 196th Annual Exhibition 2022

The RSA Annual Exhibition is the focal point of our year-round exhibition programme and represents our commitment to supporting excellence in the visual arts in Scotland. This year, for the first time, the exhibition will be available to view both entirely online as well as in the magnificent surroundings of the Royal Scottish Academy galleries

23 April — 12 June 2022
RSA Upper and Lower Galleries, Free entry

rsaannualexhibition.org (viewing room 1), rsaannualexhibition.org/film/

Now in its 196th year, the Annual Exhibition provides a platform for contemporary painting, sculpture, film, printmaking, photography and installation, alongside work by some of the country’s leading architects. We are delighted to be returning to a physical exhibition for 2022, having successfully adapted it to an online platform in 2020 and 2021. This year’s Convenor is Robbie Bushe RSA, assisted by Deputy Convenor Charlie Sutherland RSA.

This year’s exhibition will encompass both the physical and digital, combining the exhibition of artworks on display in the galleries with those shown online, some exclusively designed as such and others as companions or in tandem to work in the galleries.

The RSA Open Exhibitions of Art and Architecture form an integral part of the RSA Annual Exhibition. These open exhibition elements feature a diverse range of works thoughtfully selected from online submissions by artists and architects at all stages of their careers. Memorial works by Ian McIntosh RSA (1945-2021) will also be on display.

Artworks will be available to purchase. The RSA is a proud partner of the Own Art scheme, allowing you purchase artwork in 10 monthly interest-free instalments. The RSA is grateful to all our external award givers who support contemporary art and architecture in Scotland.

Mélange, TPM Anniversary Group Exhibition, April 22 – May 22, 2022

thepurposefulmayo.com/melange

Exhibiting Artists: Ioana Andrei, Nero Cosmos, Samira Debbah, Terry Dugger, Olivia Fortier, Emma Hayes, Nora Lebbos, Vilma Leino, Serge Levchenko, Lawrence Meju, Hashon Milton, Celeste Palacios, Rebeka Petrovčič, Michelle Phillips, Natasha Volk, Michael Wagner.

The online anniversary exhibition will be accompanied by a 3D viewing room. Successful artists will be featured in the gallery section of the TPM website, in Issue 7 of The Purposeful Mayo Journal and on social media. Exhibition dates April 22 – May 22, 2022.

The Purposeful Mayonnaise is a 2-in-1 literary and art journal-platform founded by Anda Marcu. The Purposeful Mayonnaise aims to provide artists and writers with a home for their work, a space to connect, and opportunities to increase their visibility. The Purposeful Mayonnaise is an independent publishing project that features the creative work of artists and writers internationally.

dodomu is a contemporary online gallery with a team based in Brooklyn, NY. We focus on showcasing emerging artists through online group exhibitions and represent a variety of media such as painting, photography, sculpture, digital and mixed media with emphasis on abstraction. While currently all of our operations are virtual, our longterm goal is to open a physical space in the future as we continue to grow.

Structured Spaces exhibition (dodomugallery.com/structuredspaces): this online curated show will focus on showcasing spaces whether they are real such as landscapes or architectures, digital or imaged, organic and man-made. What is space and how do we define these environments? Contemporary representational and abstract work will be considered. Artists are invited to submit work related to the exhibition theme in various media of drawing, painting, printmaking, collage, sculpture, photography, digital and mixed media.

Minimalism III will be the third virtual installment of contemporary and fine art that exemplifies the concept of minimalism. The gallery will be on virtual display between April 1 – April 30, 2022 under following link: envisionartshow.com/minimalism-iii

Envision Arts strives to provide avenues to showcase and share creative artworks of many mediums and art style. Attention to detail, display and distinction is of utmost importance. They provide several opportunities for emerging artists, as well as established artists, to exhibit their works both in person and virtually, broaden their professional network, connect with other artists and creatives, become published both online and in print, and build relationships with potential clients, collectors, and industry leads, such as gallery directors and curators. Jurors and co-jurors select artists and art work based on key criteria including originality, composition, and technique among others.

