“Most of my work deals with social consensus”

Nili Lerner experienced an ‘aha’ moment in 2008, in the wake of the global financial crash when she realized that her artistic practice could delve into the subject of money. She was interested in the role of money in society and how one’s financial attributes represent the productive potential of each person. However, while she saw money as a superpower in the capitalist economy, she was also interested in the potential of technology to build a new kind of world.

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“I attempt to divinate the unseen through expressions of art, music and ceremony.”

An underground musician, Shamanic practitioner, cut-up artist, coder, and a “post y2k experience mindset state of being” are just a few of the ways that halluciphile describes himself. His personality and artistic approach are infused with so many references and influences that his output is widely varied, conceptual and not easy to define. In a nutshell, one way of putting it is that, he reaches for things beyond reach.

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“Digital is today’s tool that enables the greatest opportunity for free expression”

An interview with Marc Billings, founder and CEO of Blackdove

Q: How did Black Dove start?

A: In 2002 while visiting Art Basel I fell in love with the moving image artwork from Giles Hendrix. Raw, using the technologies of our time and unapologetically digital, the work symbolised the new generation of artists that would come after him. My co-founder Marisa and I were collecting and engaging in this new medium and built Blackdove for our own use. Only over time as the medium began to grow, did our friends and family begin to ask for our software for their own homes and offices and eventually the company was born. It has been a journey of love and support for all involved.

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“Shifting perspective is really powerful, in art and in life.”

Whilst most artists connect with a need for creativity at a young age, Raphael says he was brought up as a child to be fluent in the language of art. “I quite literally grew up inside a piece of art,” he said. “My mother was a painter and when she would run out of canvas she would just turn to the walls, gluing on shards of mirror and painting around them. She was an abstract expressionist and my father was a musician fluent in Middle Eastern woodwinds. We lived in a very rural area in Northern California, surrounded by woods. We had no electricity, no TV; it was just art.”

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“All of my buildings are inside out”

Architectural design in ‘real life’ can require 100s of iterations prior to deciding the final structure. The resulting architecture must make sense logistically, fit the allocated budget and is obviously bound by physics and gravity. However, when Kirk Finkel practised as an architect, he always felt the unrealised imaginings were the most exciting, where the most stakeholders were engaged and creativity flourished; tossing them aside was to sacrifice artistry for practicality.

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“I try to fight the brain”

Our 21st century society is drowning in images; a dizzying waterfall of visual data giving new meaning to the term ‘rapid eye movement’. What exactly compels our eyes to alight, to dwell, to focus? Branding agencies, UI designers and visual artists around the world seek the magic formula to answer that question and pause our continuous scrolling, competing over microseconds of attention, let alone minutes.

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The Great Leveller

Not wanting to sound too morbid at the beginning of a new year but the words that I have chosen for the title of this piece, in literary terms, usually signify death and how the fall of the final curtain makes no distinction between rich or poor, status or insignificance. Death, indeed, is the greatest leveller of all. However, these words continually come to my mind when pondering the world of NFTs and how they are impacting the traditional art market.

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Survival of the fittest: the perils of viral memes, internet algorithms and the rise of the NFT market

What does it take to go viral? What’s the secret formula that makes one clip about a child biting another child’s finger worth £500,000 whilst the cute, funny home videos on my iPhone only have sentimental value to me? So much about going viral, or skyrocketing prices pegged to your NFT is about being first, new, fresh and surprising. But equally, it can feel like a murky world out there when it comes to the deep, dark mysteries of internet algorithms that bounce one meme to the top of the forwarding pile and leave others lingering to fall into oblivion.

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To NFT or not to NFT

Since the historic Christie’s and Beeple drop in March, the three letters N, F and T have morphed into one of the world’s most talked about acronyms. They carry with them a sense of mystery as well as an air of confidence for those in the know. Use the acronym boldly in conversation and you tell your friends, that yes indeed, you know exactly what an NFT is. But, let’s be honest, six months ago (or maybe more for a select few), had you even heard of the word fungible?

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Curation vs Gatekeeping

MORROW collective is working with galleries and artists to bring together art from around the world in curated, themed exhibitions. One word in that sentence may stand out to cryptoart purists, who often prioritise frictionless, open and free access to making art available: curation. But is curation a bad thing in cryptoart?

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