Andrea Bonaceto on display at MEET between art, music and poetry
From Tuesday 6 December 2022 MEET Digital Culture Center in Milan presents the works of Andrea Bonaceto, artist and exponent of the blockchain world, in an exhibition itinerary curated by Luisa Ausenda which culminates in the Immersive Room with AB INFINITE 1, open to public participation.
Inside the large space, it presents the works of the artist and exponent of the Blockchain world Andrea Bonaceto, in an exhibition curated by Luisa Ausenda,which culminates in the Immersive Room with the work AB INFINITE 1 and returns to open up to the public and to transform itself again.
The MEET is thus punctuated by verses taken from the artist’s poems, the itinerary includes thematic cores of works that highlight some of the main elements of the artist’s work.
WHO IS ANDREA BONACETO
Andrea Bonaceto is an Italian artist and entrepreneur. In recent years he has developed a visual language capable of hybridising with new digital technologies.
This is where most of the works on display come from, some of which have been exhibited internationally.
“Bonaceto is an eclectic artist, he implements mechanisms that generate value on the one hand and sustainability on the other and he does so using all the keys that the digital world makes available” – says Maria Grazia Mattei, Founder and President of MEET. “Through his work, his research and his proposals it is possible to concretely understand the new processes in progress: in a certain sense, his Art returns to being Social”.
Andrea Bonaceto. Courtesy MEET
THE EXHIBITION AT MEET MILAN
The exhibition itinerary occupies the entire first floor of MEET and gives the public a multifaceted image of the artist that ranges between art, music and poetry and accompanies us in experimenting with new techniques and forms of expression.
The first Gallery is dedicated to Portraits born from the collaboration with Sophia the Robot, a humanoid robot created by Hanson Robotics. To create her first work, Sophia observed several self-portraits made by Bonaceto and, thanks to a neural network, she reworked the images and produced her own self-portrait.
Continuing along the path, we find physical works that demonstrate his quality as a painter together with portraits made with an IPad: a hybridization of styles and languages. We then enter a room dedicated to Visions.
Ideas and characters on a monochrome background alternate with more abstract and figurative works. In the last Gallery that precedes the Immersive Room, we finally enter the poetic universe of the artist. The two Poems that Bonaceto integrated into NFT visual works are projected: “La Finestra” and “Waiting for a train in Palmira”.
The work commissioned by Corriere della Sera is also on the MEET monitors.
Bonaceto artistically interpreted the page of the 1969 newspaper announcing “Man is on the Moon” and portrayed, in his own style, the astronauts: Buzz Aldrin, Michael Collins and Neil Armstrong.
Andrea Bonaceto. Courtesy MEET
THE IMMERSIVE ROOM WITH AB INFINITE1
In the Immersive Room, AB INFINITE 1 spreads 63 meters long and returns to being a work that confronts the public.
From its publication on the site in May 2022 until the Christie’s auction where it was sold on October 13, 2022, certain sections of the work have gradually been subject to change.
The title echoes the artist’s ideal of generating a cycle that goes “AB” (from the Latin from) the infinite to the ORIGIN, symbolized by the number 1.
At MEET, thanks to 8SMICKA ART GALLERY, the Artificial Intelligence process developed by the artist is reactivated, capable of absorbing and modifying texts and images that the public will send on Instagram and Twitter with the hashtag #abinfinite1.
The 59th International Art Exhibition, “The Milk of Dreams,” curated by Cecilia Alemani and produced by the Venice Biennale, concluded on November 27, 2022. This year, the exhibition achieved a record-breaking attendance, with over 800,000 tickets sold, plus 22,498 attendees during the Pre-opening. Visitors marked a 35% increase over 197 days of opening compared to the 173 days of the 2019 edition. Even considering the longer duration of the exhibition, the increase is substantial, especially considering travel restrictions imposed by the pandemic, making it the highest attendance in the 127-year history of the Venice Biennale.
Roberto Cicutto on the Exhibition’s Success
President Cicutto commented on the results:
“This edition’s remarkable public success, despite the low attendance of visitors from the Asian area and the high attention from Italian and international press, emphasized La Biennale’s commitment to ensuring the presence of Ukrainian artists by supporting the realization of the Ukraine Pavilion and providing a free space at the Giardini – “Piazza Ucraina” – for the presentation of works in any format (digitally transmitted) from artists remaining in their country, often directly involved in resisting the Russian aggression. I also wish to highlight the Curator’s great determination and ability to create such an important and rich exhibition despite the limitations imposed by the two worst years of the pandemic. My thanks go to the Board of Directors for sharing and continuing to support all the Foundation’s choices. Thanks also to all the great professionals of La Biennale who applied themselves with great dedication to the realization and management of the Exhibition.”
