Outland Art, Jumeira (2026)

02/05/2024

Outlanders, you may have seen us talk about Gum on Twitter, or on our Discord.

Let’s make it official official. Introducing: 𝗚𝗨𝗠

🌟 Gum is a new web3-enabled collecting experience.

Conceived by Outland but independent of our Editorial publishing platform, Gum is a space for collectors, artists, and community organizers to share ideas. The vision is to build a vibrant space that empowers artists & collectors to showcase what they love.

Built on the Blast L2 network, creators earn for every follower. At the same time, folks already following them earn too—rewarding the existing community for their support. 🚀

We’ve partnered with the incredible Blastr.io, who have collaborated with us to develop our smart contracting. Artists can now use Gum to create a project using Blastr’s refundable smart contract. By doing so, artists become eligible for upcoming Blastr Gold airdrops.

Community + Collecting + Culture. That’s Gum. We hope this model enables more liquidity & financial stability for creators, collectors, and dealers alike. 🔐

Right now GUM is in early beta, with limited access by invitation only. So far, only a select group of artists have been granted access.

Want in? Use code ‘gumstart’ to give it a try. Link in bio.

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19/04/2024

𝗖𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝗼𝗻𝘀 | 𝗕𝗥𝗜𝗚𝗛𝗧 𝗠𝗢𝗠𝗘𝗡𝗧𝗦⁠
⁠
Over the last three years, the art production DAO Bright Moments () has honed the proposition that the revelation of the output of a generative artwork is a special occasion that artists and their audiences can share. They have organized projects, events, and exhibitions around the world to highlight and celebrate these moments of discovery. ⁠
⁠
What began at a casual gallery on the boardwalk in Venice Beach, California, will conclude this weekend in Venice, Italy, when Bright Moments presents “The Finale” at the Scuola Grande San Giovanni: a live minting experience that includes almost every artist who has participated in the DAO’s past projects. ⁠
⁠
To mark the occasion, founder Seth Goldstein () met with Outland to talk about the evolution of Bright Moments, from the introduction of on-site minting as a practical way to onboard people to collecting NFTs to its positioning of generative art as a kind of participatory performance. ⁠
⁠
The conversation highlights the DAO’s major projects, though its activity extended even further, encompassing residencies, traveling solo projects by Casey Reas () and Michael Kozlowski (), and meetups with smaller-scale presentations of artworks in New York and Venice Beach. ⁠
⁠
As a collector, Goldstein “buys his own supply,” as he puts it; today’s text is illustrated with works in his vault from Bright Moments events, as well as CryptoCitizens (.citizens), a pixel art collection with 1,000 NFTs minted for each of the cities where the DAO has been active.⁠
⁠
🌟 🌎️ ⛓️⁠
⁠
Pictured:⁠
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Tile 1 - Emily Xie (): “Off Script #24,” 2022⁠
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Tile 2 - Holly Herndon () and Mat Dryhurst (): “Minnesang #17,” 2023⁠
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Tile 3 - Sarah Ridgely (): “Figs. #22,” 2024⁠
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Tile 4 - Casey Reas: Network C #11, 2022⁠
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Tile 5 - Qian Qian (): “CryptoGalactican #141,” 2021⁠
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Tile 6 - Ben Kovach (): “100 Print #30,” 2022⁠
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Tile 7 - Marcelo Soria-Rodríguez (): “lo que no está #67,” 2022⁠
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Tile 8 - Aaron Penne () x Boreta (): “Rituals – Venice #199,” 2021

13/04/2024

𝗖𝗼𝗻𝘃𝗲𝗿𝘀𝗮𝘁𝗶𝗼𝗻𝘀 | 𝗦𝗔𝗥𝗔𝗛 𝗥𝗢𝗧𝗛𝗕𝗘𝗥𝗚

Last week we paid a virtual visit to artist Sarah Rothberg ().

She talked about her use of avatars to highlight the performative aspects of everyday technologies, as well as their underlying power dynamics.

Her exhibition “Superprompt” at Bitforms () in San Francisco last summer presented animations based on conversations with ChatGPT. The titular term describes blanket instructions that a chatbot follows throughout a conversation; Rothberg’s examples include “talk like a valley girl obsessed with the internet in 2005” or “speak in rhyme.” These superprompts force ChatGPT to inhabit other characters, which ultimately point to the status of its default personality as a kind of performance. The patterns and metaphors of ChatGPT’s “normal self” reveal the biases of its programmers.

Conducting the interview, Outland community manager Wade Wallerstein () points out that Rothberg’s works often get at the ideologies and relationships implicit in common applications. “New Meetings (2021–),” for example, puts an animated skin on Zoom conversations, so that participants appear as 3D drawings who rise and fall depending on how much time they spend talking.

