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░▒▓▆▅▃▂▁𝐒𝐲𝐧𝐭𝐡𝐞𝐭𝐢𝐜 𝐌𝐲𝐭𝐡𝐨𝐥𝐨𝐠𝐢𝐞𝐬 ▁▂▃▅▆▓▒░ Announcing the featured artists for the Synthetic Mythologies showcase on December 4th at M2 Miami during Art Basel. A full building of screens, immersive work, and some of the most electric voices in digital art right now. DM me, Inscribing Atlantis, or NOLCHA for VIP reception...

10,630 views • 9 months ago •via X (Twitter)

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Make a lot of stuff, allow perfection to emerge, and focus on the process. - beeple A short visit to the NODE this weekend to support a fellow artist and someone who inspires me to dream bigger. From his 20 years of daily activities to his forward thinking evolving technical capabilities, he shows us what the present moment is and what the future can look like in art. I believe Mike is one of the most down to Earth and influential artists working today in art and technology. How he and his brother, Scott, push the boundaries of art, experience, participation inspires us to think and create in new dynamic ways. Not only is he pushing the boundaries of what’s possible and show us things we have never seen before, he cares deeply about other artists; His community! Mike lead millions of artists to think about NFTs in 2021 which was a huge first step for the future of preserving art. Now in 2026, with the patronage of NODE, the organization of phil, and the graciousness of Micky 🐸, it is genuinely gearing up to be a massive paradigm shift for an art movement as we live and breathe. This is it folks! We like to say that we are in the golden age, or undergoing a digital art renaissance. It’s happening right now! And you who are reading this is part of it. On X, and in person. It requires us all who give a fuck to show up and support each other and make the art that’s true to us, and collect what we connect to or that moves us. To share how we each see the world from our perspectives in making art or experiences art; sharing ideas helps us become a collective consciousness and allows us to learn and grow together. With every event I can feel we get closer and closer; I was fortunate to spend more quality time with the people I learn from and respect. Like El Barba Roja blue check and Coldie 🟦🟥, AP, MrMerge, Winnie, Lanett Bennett Grant, joeyL.eth / Yatreda ያጥሬዳ, and of course the homie Chikai! It takes a village, and in this case it takes a village to raise Human One as Ryan Zurrer & Jehan Chu said in their recent posts. We all play a role here and contribute our hearts with our love for the game. You can see in Mikes work and character that he uplifts everyone. From his hometown studio in Charleston to the exhibitions he’s cultivating around the world. He includes 100s of artists to be a part of it. That’s true leadership! Thank you Mike for bringing us along and being a part of your journey of commitment, community, humility, humor, and have a good fucking time at your art shows. Congratulations, We love you bro!

justinaversano

10,082 views • 4 months ago

It takes a village. • Lead curator Lowbrow for putting together an incredible show. Your dedication to this vision was inspiring to witness. • Assistant Director of Gallery Operations Lamp for being the glue to this operation we call Cycol Gallery. • The artists who understood the assignment and brought their A game to this exhibition. • The Exchange Art team, GOKU_NFT, devs, and Un tal Adro working tirelessly on the backend to ensure our Galleries Feature was featured properly. • Our resident videographer, Jack Desa, for documenting our next year. • Jairo ◎ for putting together all of the design work for the vinyl prints and catalogue. • Cole for always answering the phone when I need you. • All of the relationships I've built over the past 17 years of my life in NYC where I can make a phone, even if we haven't spoken in a while, and ask for a favor. The process of running a gallery, along with everything else I have on my plate has been a lot. Having the team members I have, for EA and Cycol, has shown me time and again how dedicated we are to making it happen. We are making it happen y'all. Not Quite Still is on display at the gallery through the rest of the month into February, with a special closing in Paris on February 5th. Featuring the art of: Michelle Thompson (Michelle Thompson 💎🟥) Ada Okaro(ada.) Bita (まさやん) Celestial (Lorraine Canns) CYDN (c_y_d_n Digital Art) Ekaterina Bazhul (Ekaterina Bazhul) Elizabedsh (Elizabedsh) Essjayne (📸 EssjayneArt - loves you) Greg Frederick Lance Weiler (culturehacker) Lisanne Hack (Lisanne Haack) Luciana Guerra (Luciana Guerra) Mariah (Mariah 💎) Su Postill (Su ✂️) Wetiko (WETIKO⁉️) Cycol Gallery is located at 91 Allen Street in NYC. Powered by Solana and BONK!!!