Cecilia Alemani’s Reflections
Curator Cecilia Alemani stated:
“As ‘The Milk of Dreams’ closes after seven months, I want to thank all participating artists for contributing to this exhibition with wonderful artworks and the passion and enthusiasm that have fueled me and the entire institution over the last two years. It’s been a long journey through a pandemic, a cruel war, and a collective sense of uncertainty. Organizing this exhibition under such circumstances was a grand adventure, fraught with obstacles and complications. This exhibition was conceived remotely, with hundreds of studio visits conducted via Zoom with artists from around the world. Few artists could come to see the exhibition spaces. No one knew if the works would arrive in Venice on time. Although things now seem to have returned to some normality, we all know it has been an extraordinary period, and it took more than two years to reach this point. The fact that this exhibition opened on time in April is somewhat miraculous. The Biennale team worked under extremely complicated conditions, and this appearance of normality was achieved through gigantic efforts in a unique historical conjuncture that lends the international character of the Biennale a sense of necessity and fundamental responsibility. For this, I am very grateful to President Roberto Cicutto, my curatorial team, and the entire Biennale team who thought up solutions and solved problems with the creativity and professionalism that have made this institution legendary. The 800,000 people who visited ‘The Milk of Dreams’ demonstrate that art has the power to create participation and that, after many months of isolation, we want to celebrate and see art in person, in a joyous and communal experience shared with many friends, families, colleagues, and art lovers. In times like these, as the history of the Venice Biennale clearly shows, art and artists can help us imagine new ways of coexisting and infinite possibilities for transformation.”
Audience Insights
The audience was 59% international and 41% Italian. Remarkably, young people and students accounted for 239,276 visitors, 30% of the total. Group visitors represented 14% of the overall audience.
4,200 journalists were accredited during the pre-opening days, with 1,705 from Italian media and 2,495 international, adding to the 5,800 who accredited throughout the exhibition months, totaling 10,000 journalists from various media outlets.
Carbon Neutrality
La Biennale initiated a revision of all its activities according to recognized environmental sustainability principles in 2021. In 2022, it extended the achievement of “carbon neutrality” certification, gained in 2021 for the 78th International Film Art Exhibition, to all Biennale activities: the 59th International Art Exhibition, Theatre, Music, Dance Festivals, and the 79th International Film Art Exhibition, which will be announced in the coming days through a dedicated communication.
Exhibition Numbers
213 artists invited to the Exhibition
58 nations of origin of the artists
180 first-time participants at the Biennale
Over 1500 artworks
2 Special Projects:
Pavilion of Applied Arts in collaboration with the Victoria and Albert Museum, London
La Biennale Arte 2024 is poised to be an exceptional edition that not only showcases the vibrant creativity and diverse perspectives of contemporary artists but also reaffirms La Biennale di Venezia’s commitment to fostering meaningful dialogue on pressing global issues. Through its exploration of themes such as foreignness, belonging, and the complexities of national identity in a rapidly changing world, the exhibition invites visitors to engage deeply with the art and ideas that shape our collective future.
The inclusion of first-time participants and the emphasis on environmental sustainability further underscore the Biennale’s dedication to innovation and its role in addressing the challenges of our time. By connecting the past and present through a mix of historical and contemporary works, the 60th International Art Exhibition encourages a reevaluation of our understanding of art, culture, and society.
As La Biennale di Venezia looks forward to welcoming artists, critics, and art lovers from around the world, it continues to be a beacon of creativity and a pivotal platform for the exchange of ideas. The support of partners, sponsors, and the international community is crucial in realizing this vision, making the Biennale Arte 2024 a testament to the power of collaboration and the enduring significance of art in navigating the complexities of the contemporary world.
In closing, the 60th International Art Exhibition, “Foreigners Everywhere,” curated by Adriano Pedrosa, stands as a bold statement on the role of art in fostering a more inclusive, understanding, and interconnected world. It is an invitation to explore the rich tapestry of human experience and to celebrate the transformative power of art to challenge, inspire, and unite us across borders and beyond.
