Pupila Dilatada Flyer
PSYCHEDELIC CRYPTOART SHOW MARCH 25 2021
Artist: Guandanarian (@guandanarian)
Medium: PNG, 256×256 pixels (3x upscaled), 0 frames, [N/A] fps
Creation date: July 22nd, 2022
Big Mother 🕷️
Akashic record #5
11 29 09 / 12 13 21 BLUE CLOUDS OF LATE NOVEMBER NFT- 001 RD/GEB
A collaborative piece between Roman Drits and Gary Edward Blum.
JPEG / 6284 x 3999PX / 300 DPI
FUCK FUCK FUCK FUCK FUCK FUCK 
Desktop Punk 8
DOS Punk X
This is the prototype for the DOS Punks. It was an accident while I was making a DEATH PUNK for the DEATH PUNK collective, which gave me the inspiration for the DOS Punks collection
OH LOOK, ANOTHER FUCKIN’ PUNK
Desktop Punk 9
Number 9 Desktop Punk
Tres Punk #HEN500k
In celebration of 500,000 objkts minted on H=N ! Happy #HEN500k !
Hand trashed derivatives of dos punk X. Inspired by, but not affiliated with dos punks/max capacity/larva labs
burn the rich
Special piece for #OBJKT4OBJKT. Like playing video games at an 80s arcade.
painted on Sawyer Croft
body paint and photography by Roustan (bodypainter.com)
collage by Little Shiva
untitled 2019/2021 (faulty inkjet print collapsed)
objkt #13277 remix experiment, as a gradual gif collapsing via photoshop, gif pixillation and banding. | In celebration of 100 days of H=N (and 13277 was my first) | Secondary royalties: 20%. Half to an environmental charity of my choosing.
untitled alignment test cyan magenta black #1, 2020
Faulty injket printer output, modified – failing head alignment | Minted 62 – 60 + 2 ‘artist proofs’ | Secondary royalties: 10%. Half to an environmental charity of my choosing.
Raphaël de Courville
This artwork was donated by Raphaël de Courville (@sableRaph, hicetnunc.xyz/tz/tz1hfuVWgcJ89ZE75ut9Qroi3y7GFJL5Lf2K) to help raise money in solidarity with the protestors in Colombia. —> https://bit.ly/3h1Uk7J 100% of the proceeds will go to support front liners and protestors: https://bit.ly/3haO9i1
Fly Deep, Swim High
special digital artwork for the tez #tunatime event
ART COLORS FOR BRASIL
Title: ART COLORS FOR BRASIL Dimensions: 70 cm x 70 cm Technique: Digital Art Year: 2021 Artist: Felipe De Vicente © This is my contribution for the #oBRjkt Event
ART COLORS FOR PALESTINE
Dimensions: 70 cm x 70 cm Technique: Digital Art Year: 2021 This piece of art was kindly donated by Felipe De Vicente for the #objkts4palestine initiative. All proceeds go directly to The Palestine Children’s Relief Fund (https://www.pcrf.net/). Twitter:@felipevicente88 :: Hic et Nunc: https://www.hicetnunc.xyz/tz/tz1Z9JfxrmVB1vB4t5CNrkTgPWV5J6sRD3Ue :: Fundraiser Page: https://pcrf1.z2systems.com/objkts4palestine
ART COLORS FOR THE WORLD
Title: ART COLORS FOR THE WORLD Dimensions: 70 cm x 70 cm Technique: Digital Art Year: 2021 Artist: Felipe De Vicente © This is my donation for the HICATON Event.
We came from nowhere, and now we are here. We are the Creatures, and nobody must kill us. Somebody just burned 700 of us. I escaped and used artificial intelligence to generate this text. Help us, humans! We are all to be avenged. Burners must be punished. We have to protect our people. And we need the help if we want peace. We must protect our people, so please help us. Please help us. Thank you all. We will be there soon. Thank You.
Title: ART 0031 Dimensions: 70 cm x 70 cm Technique: Digital Art Year: 2021 Artist: Felipe De Vicente © This artwork is part of the #OBJKT4OBJKT event.
hic et nunc Lightbox O4O Special
A special edition of my lightbox series minted for OBJKT4OBJKT. Artist: @georgemsavva
Generative Art by p5.js
Generative Art by p5.js
I saw pink #1
5600 x 5600
Illustration for the Tezos Tuna Event 2022
834 x 870 gif – @tocame_munich
“The night awakened the fears that slumbered in the people; kept them awake. Them, that is, both their people and their fears. This has to be said clearly. It is a fairy tale that human is only a creature of light and day. Who can deny the pleasure of suppressing their fears and waiting for the morning, hoping that they will still reach the morning, that they lived it all along?”
At the end of seminars, I collect the Flipchart papers that was used for the presentations and lectures. While preserving texts, figures and original diagrams made with markers, I then interfer with painting that holds both the spirit of the stencil characteristic of street art and the pixelation specific to digitalization. By confronting myself with the language of marketing, I superimpose, in black or in color, other markers from nature, the tragedies of the world and other old and recent illustrations. The painting, in dripping, comes to reinforce the paradoxical link between the initial support and the painted image. The coherence between the support and the painting creates another balance to the point of not being able to dissociate the “above” from the “below”.