Here and elsewhere, Rothberg’s use of avatars heightens the artifice of virtual environments, so as to highlight the constructs and attitudes that govern them.

🔗 in bio to watch the full conversation.

👩‍🎤 🧑‍🔬 🦹

Pictured:

Tile 1 - A portrait of the artist in VR

Tile 2 - “New Meetings,” (2021-)

Tile 3 - Installation view of “New Meetings” at Bitforms gallery in San Francisco.

Tiles 4 & 6 - Stills from VR installation & performance “The New News,” 2018

Tile 5 - Documentation of a performance of “The New News” at Culture Hub ()

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27/03/2024

𝗖𝗿𝗶𝘁𝗶𝗰𝗶𝘀𝗺 | 𝗦𝗛𝗢𝗖𝗞 𝗧𝗛𝗘𝗥𝗔𝗣𝗬

Before our special issue on performance kicked off, editor-in-chief Brian Droitcour () wrote a piece introducing the practice of guest editor Lauren Lee McCarthy ().

Her art takes on surveillance capitalism with the shock effects of radical performance and an equally radical politics of care.

🧪 🫂 💦

“[McCarthy] is one of the few performance artists I know of working today who regularly makes me feel uncomfortable and disturbed, even though her work is couched in the soothing language of care and comfort. Sometimes her installations invite you to lie down! But the therapeutic tone enhances the creepiness. The tension in McCarthy’s work distills a bigger paradox: despite all the havoc that Silicon Valley wreaks, its innovations are presented as fixes that make life simpler, easier, better. Apps make things convenient by harnessing our data to predict our behavior, to sell us to clients, to train more efficiently invasive technologies. And consumers readily give up everything in return. McCarthy shows her audiences how disturbing this dynamic is by taking it to extremes, often inserting herself into familiar situations to embody apps, giving fleshy form to their intrusions.”

Keep reading, 🔗 in bio.

🧪 🫂 💦

Pictured:

Tile 1 - View of McCarthy’s exhibition “Bodily Autonomy” at the Mandeville Art Gallery (.mandevilleartgallery), San Diego, 2024, showing the Saliva bar.

Tile 2 - “Surrogate,” 2021–. Photo: Gabriel Noguez ()

Tile 3 - “Surrogate,” 2021-. Photo: David Leonard.

Tile 4 - “Surrogate,” 2021-. Photo: Boaz Sender ()

Tile 5 - “Saliva Retreat,” 2024

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26/03/2024

𝗡𝗲𝘄𝘀 | 𝗦𝗣𝗜𝗟𝗟𝗜𝗡𝗚 𝗢𝗨𝗧 𝗢𝗙 𝗧𝗛𝗘 𝗦𝗖𝗥𝗘𝗘𝗡

Outlanders, we’re thrilled to announce that our next guest editor is Lauren Lee McCarthy ()!

Over the next few weeks, the ‘Saliva’ artist will lead us through a special issue honing in on .

Now online, McCarthy penned a note introducing the issue and its specific slant towards artists who create relationships of intimacy and care to shore up the gaps left behind by technology.

Read the full letter, 🔗 in bio.

🤸‍♂️📲🎻

Pictured:

Tile 1 - Installation view of McCarthy’s “Someone,” 2019

Tile 2 - Mary Maggic (): “Genital( * )Panic Occupation,” at Das Weisse Haus (), Vienna, 2022. Photo: Lea Sonderegger ()

Tile 3 - SHAWNÉ MICHAELAIN HOLLOWAY (): “SUB NOT SLAVE,” 2017

Tile 4 - Mimi Ọnụọha (): “The Library of Missing Datasets,” 2016. Photo: Brandon Schulman ()

Tile 5 - McCarthy: “Sleepover,” 2020

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26/03/2024

Hey Hong Kong, it’s been too long! ✨❤️

Our very own .may will represent Outland at the Asia launch of / .studio’s ‘On NFTs’ — coinciding with this year’s festivities.

Join us for a night of rich conversation celebrating the historic importance of contemporary artists working with new media ✨🚀

See you soon 😉

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29/02/2024

Perusing the show at Art Dubai () today ~ here are a few of our top highlights ~

Tile 1: Krista Kim (.kim) solo booth at Unit London ()

Tile 2: Angelo Plessas () solo booth at Taex ()

Tile 3: The booth at Cinello (.official). Cinello sells digital reproductions of Renaissance paintings with unique display hardware and frames.

Tile 4: A 1/1 work by Itzel Yard (.shells) in 1of1 Art’s () booth.