Flying from Milan, passing through the Metaverse, to arrive in New York to present the first phygital book, “Crypto Art Begins,” in business class with La Compagnie.
An unprecedented experience on La Compagnie’s unique flight between Milan, the Metaverse, and New York for the presentation of the book “Crypto Art Begins,” published by Rizzoli New York, in collaboration with The NFT Magazine and the book’s curator, Eleonora Brizi.
During the flight on November 10, 2023, the 76 passengers on board will have the opportunity to discover the world of Digital Art through the book “CRYPTO ART – Begins,” which tells the origins and evolution of this movement through the history and works of 50 crypto artists among the best in the world.
Thanks to La Compagnie’s fast Wi-Fi connection, during this extraordinary journey from Milan to New York, it will be possible to immerse oneself entirely in The Nemesis’ Metaverse and explore the revolutionary world of Crypto and Digital Art by virtually interacting with the artists, the curator and the creators of the book, as well as the founders of The NFT Magazine, Andrea Concas and Amelia Tomasicchio.
To commemorate this event, never before seen on a commercial flight, you can redeem a celebratory NFT for free to add to your collection and gain access to The NFT Magazine’s Readers Club.
Upon landing in New York, the journey continues with a weekend dedicated to Digital Art, including visits to museums and galleries, culminating in the Chelsea district with a stay at the INNSiDE New York NoMad hotel.
The experiences continue in the Big Apple with the book presentation on Saturday, November 11, 2023, at 7:00 PM, at SALOTTO, the brand-new Brooklyn venue for Italian excellence and innovation in the arts and design.
A flight and a Phygital book to experience a unique journey between the physical and digital worlds, to discover the new world of Crypto Art.
The official United States presentation of the book “CRYPTO ART – Begins”: the origins and evolution of Crypto Art through the stories of 50 of the movement’s best artists.
11 November 2023, 7 PM, at SALOTTO, Brooklyn (NY)
In the digital era, between NFT and Metaverses, there is room for “CRYPTO ART – Begins,” a book that represents publishing innovation for the new Phygital bookstores now between print and WEB3.
Over the past year, Crypto Art has swept through the Digital Art world and beyond, involving collectors, museums, and auction houses, giving rise to a true digital revolution.
It was led by visionary artists who promoted this unprecedented movement with new rules, overwhelming dynamics, and innovative ways of enjoying art.
This is how the book “CRYPTO ART – Begins” published by Rizzoli Rizzoli New York wasborn, based on the idea and project of The NFT Magazine, the first monthly magazine to be read and collected on the Ethereum Blockchain.
The book tells about this exciting movement through the history and works of 50 crypto artistswho have contributed to the birth and are still active with their NFTs – Non Fungible Tokens – of the present and future of this new world.
After the launch in the Web3 and European bookstores, it’s time for the official book presentation in the USA, which will take place in New York on Saturday, November 11th at 7 PM at SALOTTO, the brand-new Brooklyn venue for Italian excellence and innovation in the arts and design. An in-person event with the authors and artists for an evening dedicated to innovation and digital art.
The presentation will be attended by the founders of The NFT Magazine, Andrea Concas, and Amelia Tomasicchio, along with the curator Eleonora Brizi, a pioneer of the movement, who has lived side by side with artists, in unsuspected times, the great evolution and rise of Crypto Art, even before the disruptive descent into the market.
Together with them, the artistsGISEL FLOREZ, SARAH MEYOHAS, SASHA STILES, DAVID YOUNG, TRAVIS LEROY SOUTHWORTH, and the co-founder of DADA collective Judy Mam will share their works, the visions, aspirations, complexities, as well as limitations of a world that is all in flux and yet to be discovered, emerge.
Join us at SALOTTO to discover everything about Crypto and Digital Art.
Keith Haring’s Multifaceted Artistic Journey: From Street Murals to Digital Art and today to Web3 and NFTs now on auction at Christie’s!
Keith Haring, the renowned Pop artist celebrated for his iconic public murals that emerged from New York’s street art scene in the 1980s, is perhaps best known for his activism and generosity. However, a lesser-known side of his creativity is now coming to light for the first time: his pioneering role in the world of digital art.
Previously accessible only via floppy disk, these natively digital works of art have been immortalized on the Ethereum blockchain as NFTs (non-fungible tokens).