JT Liss

14,756 views • 7 months ago

Flying back from Charlotte, I thought a lot about this weekend.. beeple was our Willy Wonka and created an amazing art factory event…. But it was more than an event. It was a small peak into our future.. My takeaway is this … We are not the same as traditional art yet we are very much connected … This event was a story in two parts… The first part was embracing the classic. A nod and ode to the museum/gallery exhibit… Part two was a chaotic immersive experience that was truly beautiful…. I think for me, what I get now, is we don’t need to run away. We need to embrace it all…. Art is art. The more we push our boundaries of a new creative technological renaissance we will bring in others who will see our vision… It will take a while. It won’t be easy. Last night was the first time I felt this. The first time I felt that we have a chance to be different but stay enough the same… I can see it now, 25 years from now at an underground extremely popular rave. The newest hottest artists enters wearing a hoodie that you can barely see their face except for the lollipop stick. They will emerge in the middle of the room rising from the floor. They will start to play a new score they composed that will include art they created with new advanced AI. They will create the art live in front of everyone. Suddenly, from the ceiling virtual little notes will fall and the people will have AR implants seeing these beautiful Vistula notes fall all around them. They will grab them with their hands and they will than use these digital notes to be able to buy the art and songs the artists is playing live. They will share the virtual notes with each other and save some for later. The artists will finish his work and disappear into the floor he came from. The crowd will go home and see if they were lucky enough to grab a golden note that gives them a special 1/1 song and art from the artist. The winner will than post it on socials, getting instant fame where that they can than tokenize the fame for themselves… the digital art renaissance is in full swing! That is the start of what we saw last night…. See, no one can see the future but we can live in it and not even realize we’re in the middle of it … Think about the changes you can make for this future and what footprint you can leave behind…. Think about how much time we really have to make any difference at all… This is how we build!

El Barba Roja blue check

148,495 views • 3 years ago

It’s time. Introducing the Iris NFTs: Your gateway to the Iris DAO ecosystem. Iris DAO is an art collective that connects minority artists and collectors. Join the allowlist now 👉 Our mission is to bring about a revolution in the issue of diversity. Currently, artists from various minority groups encounter barriers that hinder their full potential due to biases related to age, gender, race, and other factors. These limitations result in unequal opportunities for minority artists, creating a significant lack of diversity. • Only 15% of digital art sales are by women artists. • 85% of artworks displayed in American museums are created by white artists. Even our 17 yo founder @Mark_Teenage faced criticism and hardship solely based on his age. They judged Mark without acknowledging his skills. We focus on providing support to minority groups, offering new opportunities and platforms for self-expression. What are Iris NFTs? Iris NFT grants exclusive access to the Iris Ecosystem, uniting curated collectors and artists on a mission to champion diversity. In addition to membership to the Iris's artists and collectors community, Iris NFT holders gain access to unique experiences throughout the Iris Ecosystem. Our allowlist is now open, but spaces are limited. We are carefully selecting individuals who align with our mission and values. This NFT isn’t just an investment; it comes with voting power. We want owners who are genuinely committed to supporting minorities and fostering inclusivity. If you’re here for a quick profit, this isn’t the right opportunity for you. However, if you believe in our cause and want to make a positive impact, we encourage you to apply. Explore more about us on our brand new website. Finally, We would like to extend our heartfelt thanks to all our partners, advisors, artists, and investors for being with us on this journey. A special thanks to our partner, manifold.xyz, for helping us deliver the best NFTs and support artists together. We also want to express our gratitude to our amazing partners: Forbes Web3, JJ, WAW, world of women, One Love Art DAO, and more partners that will be announced soon. Additionally, a huge shoutout to our incredible advisors: medved, Shannon Snow, and Mani. Lastly, thank you to all of our wonderful artist partners who are leading this space: Sara "Sparky" Baumann ⚡️, 𝓶𝓾𝓶𝓫𝓸𝓽, Andrea ✧, Rhi, Aoife O’Dwyer, Teresa Melvin, @Mireyita_art, Anastasia NFTart 💎 🫶 Thank you all for your support to achieve the diversity. In this tough bear market, we've been dedicated to building a platform that truly supports artists. We're not trying to ride any trends; we genuinely care about artists and are here to offer our support. We understand the market conditions are still challenging, but this initiative is about much more than money. If you are an artist, a collector, or even someone new to this space who wants to support minorities, this NFT is for you. We are using NFTs as a tool to address the issue of diversity in the space. We believe that the success of this project will provide new opportunities and platforms for minority artists in the Web3 space, fostering diversity and inclusivity. Thank you so much for reading through this. Even small support, like a repost, is incredibly meaningful to us and can make a big difference. Your support helps us reach more people and amplify the voices of minority artists. If you would like to be a part of this initiative, please sign up for the allowlist: We eagerly await your cooperation. Let's build a new future together.