Envision Arts founder, Dallas-based artist, and curator, Ginger Cochran has directed, or served as a juror, for numerous exhibitions throughout north and south Texas, as well as Phoenix, Arizona and Las Vegas, Nevada. She has co-jurored exhibitions at GDAC, and guest curates at UNT CoLab Art Gallery. She recently acted as gallery director for the former Armadillo Art Gallery in Denton TX. She has a passion for the emerging artists’ sense of community and strives to create opportunities for all artists to network and build working relationships with other artists, clients, industry leads and persons of influence for their careers.

HelvetArt is a project, committed to celebrating artists, showcasing artwork, and inspiring creators to stay motivated and connected. At the beginning of its life, HelvetArt was focusing on Swiss projects that were cancelled or postponed due to the outbreak to get them visibility that they missed out on. Today, HelvetArt is accepting international submissions and is focusing on promising artists, offering them exposure, experience and recognition. These are two main goals of HelvetArt platform: Long-term impact, providing aspiring international artists with an opportunity to get visibility and acknowledgement; Promote a feeling of an artistic community.

Every month there will be an online juried art show/exhibition. All artists are invited to submit their artwork. Three first place winners will receive a money prize and an article about their work on our platform. All accepted works will be displayed with the artist name and contact details in the online gallery. HelvetArt platform will help artists to increase exposure and recognition and give an opportunity to win a prize. In addition, the platform is created to strengthen the sense of artistic community and will give all the creators an opportunity to unite. Guest Juror: Dasha Foto, Multi-Award Winning Photographer. Permanent Juror: Inna War, HelvetArt Gallery Founder.

HelvetArt Gallery March 2022 show: helvetart.ch/show/march-2022 (Honorable Mention)

a.topos Venice for the second edition of The Creative Room, presents the exhibitions Utopia, Dystopia e Retrotopia (atoposvenice.com/utopia-dystopia).

The artists involved are:  Mário Afonso, Damiano Fasso, Lina Zylla, Sève Favre, Sarah Valente, Doris Schamp, Madalena Corrêa Mendes, Armin Amiriam, Lucrezia Costa, Sebastian Riffo Montenegro, Oona Nelson, Constanza Camila Kramer Garfias, Jia-Rey Chang, Elena Xausa, Nero Cosmos, Veronika Dräxler, Adélaïde Feriot, Chiara Tubia, Degann, David Michel Fayek, Ian Callender, Finn Theuws, Anna Maconi, Tanguy de Thuret, Lorenzo Peluffo, Bernardo Tirabosco, Fadwa Rouhana, Daniela di Lullo.

The artworks gathered are an array of different interpretations about the future, converging into an enlarged horizon of expectation; an immersion in a compelling mixture between optimistic prognosis, cynical readings of the future and a nostalgic dive into a longing – either experienced or idealized – past.

Opening the narrative, the first show, Utopia, Dystopia, harvests works of art offering either utopic sceneries or gateways to a dystopian tomorrow. The audience is presented with an exhibition path that creates visual and sound spaces shifting between an invitation to sail together instead of adrift and evidence of the burden of times to come.

In the second exhibit, Retrotopia, a world struck by an appalling pandemic and an art scene flooded with NTFs as backdrop brings past and future to walk sideways in what Zigmund Bauman defined as retrotopia. Either through form, content or both, the displayed artworks depict a strive to (re)establish a mythified – even if unfaithful – past. And in case nostalgically revisiting a longing time does not chase uncertainty away, art can at least attempt righteous grief. 


Exhibition curated by a.topos Venice, The Creative Room #2 has been organized in collaboration with Portrait Eyewear and Demoni Danzanti creative residency.

The Creative Room #2, “The Future of Art and the Art of the Future” (atoposvenice.com/the-creative-room-2). After the tremendous success of the first, a.topos Venice is pleased to present the second edition of “The Creative Room #2”, an original initiative created by the Curatorial Collective to promote emerging creatives, following its commitment to enhance their visibility by providing an exhibition space to selected artists in the venetian contemporary art scene.