The online auction, which took place from September 12 to 20, with an exhibition at Christie’s New York from September 14 to 19 and a presentation in Seoul on September 7 and 8 in collaboration with NFT Now.
All 5 NFTs sold for 1,587,600 USD during the bear market!
All proceeds from this sale will support the charitable initiatives of the Keith Haring Foundation.
The Genesis of These NFTs: A 1984 Encounter
The story of these NFTs began in 1984 at the birthday party of John Lennon’s nine-year-old son, Sean. Among the illustrious guests were luminaries such as Steve Jobs, Andy Warhol, Kenny Scharf and Keith Haring himself.
During the event, Jobs presented his Macintosh computer, capturing the attention of those present with its capabilities.
Warhol, in particular, showed great interest and, after experimenting with the drawing tool, enthusiastically exclaimed to Haring: “Look! Keith! I’ve drawn a circle!”. This moment marked the beginning of their exploration of digital art.
Shortly after the party, Timothy Leary, Haring’s close friend, psychologist and author, distributed ten Amiga computers to selected artists, including Warhol and Haring. While Warhol created several digital works on his Amiga, featuring familiar subjects like Marilyn Monroe and Campbell’s soup cans, five of his digital drawings were minted as NFTs in Christie’s “Andy Warhol: Machine Made” auction in 2021, fetching a notable result of 3.8 million dollars.
Credits: Christie’s
Haring’s Deep Connection with Digital Art
Unlike Warhol, who showed undeniable enthusiasm for digital art, Haring felt a profound affinity for the medium. He integrated the Amiga computer into his artistic process, resulting in the five digital images offered in this sale as NFTs.
The Amiga provided a platform for Haring to replicate his distinctive drawing style. In his journal entry dated July 8, 1986, he wrote, “My drawings were perfect for translation into computers because the drawing line was already very close to the idea of ‘pixels’ (the dots or squares that comprise a computer-generated image).” These digital images mirrored his iconic visual language, complete with masks, exuberant outlined figures, and vivid primary colors.
Haring’s spontaneous creative approach also found expression on the Amiga. According to Gil Vazquez, President of the Keith Haring Foundation, “Keith’s approach was never a plan. He usually just put brush to canvas, pen to paper, Sharpie to wall, and just went. His approach to the Amiga drawings was no different; he put his hand on the mouse and just went.”
Title: Unveiling Keith Haring’s Pioneering Digital Art: The Amiga Era
Subtitle: How Keith Haring Redefined Art Through Digital Exploration in the 1980s
Article:
Keith Haring’s Multifaceted Artistic Journey: From Street Murals to Digital Frontiers
Keith Haring, the renowned Pop artist celebrated for his iconic public murals that emerged from New York City’s street art scene in the 1980s, is perhaps better known for his activism and generosity. However, a lesser-known facet of his creativity is now coming to light for the first time: his pioneering role in the world of digital art.
In a groundbreaking event titled “Keith Haring: Pixel Pioneer,” the Keith Haring Foundation is set to auction five unique digital drawings created by Haring on an Amiga computer during the mid-1980s. Previously accessible only through floppy discs, these natively digital artworks have been immortalized on the Ethereum blockchain as NFTs (Non-Fungible Tokens).
The online auction, running from September 12th to 20th, includes an exhibition at Christie’s New York from September 14th to 19th and a Seoul showcase on September 7th and 8th in partnership with NFT Now. All proceeds from this sale will support the Keith Haring Foundation’s charitable endeavors.
The Genesis of These NFTs: A 1984 Encounter
The story of these NFTs begins in 1984 at the birthday party of John Lennon’s nine-year-old son, Sean. Among the notable guests were luminaries like Steve Jobs, Andy Warhol, Kenny Scharf, and Keith Haring himself. During the event, Jobs introduced his Macintosh computer, captivating the attendees with its capabilities. Warhol, in particular, took a keen interest and, after experimenting with the drawing tool, enthusiastically exclaimed to Haring, “Look! Keith! I drew a circle!” This moment marked the beginning of their exploration of digital art.
Shortly after the party, Timothy Leary, a close friend of Haring and a psychologist and author, distributed ten Amiga computers to selected artists, including Warhol and Haring. While Warhol created several digital works on his Amiga, featuring familiar subjects like Marilyn Monroe and Campbell’s soup cans, five of his digital drawings were minted as NFTs in Christie’s auction “Andy Warhol: Machine Made” in 2021, fetching a remarkable $3.8 million.