Iris DAO

15,697 views • 2 years ago

Some things I cannot get over from today’s Basel VIP day, I’m just gonna type once and rip bc I’m eager to get these memories out: Best mic drop moment for digital artists I’ve ever seen. The exhibition looked so damn good, our energy was so high it made the other half of the fair feel vapid. Perennial Basel VIP goers walked a fair booth after booth of what is honestly repetitive “trad” art and then BOOM, they’re instantly stimulated by the masterfully organized Zero to 10 exhibition. They’re hit with the largest crowd they never expected, many of which was anchored by 50-100 crypto friends rekindling, and ready to lend their knowledge to explain the works in front of them like they’re the artists. Speaking to Scott Winkelmann (beeple bro) about how incredible it was to see all the smiling faces videotaping Regular Animals. He mentioned 50+ inquiries for buying one (they sold out before i walked in). It will be the most viral piece in all of Art Miami. Coin Laundry by XCOPY 🏴 with incredible representation and support by Mimi Nguyen and , so busy at times, it was all hands on deck from bonafidehan.eth ⚫ pravijn ⚫️ and anyone who knew what was going on to onboard attendees with their soap. Sergey Brin was there and seen admiring Dmitri Cherniak’s Floor Ringer, the booth looked stunning huge congrats VincentVanDough Aniko Berman and all who repped. Erick / Snowfro / 🦩 / LAO / #️⃣ / 🔴 and Jeff Davis smiling ear to ear, happy to be recounting the story of Art Blocks with a passion no other gallerist has had before. Snowfro, the apex collector turned innovator in the space coming full circle to showcasing and selling AB minted Quines by Larva Labs . Ana María Caballero reciting her beautiful and poem in front of 100s of fully engaged listeners, a wonderfully intimate break during the day. The amount of questions and genuine interest I felt from bankers and their groups of clients awing at the method and output Tyler Hobbs Studio works, and seeing 𝐿𝑒𝓎𝓁𝒶 team handle the interest with the perfect tact. sofia isabel garcia micol Fellowship working a central pillar of the fair, selling all the Ix Shells ( • •) works on display, one of my favorite place to watch reactions from throughout the day. @jackbutcher crushing it as the labeled “manager” and helped his guests Self Checkout and unknowingly mint their first NFTs. The most engaging of conceptual art many ppl can microbuy ($1, can do online too) Michael Kozlowski giving the most intricate and interesting of details on the masterful work he produced with Heft Eli Scheinman and El Barba Roja blue check with such hospitable charm working the entire exhibition floor. Making intros and giving full context tours. Truly amazing work my bros, I’m so happy to see the 10/10 execution. I’ll look to end by saying i don’t care what the culturally deficient say about us, digital art is the artistic movement of our time. I just witnessed the “cool”, elite crowd of society come into our corner of the Art Basel fair and smile with intrigue as they realized why our generation is not going to be buying $60m Rothkos. Our internet native generation deserves this movement. It’s uniquely ours and it’s real as fuck, in the deepest of bears. It wasn’t passed onto us as inheritance, it grew from twitter telegram and discord. It is extreme ownership of what is truly ours, and these Basel VIPs don’t even know (yet) how based it feels to enjoy the true sovereignty of this movement. I didn’t plan to go every day, but now i feel a sense of pride i want to enjoy more days of the week so i will happily be there daily. I need to get my time with Yatreda ያጥሬዳ maya man Joe Pease !! This was a perfect exhibition in my book. 🫡🫡

AC

99,721 views • 8 months ago

Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.