For more than a year, the majority of the world’s population was unable to attend any presencial exhibition in a physical space. This new reality was unsurprisingly accompanied by an intense discussion around some of the hottest topics of the period in the art scene – is the virtual realm better than real-world exhibitions? Will digital substitute experiencing a show live? Are we witnessing the establishment of a new normal?

Many extensive debates, lost friendships, repetitive arguments and, most of all, many, many, many online exhibitions after, we can take a deep breath and admit that – besides its undeniable contribution to the democratization of Art – virtual is definitely better than nothing. And we can hopefully also foresee an art scene where both, digital and real, can, if not live happily ever after, at least find a way to peacefully (and mutually beneficial) cohabit. After so much time apart, it’s nice to explore the possibility of encounters.

Therefore, for the second edition of this international open call we are inviting artists to address the thematic The Future of Art and the Art of the Future. What has changed in the creative process? How was the relationship with the audience impacted? Are we taking strides towards co-creation? Are we looking at the rise of new media hegemony in artistic practice? How are cultural agents transiting in the art system’s fractures? We will be glad to convert our gallery into an extension of your own “Creative Room”.

a.topos is a female Curatorial Collective born in Venice to step up the pace of the art scene locally and internationally 12 months per year by creating a hub that welcomes and showcases emerging creatives, facilitates connections, encourages free exchange of ideas and stimulates original interpretations concerning Arts.

Fernanda Andrade (Brazil) and Lucia Trevisan (Italy) run a multifaceted space that can be converted into an exhibition gallery; a studio for workshops; an arena for talks and debates; or a creative room. Confident that Art is a powerful form of Activism, they develop their activities committed in granting a fertile environment for art to build up its role in promoting political, social, and cultural change.

This non-profit cultural association cherishes a transdisciplinary and intersectional approach on projects that reflect the times in what they bring and in what they lack. a.topos aims to contribute on building an unbiased ethos based on diversity and equity within the Arts.

dodomu is a contemporary online gallery with a team based in Brooklyn, NY. We focus on showcasing emerging artists through online group exhibitions and represent a variety of media such as painting, photography, sculpture, digital and mixed media with emphasis on abstraction. While currently all of our operations are virtual, our longterm goal is to open a physical space in the future as we continue to grow.

Below Zero exhibition (dodomugallery.com/belowzero): this online curated show will focus on the theme of winter scenes with below freezing temperatures. Depicting winter in a visual palette of icy blue tones, snowy white hues and stormy dark blizzards. Contemporary representational and abstract work will be considered. Artists are invited to submit work related to the exhibition theme in various media of painting, printmaking, sculpture, photography, digital and mixed media.

The 1st Artscloud Digital Art Fair Artist Award was prepared to discover digital artists around the world and to support artists’ continuous artistic activities. Over the past two months, a total of 3,041 works has been submitted by artists from 52 countries. The submitted works went through the first internal evaluation and the second round by a panel of professional judges from which a total of 100 works were selected for the exhibition. The winning works will get the chance to exhibit at the “Art in Metaverse” exhibition held at Under Stand Avenue in Seongsu-dong, Seoul from January 21, 2022.

The Digital Art Fair (artscloud.net), hosted by Artscloud, is an art festival where you can explore new artists in different digital art grounds, with the added purpose of creating a new economic system for all artists. Artscloud is a New-Art management company that introduces New-Art creators who are using art and technology to tell their stories and supports artists’ sustainable artistic activities.

Ubiquity & Fluidity virtual exhibition (theholyart.com/ubiquity-and-fluidity), December 26, 2021 to January 2, 2022. The Holy Art Gallery is a London based gallery, curating photography and art exhibitions in the UK and abroad. We invite artists to exhibit their work in our Gallery in London. Showcasing work from the brightest emerging and established artists on the international scene.