Haring’s Deep Connection with Digital Art
Unlike Warhol, who showed undeniable enthusiasm for digital art, Haring felt a profound affinity for the medium. He integrated the Amiga computer into his artistic process, resulting in the five digital images offered in this sale as NFTs.
The Amiga provided a platform for Haring to replicate his distinctive drawing style. In his journal entry dated July 8, 1986, he wrote, “My drawings were perfect for translation into computers because the drawing line was already very close to the idea of ‘pixels’ (the dots or squares that comprise a computer-generated image).” These digital images mirrored his iconic visual language, complete with masks, exuberant outlined figures, and vivid primary colors.
Haring’s spontaneous creative approach also found expression on the Amiga. According to Gil Vazquez, President of the Keith Haring Foundation, “Keith’s approach was never a plan. He usually just put brush to canvas, pen to paper, Sharpie to wall, and just went. His approach to the Amiga drawings was no different; he put his hand on the mouse and just went.”
An Artist and a Disruptor
The Amiga not only facilitated Haring’s artistic expression but also allowed him to push the boundaries of the art world establishment. Vazquez notes, “He was a disruptor who wanted to use tools that were not considered proper by the established art world,” a sentiment that extended from his street art on public walls to his embrace of the Amiga computer.
Haring’s enduring mantra, “art is for everybody,” continues to resonate. Technological innovations, particularly Web 3, have expanded the ways in which we engage with art, removing barriers to entry and enabling artists to connect directly with audiences worldwide. Web 3 technology aligns with Haring’s vision, allowing these works to be shared and enjoyed globally as intended.
These digital drawings serve as a testament to Keith Haring’s distinctive style, creative process, and unwavering dedication to art in all its forms. Despite the unconventional nature of the computer as an artistic tool during his time, Haring embraced it. Now, thanks to Web 3 technology, these works will reach a broader audience and inspire a new generation of art enthusiasts.
As Vazquez aptly puts it, “In a sense, Keith is still here, still affecting people, still inspiring people, still causing a stir.”
Particle Loans $12.9M Banksy Artwork to Global Museums via Fractionalized NFT Project
This innovative initiative marks a significant milestone in the fusion of art and blockchain technology, revolutionizing the way art is accessed and shared worldwide. Let’s delve deeper into the impact and potential of this unique project.
Fractionalized NFTs: A Gateway to Art Access
Fractionalized NFTs have been a game-changer in the art world, allowing investors to own fractional shares of high-value artworks through blockchain-based tokens. This democratization of art ownership provides art enthusiasts and investors with an unprecedented opportunity to participate in the art market. Particle, a prominent player in this space, has taken it a step further by utilizing this technology to grant global museums access to valuable artworks like Banksy’s masterpiece.
The Historic Loan: Banksy’s $12.9M Artwork
Particle’s recent loan of a $12.9 million Banksy artwork “Love is in the air” to global museums marks a historic moment in the NFT space. This move showcases the potential of fractionalized NFTs beyond mere investment opportunities. By allowing museums to access iconic artworks, Particle is enriching cultural institutions worldwide and fostering a deeper appreciation of art among diverse audiences. Banksy’s artwork will be sent on loan in UK, Barcellona and Amsterdam.
Advancing Art Conservation and Exposure
The partnership between Particle and global museums highlights the potential for fractionalized NFTs to play a vital role in art conservation and exposure. Through blockchain technology, artworks’ provenance and authenticity can be securely verified, ensuring the protection of cultural heritage. Additionally, fractionalized NFTs enable artworks to be shared and exhibited globally, reaching audiences that may not have had access before.
Empowering Museums and Artists
The Fractionalized NFT Project by Particle not only empowers museums with access to valuable artworks but also benefits artists. By lending artworks, artists gain exposure to a broader audience, fostering their reputation and market presence. Furthermore, museums’ interest in showcasing NFT-based art could potentially lead to increased demand and recognition for artists exploring this revolutionary medium.
The Future of Fractionalized NFTs in Art
The successful loan of Banksy’s artwork by Particle demonstrates the immense potential and impact of Fractionalized NFTs in the art world. As technology continues to evolve, we can anticipate further collaborations between NFT platforms and cultural institutions, reshaping the way art is collected, preserved, and shared. Fractionalized NFTs are poised to redefine the relationship between artists, collectors, and museums, creating a more inclusive and vibrant art ecosystem.