Biwald

73,228 views • 2 months ago

On Zero 10 at Art Basel 2026 When I heard Zero 10 was coming to Art Basel, the first thing I felt wasn't curiosity about the art. It was the chance to finally stand in a room with people I'd only ever known through a screen and talk about where our space actually is right now. I went in wearing two hats and trying to keep both on at once. One was the curious visitor: how does digital art even get communicated inside an institution like this? The other I can't take off. Someone who comes from the underground core of this scene. I made myself a promise on the way in. No "fuck this, it's all cringe." Neutral. Open. Give it everything before I judge anything. And for a while, it earned that. The first thing Zero 10 gets right is that it doesn't feel like a side fair, even though that's exactly what it is. Visually it holds the moment. Without saying it out loud, it tells you Art Basel is serious about this now. Not dabbling, not hedging its bets. The first works I saw were John Gerrard's triptych of flags, and they set the tone instantly. They're gorgeous. Someone walking in cold might not even clock them as simulations. They might think they're looking at a live feed. That's the point. The room opens by declaring, in the most aesthetic way possible: *this is the zeitgeist of digital art.* Hold onto that sentence. I'll come back to it. Walking through, I slowly understood what Eli Scheinman and Trevor Paglen were actually doing. This wasn't Miami, where every phone in the room was pointed at Beeple's robot dogs and the whole thing tipped into spectacle, which, to be fair, worked exactly as intended. Basel was something else. Didactic in the good sense. A guided walk through the history of digital art, screens and physical works, old and new, woven together until the seams disappeared. For someone like me, who has been pushing back on the flattening, the lazy reflex that files Autoglyphs and Fidenza in the same drawer as 10k flip projects, this was genuinely moving to see. Someone built a room that takes this work seriously enough to give it a lineage. That matters. I don't want to undersell how much it matters. Then I hit Avery Singer's *Shit Coin Maxi*, hung by Hauser & Wirth, and that's the exact moment something turned. It's a good title, or it was. That's almost the problem. "Shit coin" is already dead vocabulary. That word had its currency back in Cobie's peak era, and nobody current talks like that anymore. So a painting made in 2025 reaching for it reads less like the present than like nostalgia for a moment that already passed. I'm not mad at the work. I'm noting what it represents. A blue-chip painter borrowing a word that signaled "now" a couple of cycles ago, hung in the room that's claiming to show us the actual now. The strongest culture of the last few years got made by people with no institutional cover, and what makes it onto a blue-chip wall is the part already legible to the institution, smoothed down into something sellable. So the present wasn't absent from the room. It was here, absorbed, translated into a dialect the fair already understands. Which made me start looking for the other version of it. The one that hasn't been translated yet. The thing that's still hot to the touch. It wasn't there. Not a single artist or movement in the room represented the current moment on its own terms. Someone will say that's just my perspective, and fine. But let's be real. The wildest movement of the last cycle happened on Solana, through meme coins, and out of that chaos came an NFT scene with its own dynamic and a handful of genuinely outstanding artists building a language that deserves a place in the canon. Avant NFTs, Gay NFTs, tongue-licking-the-flame NFTs, whatever you want to call them. That language isn't a footnote. Read properly, it throws new light backward. It's what finally lets the 2021 work and everything before it be seen as something other than cartoon monkeys. The current scene is the key to the historical one. Leave it out and the history you're telling is missing the part that shows the conversation has moved past 2021 bag holders praying for the mass adoption where the world wakes up and decides Tyler Hobbs is sexier than Ida Ekblad. And before anyone reads this as an NFT guy asking for more NFTs: that's the reduction, and the reduction is the whole problem. What's missing isn't a market category. It's a way of working. Artists using the blockchain like a studio, not to mint jpegs but to build whole worlds, weaving AI, physical objects, writing, and community into one continuous practice instead of separate outputs. That is digital art. That is AI art. The two things this show says it's about. Which is what makes the omission strange. Zero 10 sorts everything into clean bins, AI over here, generative over there, a physical piece on the wall, exactly when the work that's most alive is the work dissolving those bins. The filing system is the tell. It organizes the present with the categories of the past. Which brings me back to that opening declaration. *This is the zeitgeist of digital art.* Except those flags weren't new. *Western Flag* dates to 2017. The newest of the three is 2023. The works chosen to announce the present were themselves already the past. Fellowship framed the triptych as a nine-year body of work, the oldest piece nearly a decade old. A zeitgeist on a delay. None of this makes the work bad, but digital culture doesn't run on museum time, and work that felt current when it was made can read as historical by the time it's framed as the now. Is it even one, then? I mean that as a real question, not a gotcha. A zeitgeist is the spirit of a time, and a spirit can only belong to the people living inside it. So what happens when the previous generation is the one interpreting what the current generation's culture looks like? Does it stay a zeitgeist, or quietly become a retrospective wearing the zeitgeist's clothes? You named the whole platform after Malevich's *0,10*, the show where Suprematism reduced everything to zero and started over. You set your own bar at rupture. And the one thing the room didn't show me was the rupture happening outside its walls. This isn't sentiment, either. The last Art Basel and UBS survey put it plainly: Millennials and Gen Z now make up roughly three-quarters of high-net-worth collectors, and more than half of those collectors bought a digital work in the past year. The new generation isn't the future of this market. It's the present tense. Defining their culture for them, from above, doesn't just feel off. It misreads the room it's standing in. So let me end where my excitement actually lives. For years, the part of Art Basel I loved most wasn't the main fair. It was Liste. The young galleries, the disruptive positions, the work that hadn't been sorted or priced or canonized yet. That's where you went to feel something. Zero 10 could be that. It has the bones to become the room that hits you awake before the main halls lull you back to sleep. The cold water before the warm bath. The place you walk through first, get rattled, feel your pulse, and only then go get comfortable. That's the highest thing I can imagine for it, and it's within reach. The frame is right. The seriousness is right. What's missing is the nerve to let the people making the present define what it looks like. Get that part right, and Zero 10 won't be showing us the zeitgeist. It'll be where the zeitgeist is.