For almost two years now the human species faces an invisible, faceless, brainless yet highly efficient enemy: a virus that menaces our lives and our way of life. While the virus does not discriminate and treat us all equally, this menace exposed our fragility not only as beings, but also as a society – social inequality, government control, structural racism and domestic violence as being some of the issues that were exacerbated by this crisis. Furthermore, confinement forced us into an unprecedented period of isolation, during which we had to face ourselves, and try to find alternative ways of being together and connected to each other.

Researchers worldwide have pointed to the fact that the transmission of viruses from wild animal species to humans is directly related to the degradation of ecosystems provoked by human economical and commercial activities. A lot of the factors that facilitated the emergence of this pandemic is closely linked to the global climate crisis and the rest of environmental disruptions of the Anthropocene. So while the first and more urgent response to the pandemic should be focused on human health, we need to think of new ways of being in this planet and to build a more sustainable, just, inclusive society.

The Common Groud Project  proposes a creation of an international database of artworks produced from December 2019 to December 2021, that deal directly or indirectly with these questions. We invite artists around the world to share video, image, sound, text and/or web based pieces. Out of this database, a series of online and offline events and exhibitions will be curated.

The main immediate goal is to collect a large and varied snapshot of artistic reactions to the covid-19 pandemic. How did people in various corners of the world cope with the confinement and the post-confiment? How can we reshape the world and break with old patterns? This project should grow exponentially, and beyond the covid-19 crisis, so we can keep reflecting on how to create common grounds amonst humans and between humans and more-than-humans.

This project is supported by Transcultures and Pepinnières Européennes de Création.

All submitted pieces are shared on the social network pages of the project (if so whished by the submitters), with descriptions and links to the participating artists. This way, all submissions are somehow visible, for we understand that, independently of
a selection based on subjective perceived quality, every submitted piece is relevant to the examination and understanding of how/what artists are creating in this specific context.

On a subsequent phase, selected artworks will be showcased in different events – offline and online exhibitions, screening and performances. Whenever possible, the selected artists will receive the corresponding artist fee for each event. This project is supported by Transcultures (interdisciplinary centre of digital & sound cultures – La Louvi re – Belgium) and European Pepinieres of Creation (international network supporting various collaborations for the contemporary arts – based in Paris)
as part of their “No Lockdown Art” ongoing initiative launched in Spring 2020. This project will benefit from their large network and possibilities of distribution in various places and countries. The Common Ground Project was initiated in April 2020 by the artist and independent curator Kika Nicolela, with invited artists only.

Since its foundation, Florence Contemporary Gallery has been a platform for the dissemination of art, showcasing a selection of carefully chosen contemporary artists and building and growing a community of artists, curators, collectors and art lovers through its initiatives. Firstly, a big thank you goes to all the selected and non-selected artists for their commitment and dedication in creating exceptional works of art whose thoughts and visions enrich our society today. As with any art form, especially the visual arts, there are many ways an artist can bring a work to life. In this issue, Florence Contemporary Gallery explores some of these different art forms and admires the various techniques used. Art in its conglomeration of forms has the power to stop us in our tracks, flood our minds with different emotions and not push us to achieve the impossible, so enjoy it with us, absorb the emotions depicted in the selected works. In this edition of the open call, the theme had to relate to the concept of „Limitless“. A theme that left a lot of room for action and choice. The result was a selection of exceptional works that can be found on the website (florencecontemporary.com/limitless) and in the pages of the catalogue.

Selected artists: Matthias Lück, Michael J. Lindow, Christian Door, Zoie Lam, Andrea Ehret, Artmoods TP, Carolina Ramos, Marilena Ramadori “Zizza”, Francesco De Lorenzo, Marta Nyrkova, Dan Obana, Salome Kobulashvili, Meri Aisala, René Siepmann, Maja Puda, Jasmine Liaw, Laura Dimitrova, Eri Kato, Snezhina Biserova, Paul-Yves Poumay, Ivana Dukic, Jack Savage, Martinu Schneegass, Marine Kearney, Var Sahakyan / Vartist, Sofya Danilova, Mandelbroz, Christian Door, Nero Cosmos, Natalie Sobo, Ayuko Dan, Alexandra Ghimisi, Bianca Paraschiv, Ryo Kajitani, Victor Hernandez, Yin Lu, Max Wolf, Nino Memanishvili, Maria Di Gaetano, Emily Zou, Flavie Guerrand, James Johnson-Perkins, Raquel Gandra, Ambra Scali, Anna Hrbacova, Pantelis Nicolaou, Steve Jensen, Ulyana Korol, Yvonne Welman, Milica Lilić, Ethan Samaha, Alma Bibolotti. The online exhibition starts on December 20, 2021.