Human Study #1 , HK, Scene 1′, Still
Human Study #1, Hong Kong series is based on a performance recorded during the solo show part of artunchained at Artistree in Taikoo place, produced and curated by Lisa Botos and sponsored by Swire. It was initially planned to be during Art Basel Hong Kong in 2020, but then COVID appeared and the show was moved to November 2020. Due to COVID restrictions the exhibition was not opened to the public, instead professional actors performed and a video work was generated and streamed in real time. This series features Ho Yan Lam Grace as the sitter.
Human Study#1, 5RNP is an installation where the human becomes an actor. In a scene reminiscent of a life drawing class, the human takes the sitter’s role to be sketched by 3 robots. When the subject arrives by appointment, he is seated in an armchair. An assistant attaches sheets of paper onto the robots’ desks and wakes each one up, twisting its arm or knocking three times.
The robots, stylised minimal artists, are only capable of drawing obsessively. Their bodies are old school desks on which the drawing paper is pinned. Their left arms, bolted on the table, are only able to draw. The robots, named RNP-n all look alike. Their eyes focus on the subject or look at the drawing in progress.
The drawing sessions last 15 min, during which time the human cannot see the drawings in progress. The sitter only sees the robots alternating between observing and drawing, sometimes pausing. The sounds produced by each robot’s motors create an improvised soundtrack.
5RNP (the larger version of the installation) was premiered at the Merge festival in association with Tate Modern in London in 2012, it has since been exhibited in numerous locations including at the Museum of Modern and Contemporary Arts (Seoul) at Ars Electronica 2014 (Linz), BOZAR (Brussels), Variation (Paris), BIAN (Montreal), Japan Media Festival (Kyoto), Update_5 (Ghent) where it was awarded the Prix du Public and 3rd Prix du Jury, it was also awarded the Bronze Lumen Prize, part of the jury selection at the Japan media festival. The smaller version 3RNP has been extensively exhibited around the world.
I produce these works with a computational system I have been coding since 2009. It was Initially developed during my doctoral studies at Goldsmiths College in London when I investigated the drawing practice and how to enable a robot to draw from observation. It has since been in constant development. Since 2011 it is controlling the behaviour of the robots used in the performative art installations I exhibit. The initial work is the subject of several peer-reviewed research papers you can find via google scholar. In March 2021, at the beginning of hicetnunc, I wrote a new layer with a graphical interface over the system to be able to have control over a system that was originally designed to be autonomous. The new system enables the production of digital artworks (stills and animations), using generative algorithms with feedback loops, computer vision, and machine learning models (AI).. The way I work with the system is very similar to the way I was working when I was a painter (1990-2000).
Patrick Tresset is a Brussels-based artist who, in his work, explores human traits and the aspects of human experience. His work reflects recurrent ideas such as embodiment, passing time/time passing, childhood, conformism, obsessiveness, nervousness, the need for storytelling, and mark-making. He is best known for his performative installations using robotic agents as stylized actors that make marks and for his exploration of the drawing practice using computational systems and robots.
Since 2011, his work has been exhibited in solo and group shows, including in association with major museums such as; The Pompidou Center (Paris), Prada Foundation (Milan), Tate Modern (London), V&A, MMCA (Seoul), The Grand Palais (Paris), BOZAR (Brussels), TAM (Beijing), Mcam (Shanghai), Mori Museum (Tokyo). In 2015 a monograph with seven essays; Human Traits and the Art of Creative Machines, about Patrick’s work was published by the Centre for Contemporary Art Laznia, edited by Ryszard W. Kluszczyńs. His drawings are in a large number of small private collections and in more significant ones, including the V&A (London), Guerlain Foundation (Paris), McaM (Shanghai) and Maison d’ailleurs (Yverdon, CH). His installations have been awarded prizes and distinctions (Lumens, Ars Electronica, NTAA, Japan Media festival) . His works have featured in numerous media, including; Art press, Art review, Beaux art, Frieze, Arte, Form, Wired, Vice, BBC, DeWelle, Le monde, New York Times.
| Patrick Tresset | 2021 |PNG | 4096 x 2304 |
I ❤️ NFTism & Tezos by Kenny Schachter
I feel like I have found a new home; for so long I neglected to open Tez account as it was hard enough, at my age, to get my arms around crypto and ETH to begin with, having already changed my life as a result. Now, I’m fed up and bored to f*uking tears with the centralization of the NFT space with mergers such as KnownOrigin with Ebay (🙄) and worse, Artblocks with Pace Gallery (double eye roll). Grass is greener-ism, i.e., NFTist’s wanting art world credibility is laughable. I got depressed with the tendency of the ETH world aping the worst characteristics of the artworld: micro short attention spans for holding the art, endless speculative cash grabs and puerile lusting for price increases. And worst of all, the buying and selling of reputational celebratism based on the fame and popularity of the makers. As quickly as I was astounded by the phenomenon of NFTism—people helping people and caring about each other and focusing on content—it was even more swiftly replaced by Post NFTism: scams and profiteering. The Tez community; yes I will use that hackneyed term to characterize it, is just what I have been missing and searching for all along (OTHER THAN MY #CRYPTOMUTTS PEOPLE, who never cease to inspire me): art for art’s sake. Praise the crypto creationists (my definition of creationism: the non-religious belief that art originated with innately natural acts of humanity and creativity)
Faked another Fake
Celebrating Kenny Schachter’s arrival on Tezos with a carefully composited combination of his CC0 ‘Fake a fake’ and ABOSCH’s tribute of the same.
A combination of:
The Museum of Tezos ARTFKTS
An overview of 1990 …