VVV.SO

15,724 views • 2 months ago

Gm! Our recent acquisition of 6529 Gradient #96 meant to orient our mission going forward, after 5 years of grassroots building. Today, we announce our biggest Common Good project yet, Formosa 6529, a permanent IRL exhibition of The Memes and 6529 network NFTs: Catch our founder HugoFaz.6529 on justinaversano's Moments of the Unknown to hear all about it, visit the website above or read more below. Common Goods are meant to reach and benefit the masses. The 6529 network has been funding and buidling over the years a massive public cultural archive of CC0 Art — intellectual property that belongs to all — in a revolutionary change of paradigm. However, the scale and cultural significance of The Memes as an art collection/movement has so far remained largely untapped. Beyond our core web3 communities, few ever get see, interact, much less use this vast archive to... spread the memes of decentralization, foster local creative economies, educate about crypto, monetize with branding, repurpose content, teach and learn creative techniques, or even just to enjoy amazing, groundbreaking art. There is no other CC0 contemporary art project of this scale and importance and the world needs to use it. It's time then we give 6529 its first permanent IRL home so it can be truly appreciated. Enter Formosa, a prime public gallery space built during Brazil's golden modernist years in the first half of the 20th century to host art events that aimed to deconstruct and repurpose the imported, colonialist artistic trends coming from Europe and devise an original brazilian art movement. From fusion restaurants to art schools to performative theater installations, Formosa Gallery thrived through successive occupations until finally enduring decades of abandon and misuse around the turn of the century. Recently, it was set to be restored and given purpose beyond its former glory, and we were there to propose the best possible turnaround for the space... Over years of negotiation with private and governmental parties, we managed to approve with public authorities a double use for the space: a private high-fidelity vinyl listening bar and restaurant — which is already operating — and a 100% public domain digital art gallery. Featuring up to 25 state-of-the-art digital screens ranging from 85 to 50 inches, Formosa 6529 will be the best and largest dedicated permanent exhibition of any web3 project. With rotating exhibitions of The Memes, NextGen and all future 6529 projects, Brain will have direct input on exhibitions via decentralized voting on curatorial proposals made by the community. To give us institutional freedom and censorship resistance, we decided to fully decentralize the funding for Formosa Gallery's installation and operation. Let's find out together what happens when we unleash CC0 art to the public! Daytime, Formosa 6529 will be fully open for free visitation. Occupying a busy public passageway under the historic Tea Bridge linking the Municipal Theatre to the City Hall, intentional visitors and hundreds of passerbys alike will be impacted by the exhibits. We will host many activities to showcase the power of The Memes and CC0 art: royalty-free merch sales by local craftspeople, artist rememe competitions, school guided tours, meme fashion shows, art and tech workshops, and many other activations the network can help us come up with. And every night, the Hi-Fi audience of 300-400 affluent Paulistas and tourists occupy Formosa Gallery sipping drinks and (now) discussing the latest Memes exhibit while waiting for their place in the listening bar. The Fundraiser for Formosa 6529 is open now and runs until November 15th. At a glance : The initial funding will require a minimum of 24 Ξ, which will cover: - All necessary infrastructure and interior adaptations - Equipment purchase and installation - Overhead costs for the grand opening event and for the entire 1st year of operation, opening day and night (mostly human resources – guides, security, tech, comms – and taxes) Funding will happen in 2 stages, the first of which is now open: 30 Meme Card Artists have generously committed to create and donate a new piece for this fundraiser; their names will be announced over the course of these 2 weeks. The unrevealed 1-of-1s are available here: Contributions are fully refundable if the fundraiser does not reach minimum threshold. If we succeed, the works will be revealed live in a randomized draw during the Grand Opening in January. The second stage will consist of a Meme Card, to allow for wider network participation, and only happens after the first stage is successful. Please visit for more information on funding rewards and goals, the FAQ, or reach out here or dm us at 6529 with any questions! This project is only possible due to the power of web3 and the network of believers in a decentralized future powered by NFTs. We can't wait to bring Formosa to life, and to have you here IRL with us for the exhibitions and to have a great time.