To date 40,000 Threadition NFTs have been minted for the symbolic price of 0.001 ETH (about $2)!
NFT artist Jack Butcher recently made a gesture that sparked a major FOMO in the Web3 community, namely the release of a custom ThreadGuy Openen Edition NFT, honoring NFT influencer ThreadGuy.
Jack Butcher’s Openpen work
Jack Butcher’s Openen project is nothing more than a collection of NFTs inspired by Pepe the Frog. A collector, known as Bored Elon, who is passionate about the project, has become Openen’s main NFT holder. On July 11, Jack Butcher offered well-known NFT influencer ThreadGuy one of his 001 Openpens in exchange for a Mutant Ape PFP, with the only proviso that he would have to keep it as his profile picture for at least 3 months.
Just offered @notthreadguy one of my 001 Opepen's in exchange for his Mutant Ape PFP. Putting this out there publicly so i'm held to the deal.
Terms are he needs to hold onto the 001 for at least 3 months. I'll hold the mutant at least 1 year.
Upon ThreadGuy’s rejection, Jack Butcher decided to create a custom image of Openen just for him, done in Butcher’s geometric style, with colors inspired by ThreadGuy’s Mutant Ape. Not only that, but Butcher created an Open Edition collection from this work that was sold at an affordable price, with proceeds going to support ThreadGuy in gratitude for his contributions to the Web3 community. The overwhelming response and funds raised during the sale underscored the community’s willingness to recognize and appreciate creators.
opepen threadition
for provenance purposes only, and to redirect some economic energy to a massive contributor to this ecosystem
The motto “For the culture” has become popular, symbolizing the collective spirit and shared values of the Web3 community which has also seen the involvement of artists, among others, FVCKRENDER and Beeple, who have created their own versions of Openpen.
The events related to ThreadGuy, Bored Elon and Jack Butcher have shown how cohesive the NFT community can still be and how much creators still want to support each other.
Gucci and Christie’s together for a new NFT auction
21 Crypto Artists have reinterpreted the style of the fashion house thanks to AI and Generative Art
The prestigious luxury fashion brand Gucci collaborates with the auction house Christie’s for an unprecedented event: “Future Frequencies: Explorations in Generative Art and Fashion”, an auction that includes artists such as Claire Silver, Tyler Hobbs, Emily Xie, Botto, William Mapan, Zach Lieberman, Robbie Barrat, Pindar Van Arman among others.
In proud partnership with @ChristiesInc, the House is crafting new conversations on #GucciArtSpace. Stay tuned for ‘Future Frequencies: Explorations in Generative Art and Fashion,’ an NFT auction from July 18-25 spotlighting artists exploring unchartered ways of creating.… pic.twitter.com/cKgYw9iJMD
In total, 21 NFTs use artificial intelligence and other generative techniques to reinterpret classic Gucci design elements, such as Iskra Velitchkova’s “PostMachine: A Study of Ethos and Patterns”, created by a generative algorithm inspired by the handgrip of the Gucci Bamboo 1947 bag.
But not only that: the participating artists also drew inspiration from the production method of clothes and fabrics, such as “Shinjitai” by Claire Silver and Emi Kusano, a digital sculpture created with the help of artificial intelligence, which combines advanced mathematics with the aesthetics of ancient paintings and tapestries. Silver says her work celebrates the age of AI alongside depth of cultural heritage.
As Sebastian Sanchez, head of digital art sales at Christie’s says, “this event represents a celebration of generative art and cultural heritage.”
The auction will take place from July 18 to 25 on Christie’s 3.0, the fully on-chain auction platform launched in 2022.
The works for sale will also be displayed on Gucci Art Space, the famous Italian brand’s online gallery. Don’t miss this exceptional opportunity to discover the future of digital art and fashion!
Tennis player Andy Murray and Refik Anadol together for an NFT for Wimbledon
The work represents the first fusion between sport, digital art and data science
Ten years after British tennis player Andy Murray’s first victory, Wimbledon has decided to launch the first official NFT of the tournament, thanks to the collaboration with the now famous digital artist Refik Anadol. The project was curated and produced by FAN3, a Web3 consultancy agency.
Excited to be partnering with @Wimbledon and @refikanadol Studio on a data-inspired digital art project involving every match I’ve ever played at Wimbledon.