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27/02/2024

𝗖𝗼𝗻𝘃𝗲𝗿𝘀𝗮𝘁𝗶𝗼𝗻𝘀 | 𝗢𝗨𝗧𝗟𝗔𝗡𝗗 & 𝗛𝗔𝗡𝗦 𝗨𝗟𝗥𝗜𝗖𝗛 𝗢𝗕𝗥𝗜𝗦𝗧

Last week saw the launch of On NFTs, a major survey of art on the blockchain edited by Robert Alice (.studio) and published by Taschen ().

The collector’s edition, hard code edition, and art editions will be available to buy at the end of next month. Spreads devoted to the 101 artists featured in this book are accompanied by ten essays on topics including DAOs, collecting, and algorithmic art.

Outland was invited to contribute to a chapter entitled “On the Metaverse.” The chapter’s introduction by Outland editor-in-chief Brian Droitcour () traces the evolution of the concept of the metaverse from Neal Stephenson’s () 1992 novel “Snow Crash,” right up to the arrival of blockchain-based metaverses such as Decentraland () and Cryptovoxels ().

This is followed by a conversation between curator Hans Ulrich Obrist () and Jason Li (), founder and CEO of Outland, and Christopher Y. Lew (), Outland’s former chief artistic director. Their conversation, which explores speculative possibilities of the metaverse and what they could mean for art and cultural institutions, is reprinted online with permission from Taschen—now on our site.

🔗 in bio.

📔 🌐 🤙

Pictured:

Tile 1 - “On NFT’s,” 2024. Edited by Robert Alice. Published by Taschen.

Tile 2 - A view of the B20 museum in Decentraland, April 2021

Tile 3 - LaTurbo Avedon (): “First Profile Photo,” 2012

Tile 4 - Installation view of Sarah Friend’s Lifeforms at Kunstverein in Hamburg, 2021

Tile 5 - Connie Bakshi (): My silence would be as stone, 2023, in “XENOSPACE” at EPOCH Gallery (.gallery)

Tile 6 - View of Gabriel Massan’s exhibition “Third World: The Bottom Dimension” at Serpentine Galleries, London, 2023. Photo: Hugo Glendinning

Tile 7 - “Mouse Munk” from James Jean’s () “Fragments,” 2022.

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10/02/2024

✨🐲Happy Lunar New Year! ✨🐲

From the Outland family to yours, may the Year of the Wood Dragon bring you much joy and good luck.

✨🧧🎉

Pictured: Detail of James Jean’s () “Dragon II,” 2023, created by the artist to look forward to this auspicious new year 🐉

30/01/2024

𝗖𝗼𝗺𝗺𝗲𝗻𝘁𝗮𝗿𝘆 | 𝗙𝗜𝗡𝗔𝗡𝗖𝗜𝗔𝗟𝗜𝗭𝗘𝗗 𝗣𝗟𝗔𝗬 𝗢𝗡 𝗧𝗛𝗘 𝗕𝗟𝗢𝗖𝗞𝗖𝗛𝗔𝗜𝗡⁠
⁠
More and more, video games look like capitalism simulators and digital financial products look like games. Can art offer an alternative?⁠
⁠
Today in the magazine for our special issue on games, Martin Zeilinger () writes:⁠
⁠
🐄 🌳 🤑⁠
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“What made the NFT boom that crested in 2022 such a fascinating phenomenon was the technology’s perfect suitability for exploring resonances between finance and play. Today, a quick web search will yield hundreds if not thousands of mainstream NFT projects in which tradeable digital assets are designed to invoke video-game aesthetics, in which the financial transactions required to participate are dressed up as playful interactions, and in which engagement is incentivized through the promise of manifold rewards. Think, for example, of the pixel art aesthetics of the CryptoPunks, or of the blockchain-enabled, NFT-driven in-game economy of Axie Infinity’s online sandbox. In more experimental and conceptual contexts, digital artists have also been fascinated by the many ways in which blockchain tech allows for interactions that can invoke play while simulating (or sometimes subverting) the operational logic of financial technologies.” — Martin Zeilinger⁠
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Read on, 🔗 in bio.⁠
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🐄 🌳 🤑⁠
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Pictured:⁠
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Tile 1 - Screenshot from “Stardew Valley,” 2016, developed by ConcernedApe ()⁠
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Tile 2 - “Bag #6202” from Dom Hoffman’s (@ “Loot (for adventurers),” 2021⁠
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Tile 3 - View of the exhibition “Collective Worldbuilding: Art in the Metaverse” at HEK, Basel, 2023, featuring various works by Jonas Lund. Photo: Franz Wamhof⁠
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Tile 4 - Three poets from Pak’s “Lost Poets,” 2021.⁠
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Outland Art

02/05/2024

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13/04/2024

27/03/2024

26/03/2024

26/03/2024

29/02/2024

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