CasaNUA.6529

51,095 views • 9 months ago

We are excited to announce the next phase of MONOLITH Gallery. It will now include a highly curated set of artwork from Chikai Ohazama’s (Chikai) private collection. We have completely redone the website to highlight this new curation and invite you to visit it now. When we first started MONOLITH, it was focused on bringing more visibility to more artists through an innovative exhibition format. Then we were among the first to push forward curation in the Web3 art space being launch partners for SuperRare Spaces, NiftyGateway Publishers, and Foundation Worlds. As this space has evolved and also endured, we think now is a good time to reflect upon the value of what has been collected and not just the latest acquisitions. We are doing this by turning the lens upon ourselves and looking at what our founder Chikai has collected and moving them into a new MONOLITH vault to recognize those special pieces and artists. There are 30 artists that have been selected to be part of the inaugural set of works to enter the MONOLITH collection and they are featured on our website with a personal quote from Chikai about each artist. We will be highlighting each artist in the coming weeks and we will be adding more over time. The selection process looks not only at the artist and their body of work, but whether we have acquired a notable set of works from them. It could be just one piece or it could be several pieces, but what’s most important is how unique and notable those pieces are within their body of work. The gallery portion of MONOLITH will be on hiatus until we find the right time and opportunity to resume exhibitions and selling artworks. In the meantime, we will be documenting our previous exhibitions and successes on the website to give people context on what we have accomplished as a gallery. We truly appreciate the support we have received over the years and hope to continue to support artists and work hard to build a strong foundation that will allow tokenized art to have a long and prosperous future. The artists in the inaugural group entering the MONOLITH collection are: Aaron Huey alejandro cartagena Elman Mansimov Alina Trifan a.c.k. Andrew Semark Ayla Ben Zank ESSA 🌎 Gina Choy GŁOWA Isa Rus Jeff Frost joeyL.eth lilyillo mae Mehmet Turgut Metamorphe Jenni Pasanen Reuben Wu Mia Forrest 💎 niceaunties OmarZRobles.eth Reuben Wu Roope Rainisto Sam Spratt Samantha Cavet Summer Wagner QQL Grant Tyler Hobbs Studio Yatreda ያጥሬዳ

MONOLITH Gallery

14,121 views • 2 years ago

Michelangelo Buonarroti, (1475-1564) - The Last Judgement - Vatican - Rome Michelangelo di Lodovico Buonarroti Simoni (Italian: March 1475 – 18 February 1564), known mononymously as Michelangelo (English: ˌmaɪkəl] was an Italian sculptor, painter, architect, and poet of the High Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and had a lasting influence on Western art. Michelangelo's creative abilities and mastery in a range of artistic arenas define him as an archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century. He was lauded by contemporary biographers as the most accomplished artist of his era. Michelangelo achieved fame early. Two of his best-known works, the Pietà and David, were sculpted before the age of 30. Although he did not consider himself a painter, Michelangelo created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. His design of the Laurentian Library pioneered Mannerist architecture. At the age of 71, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan so that the Western end was finished to his design, as was the dome, with some modification, after his death. Michelangelo was the first Western artist whose biography was published while he was alive. Three biographies were published during his lifetime. One of them, by Giorgio Vasari, proposed that Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three." In his lifetime, Michelangelo was often called Il Divino ("the divine one"). His contemporaries admired his terribilità—his ability to instill a sense of awe in viewers of his art. Attempts by subsequent artists to imitate the expressive physicality of Michelangelo's style contributed to the rise of Mannerism, a short-lived movement in Western art between the High Renaissance and the Baroque. Life Early life, 1475–1488 Michelangelo was born on 6 March 1475 in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina, near Arezzo, Tuscany. For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father, Ludovico di Leonardo Buonarroti Simoni, briefly took a government post in Caprese, where Michelangelo was born. At the time of Michelangelo's birth, his father was the town's judicial administrator and podestà or local administrator of Chiusi della Verna. Michelangelo's mother was Francesca di Neri del Miniato di Siena. The Buonarrotis claimed to descend from the Countess Matilde di Canossa—a claim that remains unproven, but which Michelangelo believed. Several months after Michelangelo's birth, the family returned to Florence, where he was raised. During his mother's later prolonged illness, and after her death in 1481 (when he was six years old), Michelangelo lived with a nanny and her husband, a stonecutter, in the town of Settignano, where his father owned a marble quarry and a small farm. There he gained his love for marble. As Giorgio Vasari quotes him: If there is some good in me, it is because I was born in the subtle atmosphere of your country of Arezzo. Along with the milk of my nurse I received the knack of handling chisel and hammer, with which I make my figures.