The NFT is a generative artwork, a typical Anadol research medium, that uses an algorithm with millions of inputs from statistical, motion, audio and visual data from Murray’s 18-year career at Wimbledon. Not only that, the work evolves by collecting data in real-time during this year’s tennis tournament. The result? A beautiful digital art sculpture whose colours emphasize the tennis player’s wins and losses that “reinvents how high-performance sports data can be understood and appreciated in a strikingly visual way,” said the team.
The Physical Edition
Holders of this Open Edition will also later have the exclusive right to purchase a physical print edition of the artwork, produced by Avant Arte partners – an example of how this innovative project strives to merge the digital and physical worlds.
The Drop
Launched on manifold.xyz on July 7th, the NFT is an Open Edition that can be purchased at the price of $147 until July 16th at this link: https://app.manifold.xyz/c/the-exposition
A Beeple’s NFT enters the permanent collection of the Castello di Rivoli
The highly provocative work is the first NFT to officially enter a museum’s permanent collection
Mike Winkelmann, known in the NFT world as Beeple, is a digital crypto artist who we have now come to know very well, and who makes provocation the leitmotif of his artistic production.
Subjects such as Donald Trump and Elon Musk have already passed under his irreverent lens, and, this time, also Sam Bankman-Fried, former CEO of FTX, a cryptocurrency platform now bankrupt.
Mike Winkelmann (Beeple), FTX BOARD MEETING, DAY #5676 11.13.2022 (2023). Censored version. Courtesy of Castello di Rivoli.
The work FTX Board Meeting, Day #5676 11.13.2022
“Beeple’s work,” says museum director Carolyn Christov-Bakargiev, “constitutes a major donation that updates our permanent collection with work in a 21st-century medium that combines the digital with the physical.”
The work portrays several versions of Sam Bankman-Fried engaged in sexual relations with each other, a solipsistic orgy that the Castello di Rivoli had to censor in order to publish it on the Youtube channel.
“Beeple’s seemingly pornographic image also points to the childish, immature and narcissistic nature of the digital world,” said Christov-Bakargiev. “It questions technology and the society that develops in relation to that technology, even if it uses its system and structures”.
Beeple had already exhibited in 2022 at Castello di Rivoli with the video sculpture Beeple’s Human One (2021), which was also presented at the M+ in Hong Kong.
“Lady with a fan” was sold on Tuesday evening at Sotheby’s in London: it is the second most expensive portrait ever as well as the highest price ever reached in a European auction.
The evening was one of those that promised great scene failures, that of Tuesday in London’s Bond Street.
In fact, the Modern and Contemporary Evening Auction at the Sotheby’s headquarters presents a lot with masterpieces by artists such as Lucian Freud, Cy Twombly, Magritte, Giacometti and, precisely, Klimt, with the flagship piece.
“LADY WITH A FUN”, A TOUCHING STORY
The work had been found in the easel of the artist’s studio, just completed before his death from the Spanish flu in 1918 in Vienna. The subject is unknown to date, but the study of color and the composition of the painting testify to all the greatness of one of the most influential artists of the early twentieth century at the peak of his research. The work has reappeared on the market after more than 30 years.
Following a 10 min bidding battle between 4 bidders at #SothebysLondon, Gustav Klimt’s final masterpiece ‘Dame mit Fächer’ (Lady with a Fan) established a new auction record for Klimt and became the most valuable work of art ever sold at auction in Europe: https://t.co/pWguIRHn6d
The work was auctioned for over 100 million dollars, after a battle of bids between 4 collectors that lasted more than 10 minutes. We don’t know much about the buyer, but what is certain is that it is the record for the most expensive work ever sold in Europe.
But Klimt did even better in America: his portrait of Adele Bloch-Bauer II sold at a New York auction in 2006 for $87.9 million, and his landscape Birch Forest at Christie’s in New York last year for 104.6 million dollars.
Additionally, two other portraits of him are thought to have privately sold for more than $100 million.
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L'archiviazione tecnica o l'accesso sono necessari per lo scopo legittimo di memorizzare le preferenze che non sono richieste dall'abbonato o dall'utente.
Statistiche
L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici.L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici anonimi. Senza un mandato di comparizione, una conformità volontaria da parte del vostro Fornitore di Servizi Internet, o ulteriori registrazioni da parte di terzi, le informazioni memorizzate o recuperate per questo scopo da sole non possono di solito essere utilizzate per l'identificazione.