In relation to last years’ events, the question of community is more important than ever. Under the restrictions people experienced, our desire for community has increased. At the same time, it seems to be the right moment to critique previous forms of being together. In this sense, the exhibition series «Communitas» – curated by Kollektiv Kollektiv at the Kunsthaus Steffisburg – examines different modes of community and puts them to the test in various projects and events. For their third project «Communitas III: Digital Community» the curatorial group calls for participation:  The aim is to create an international online platform (digitalcommunityarchive.com) with artworks and images on the topic of community.

A selection of these images will be shown in an immersive exhibition at the Kunsthaus Steffisburg (11.7.–12.4, 2021) and probably at other collaborating art spaces around the world. The concept is based on the idea of «Movie-Dromes» by Stan Vanderbeek (1927–1984). The experimental filmmaker and early computer artist saw the «Movie-Dromes» as part of a decentralised network of autonomous communities. Inside the dome viewers could watch a flow of images drawn from a global image library.

In this issue the editor proposed a topic giving ten artists carte blanche to express themselves on the theme of noise. He did not give any guidelines that might be influence these noisy projects except for the format and deadline to complete this stylistic exercise. We created a work of art called “Aero Therapy” that highlights the theme of noise. Inspired by hyperbaric oxygen therapy, we explored the impact of noise on tinnitus patients.

Creatio Helvetica focuses on creative work in Switzerland. The magazine wants to talk about the Swiss who are, whether at home or abroad, forging new trends in various fields, from the fine arts to the human sciences. All projects were exhibited in many countries.

We created twelve art visuals exploring the topic of “Repetition” and its meaning in a social environment. The artworks were designed to reflect the ambivalence of repetitive daily rituals using similar elements, and with the reduction of colours the result was highly intensified. At the exhibition we conceived a video installation with emotional exclamations and human noises of any kind using a typographic concept. We created “Musculus Ocularis” as the launch part for our new exhibition at the Mangisch Gallery in Zurich.

In 1997, we exhibited our design project collection at Stufenbau in Bern. Our self-directed projects allowed us to experiment with new and divergent approaches. This helped us to discover new vibrant ideas to empower our creative process while combining design and technology.

The Young Art group exhibition “Never Say Never” supported by the Providentia insurance company took place in Kunsthalle Bern in 1996. We were invited to show our works; it was a great privilege to exhibit alongside other artists, such as Silvia Gertsch, Priska Lühti, Roland Reichen, Philip Delaquis, Francis Baudevin, Sidney Stucki, Dina Scagnetti, Fancesca Gabiani, Stefan Altenburger, Istvan Balogh, Markus Bürgi, Reto Boller, Andrea Crociani, Andreas Dobler, Christoph Draeger, Nicolas Fernandez, Fabrice Gygi, Roland Herzog Romelia Höpflinger Teresa Hubbard, Alexander Birchler, Michel Huelin, Judith Jörger, Davide Legittimo, Prisma Lüthi, Denis Pernet, Anuschka Pfammatter, Ugo Rondinone, Pierre Vadi and Sylvie Fleury.

The jury headed by John Armleder chose 28 artists of 571 entries for the exhibition, which started at Kunsthalle Bern and later moved to Geneva, St.Gallen, Basel, Monte Carasso, Zurich, and Nyon. An exhibition catalogue, “Never Say Never, Art Today” (editor John Armleder, Offizin, 1996), was published for the exhibition.