Art Gallery X

96,194 views • 1 year ago

The Cabal's Secret Cargo. Elite child trafficking through art and shipping containers. "Art in Embassies," the U.S. State Department's glossy program that's allegedly a front for one of the most sinister operations in the world... Human trafficking. Connecting the dots from creepy modern art pieces loaned to U.S. embassies worldwide to shipping containers rumbling across oceans, packed not just with "priceless" sculptures, but with human lives. High-society elites like Hillary Clinton and John Kerry posing with bizarre, often disturbing artworks by artists like Jeff Koons – those balloon animals and twisted installations that scream symbolism. This is used to communicate and mock you right to your face. But dig deeper, and the allegations pile up. These "art loans" bypass customs under diplomatic immunity, sealed in shipping containers from companies like CMA CGM, zipping through ports without a second glance. Why? Because under the guise of cultural exchange, victims are allegedly transported like cargo – children and adults funneled into elite networks for exploitation. Spotlighting Tony Podesta, the lobbyist with a taste for macabre art (think severed heads and ritualistic vibes), whose collection ties into this web. They are showing you who they really are. A confession, almost. This is just another addition and method connected the elites and Pizzagate itself. This builds on it, alleging Podesta's art dealings mask deeper horrors. Then there's Hunter Biden. His "art" sales raking in millions from shady buyers, funneled through galleries that scream money laundering and alleged trafficking ties. Sean "Diddy" Combs's LA mansion hugs the container port, and his Star Island pad in Miami stares across at Dodge Island's massive shipping yards. What a perfect location if you were involved in something like child trafficking. Remember Diddy's neighbor said he would see buses come early in the morning and drop children off. Diddy's empire allegedly enabled abuse, with enablers coordinating travel and drugs, echoing claims of elite rings. There are endless NGOs involved, funded by YOUR taxpayer dollars. Ghislaine Maxwell's TerraMar Project, tied to submarines, islands, and "ocean conservation" as a cover for shuttling kids between Epstein's island, and other key locations. The Clinton Foundation's name pops up in replies, with Hillary allegedly linked to shipping firms. And Wayfair? That 2020 scandal of overpriced cabinets named after missing kids, another alleged container trafficking front. Government ties run deep. Diplomatic seals on containers mean no inspections, perfect for smuggling. Shipping containers provide a relatively low-risk method for traffickers to move people across international borders. These containers can be sealed, making it difficult for authorities to detect human cargo, especially when mixed with legitimate goods. The conditions inside these containers are often horrific, with victims facing extreme temperatures, lack of oxygen, and no sanitation, leading to significant health risks or even death. Real cases show containers' deadly role in child trafficking: 2017 San Antonio Incident: In San Antonio, Texas, ten people died after being smuggled in a truck container, highlighting the dangers of such smuggling methods. 2003 Chinese Smuggling: Chinese nationals were discovered in a hard-top shipping container in Los Angeles, pointing to the use of these containers by organized crime for human smuggling. 2024 Wexford Case: In Ireland, 14 people were found in a shipping container at Rosslare Europort, triggering a human trafficking investigation. Efforts like the Container Control Program by UNODC and WCO aim to minimize the use of containers for illicit activities, including human trafficking. Proposals for using natural acids to detect human presence in containers have been explored, focusing on organic compounds like pyruvic and lactic acid. The art world's opaqueness, especially in transactions involving high-value pieces, can be exploited to mask human trafficking. The intertwining of human trafficking with shipping containers and the art industry highlights the adaptability of criminal networks in exploiting various sectors for illicit activities. While there are documented cases of human smuggling via shipping containers, the use of the art industry as a cover for trafficking is less substantiated but theoretically plausible given the industry's financial opacity and global reach. This isn't just "theory," it's a pattern. From Podesta's "spirit cooking" connections to Diddy's port-side pads, to other child traffickers just like Epstein himself. This global trafficking network is still alive and art is just another way to transport and hide its atrocities. Time to defund NGOs and "Art in Embassies" connected to these trafficking rings and crack open those containers. The truth is the ultimate masterpiece, and it's about to shatter the cabal.