Marketing
L'archiviazione tecnica o l'accesso sono necessari per creare profili di utenti per inviare pubblicità, o per tracciare l'utente su un sito web o su diversi siti web per scopi di marketing simili.
Per fornire le migliori esperienze, utilizziamo tecnologie come i cookie per memorizzare e/o accedere alle informazioni del dispositivo. Il consenso a queste tecnologie ci permetterà di elaborare dati come il comportamento di navigazione o ID unici su questo sito. Non acconsentire o ritirare il consenso può influire negativamente su alcune caratteristiche e funzioni.
Funzionale
Always active
L'archiviazione tecnica o l'accesso sono strettamente necessari al fine legittimo di consentire l'uso di un servizio specifico esplicitamente richiesto dall'abbonato o dall'utente, o al solo scopo di effettuare la trasmissione di una comunicazione su una rete di comunicazione elettronica.
Preferenze
L'archiviazione tecnica o l'accesso sono necessari per lo scopo legittimo di memorizzare le preferenze che non sono richieste dall'abbonato o dall'utente.
Statistiche
L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici.L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici anonimi. Senza un mandato di comparizione, una conformità volontaria da parte del vostro Fornitore di Servizi Internet, o ulteriori registrazioni da parte di terzi, le informazioni memorizzate o recuperate per questo scopo da sole non possono di solito essere utilizzate per l'identificazione.
Marketing
L'archiviazione tecnica o l'accesso sono necessari per creare profili di utenti per inviare pubblicità, o per tracciare l'utente su un sito web o su diversi siti web per scopi di marketing simili.
Per fornire le migliori esperienze, utilizziamo tecnologie come i cookie per memorizzare e/o accedere alle informazioni del dispositivo. Il consenso a queste tecnologie ci permetterà di elaborare dati come il comportamento di navigazione o ID unici su questo sito. Non acconsentire o ritirare il consenso può influire negativamente su alcune caratteristiche e funzioni.
Funzionale
Always active
L'archiviazione tecnica o l'accesso sono strettamente necessari al fine legittimo di consentire l'uso di un servizio specifico esplicitamente richiesto dall'abbonato o dall'utente, o al solo scopo di effettuare la trasmissione di una comunicazione su una rete di comunicazione elettronica.
Preferenze
L'archiviazione tecnica o l'accesso sono necessari per lo scopo legittimo di memorizzare le preferenze che non sono richieste dall'abbonato o dall'utente.
Statistiche
L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici.L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici anonimi. Senza un mandato di comparizione, una conformità volontaria da parte del vostro Fornitore di Servizi Internet, o ulteriori registrazioni da parte di terzi, le informazioni memorizzate o recuperate per questo scopo da sole non possono di solito essere utilizzate per l'identificazione.
Marketing
L'archiviazione tecnica o l'accesso sono necessari per creare profili di utenti per inviare pubblicità, o per tracciare l'utente su un sito web o su diversi siti web per scopi di marketing simili.
Per fornire le migliori esperienze, utilizziamo tecnologie come i cookie per memorizzare e/o accedere alle informazioni del dispositivo. Il consenso a queste tecnologie ci permetterà di elaborare dati come il comportamento di navigazione o ID unici su questo sito. Non acconsentire o ritirare il consenso può influire negativamente su alcune caratteristiche e funzioni.
Funzionale
Always active
L'archiviazione tecnica o l'accesso sono strettamente necessari al fine legittimo di consentire l'uso di un servizio specifico esplicitamente richiesto dall'abbonato o dall'utente, o al solo scopo di effettuare la trasmissione di una comunicazione su una rete di comunicazione elettronica.
Preferenze
L'archiviazione tecnica o l'accesso sono necessari per lo scopo legittimo di memorizzare le preferenze che non sono richieste dall'abbonato o dall'utente.
Statistiche
L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici.L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici anonimi. Senza un mandato di comparizione, una conformità volontaria da parte del vostro Fornitore di Servizi Internet, o ulteriori registrazioni da parte di terzi, le informazioni memorizzate o recuperate per questo scopo da sole non possono di solito essere utilizzate per l'identificazione.
Marketing
L'archiviazione tecnica o l'accesso sono necessari per creare profili di utenti per inviare pubblicità, o per tracciare l'utente su un sito web o su diversi siti web per scopi di marketing simili.