The SCIF

22,662 views • 6 months ago

The award winning playwright for The Little Red Warrior and His Lawyer, Kevin Loring, has released a statement following the viral incident at Regina’s Globe Theatre where several schools walked out of the student matinee when the production featured an unexpected drag queen pole dance. “It's been quite a week for Little Red Warrior and His Lawyer team and the Globe Theatre in Regina. There have been a lot of lies and disinformation being spread in the media about the show. For context, there was a school matinee this week where in the middle of the show some of the schools in attendance felt that the material was "too adult" for their students and opted to leave. They were provided every opportunity to read the play as it is published, and a script was offered for them to read. Also an email was sent to each school outlining the nature of the work and the content in it. Despite this, the show became too much for the teachers and they opted to leave with their students. Which is fine. I understand that the school that stayed, enjoyed the work very much. However, someone from the audience took a video of the performance and posted it online accompanied with lies about the nature of the performance and with embellishments about the conduct of the actors. Since then, right wing media from around the world has taken it up and spread lies and disinformation about the play. All of them targeting the artist playing Lizzy, The Queen for their disparagement and disinformation. Based on the nature of the remarks and criticism it is clear that none of the "journalists" read the play or have seen the work. In fact The National Post published an opinion piece about the play by Jamie Sarkonak where she states. "I haven't seen the play, but I don't have to." Because of course. However her description of Lizzy- "... where a drag queen plays a gyrating, rump thrusting, boob-jiggling version of Queen Elizabeth II in an underbust corset." might make into my pitch package when I try to sell more productions of the show down the road. These articles, mostly from the right wing media, have of course caused a flood of online hate and disinformation directed towards the artist from across the country and around the world. Many articles make it seem as though the scene is their doing rather than the product of a creative process lead by me. The schools were informed ahead of time of the content and at no time do any of the actors do anything to any members of the audience, other than make them laugh and hopefully think. Satire is meant to be tough, and funny. This play, I dare say, is both. I stand by the work. I stand shoulder to shoulder with the brave artists who are killing it everyday on those boards. I am so proud of them and I am proud of this production. I am grateful for the Leadership of The Globe Theatre for their support during this controversy. Sometimes theatre challenges and challenging theatre needs leadership to stand their ground in the face of backlash. Audiences continue to enjoy the work. Sales are good. However we have had to put security measures in place for the artists and have cancelled the upcoming student matinee that was previously scheduled for next week. If those students want to see the show they will now have to pay full price for a ticket instead of the discounted school rate. If you know any of the artists in the show please send them your love. Especially our brave Queen. We are all wrapping our arms around them right now. Be brave. humleth shnookshnookwas Kwookstayup K”

Just Bins

59,526 views • 3 months ago

Kobe Bryant spent 15 years writing every day because he wanted to become the next Walt Disney. Now, Jimmy Soni is telling that story. The first part of our conversation is Kobe’s secret obsession with writing. Then we got into why Michael Lewis once wrote under a pen name, why the publishing industry is broken, and why Jimmy loves writing with AI. Highlights: 1. The world is a conspiracy designed to prevent you from writing. 2. Jimmy sees himself in a battle against that world to find four hours per day to do focused writing. 3. “I’m researching” is often an excuse not to write. People spend decades researching books they never write, and it’s a writers' job to come up with ways to get research done without falling down a black hole. 4. Using AI to write is like using a very sharp knife to cook. The tool might make it easier, but you still have to cook the meal. 5. If you can’t out-write the AI, what are you doing writing in the first-place? 6. Find a Model Book to serve as the "plaster cast" for the book you’re writing and study it obsessively. Jimmy wanted his book, “The Founders” to be like “The Everything Store” by Brad Stone, and read it more than 20 times to understand what made it so good. 7. People think that being a professional writer means going to a lot of cocktail parties. Nope... the reality is that the craft of writing involves showing up to work every day, putting away the distractions, and focusing for many, many hours. You go to bed early, you wake up early, you get your work done. Do it every day for months in a row and you’ll have a book. 8. A problem with traditional publishing is that the entire system is predicated on your book being a hit within the first two weeks. If it’s not, publishers largely give up and move onto something else. 9. What looks like a talent gap is often just a focus gap. Amateur writers severely underestimate just how much time and effort goes into great books. 10. A/B test the cover art for your book. It’s so easy, so cheap, and the saying is true: People judge a book by its cover. 11. Before Michael Lewis was “Michael Lewis,” he wrote under the pen name of Diana Bleecker because he was writing about Wall Street while working on Wall Street, and didn’t want people to know who he was. 12. Michael Lewis was an art history major at Princeton, and once recounted that a lot of Renaissance-era paintings look quite similar. But if you want to see the idiosyncrasies, look at the toenails. That’s where the artists would lose their steam or put in the most individuality, so they’re some of the most distinctive parts of the art. Many fields have an equivalent — a place where you can find hidden answers, if only you know where to look. 13. Ambition is fuel that can burn relatively clean for a little while, only to become dirty later on. Jimmy says: “For the true greats, the sustained motivation needs to come from something deeper. It needs to come from love. That’s the only sustaining force there is.” 14. Kobe built his own publishing company because he didn’t feel like the big publishing houses could deliver the level of quality he demanded. 15. Kobe once spent two weeks redesigning the barcode on one of his books because he wanted it to blend more fluidly with the back cover design (no traditional publisher would do something like this). I've shared the full conversation with Jimmy Soni below. The first ~25 minutes are about Kobe Bryant. The rest is about a hodgepodge of other topics. If you'd rather watch the full thing on YouTube or listen on Apple / Spotify, check out the links in the reply tweets.

David Perell

195,076 views • 1 year ago