Digital Innovation in Art Award
It’s that exciting time of year again—entries for the Digital Innovation in Art Award 2024 are officially open. This prestigious award, presented by .ART in collaboration with Investor Allstars, celebrates the boundary-pushers at the intersection of art and technology, whether they are individuals or organizations.
Who Should Apply?
Are you an individual visionary or a company leading the way in combining art with technological innovation? Or perhaps using AI to revolutionize the art market? We want to hear from you. We are looking for:
- Individual visionaries and companies whose projects merge art, tech, and innovation.
- Innovators who use AI to redefine the art market.
- Industry leaders dedicated to delivering unique value in the art sector.
Why You Should Apply
Participating in the Digital Innovation in Art Award offers several benefits:
- Have your work evaluated by a panel of expert judges from both the art and tech industries.
- Attend the glamorous Investor Allstars gala event in London on October 19th.
- Gain recognition and potentially win accolades from a global audience, making a significant mark in the ‘Oscars of the tech world.’
The Importance of Awards and Accolades
For both individuals and companies, especially startups, awards like the Digital Innovation in Art Award can serve as a powerful tool for validation and visibility. They not only honor creativity and innovation but also provide a platform for networking with industry leaders and potential investors. Recognition through such accolades can elevate a profile, attract new business opportunities, and boost team morale.
About Digital Innovation in Art Award
Now in its seventh year, the Digital Innovation in Art Award, in partnership with Investor Allstars, shines a spotlight on those transforming the way we interact with art through technology. Last year, the award recognized two outstanding entities: Well of Art for their innovative approach to art education and Artivive for their use of augmented reality to create interactive art experiences.
Apply now to make your mark—entries are open until May 24th, 2024. The award ceremony will take place on October 10th, 2024.
GP Bullhound and Allstars
The Digital Innovation in Art Award is presented in association with GP Bullhound, a leading technology advisory and investment firm renowned for its commitment to helping tech leaders achieve their potential. Known as the ‘Oscars of the tech world,’ Investor Allstars creates a stage where the brightest and most innovative companies and individuals are celebrated.
This unique opportunity is not just an award—it’s a gateway to being recognized on a global platform as pioneers at the forefront of digital innovation in art. If you’re pushing the boundaries of what’s possible at the nexus of art and technology, apply today, whether as an individual innovator or on behalf of your company!
Image above: Pedro Vaz by photographer João Grama
Lisbon-based artist Pedro Vaz (pedrovaz.art) is exploring landscapes, while reflecting on the symbiotic relationship between nature and human intervention. His artistic practice spans across paintings and video installations, distinguished by interaction of personal experience, environmental immersion, and the evocative qualities of memory.
Artwork by Pedro Vaz
In describing his practice, Vaz elucidates how fieldwork materials intertwine with his studio practice, emphasising the irreplaceable essence of firsthand experiences. He highlights the interplay between planning and creativity, mirroring the dichotomy of his expeditionary and studio environments: “The photographs and video footage I gather during field work, what I call my primary raw materials, combine in the studio with the secondary materials, the whole experience of my physical travelling to the place, which no sort of second-hand visualisation or experience can replace. Then, with these two sets of raw materials in my possession, I begin work on the project in my studio. The studio work brings to fruition the aforementioned strategy of now distancing myself from nature, now drawing closer to it. Here, in a way that is quite unlike the expedition’s careful planning, I give room for chance to play, allowing nature to operate here”.
Artwork by Pedro Vaz
At the core of Vaz’s creative process lies immersive engagement with the environments the artist delves into. Switching between on-site expeditions and the confines of his studio, he harnesses the abstracting power of memory to encapsulate the essence of the landscapes he encounters. This dual approach not only documents the raw beauty of nature but also underscores the transformative state of memory. The artist comments: “I constantly alternate between nature trips and stays in the city. That balance of ideas and experiences is needed for my research”.
“I am focused on the expeditions, on the contact with nature. My methodology is to always work site-specific,” he affirms, underscoring his dedication to creating artistic projects that resonate intimately with its surroundings.
Pedro Vaz underscores another key principle of his methodology, emphasising the importance of preserving the seamless continuity of the natural environment. “The landscape must not be altered by my presence. I aim to move through it as a respectful observer, acknowledging my role as an outsider who temporarily occupies this space without leaving a lasting imprint.”
In response to inquiries about the role of his walks in shaping his works, Vaz emphasises their significance, stating, “They are of crucial importance; physical and bodily experiences are the ground on which I develop my projects.”
Artwork by Pedro Vaz
When asked about his preparation for journeys, Vaz underscores the importance of mental and physical readiness. “Every journey is indeed preceded by a process of mental preparation, internalisation, physical and mental planning,” he shares. He elaborates on his physical regimen, including running and tailored training before embarking on expeditions.
Distinctive methodology of image accumulation by Pedro Vaz, slow pace of his video artworks and the paintings, which are capturing the momentum, aim at encapsulating the evolution of landscapes and the subjective experience of time during his journeys.
Here are some examples of available domains inspired by this article: landscape.art / nature.art / now.art / surrounding.art / interplay.art > Purchase yours now at our flagship store get.art or through your preferred registrar.
ID.art: A platform to manage, authenticate, and monetize artworks and collectibles.
In a significant development for the art and cultural community, the .ART Registry announced the beta launch of ID.art on World Art Day. As a platform designed to enhance the organization, management, and monetization of artworks and cultural objects, ID.art is set to transform how creatives around the world interact with their crafts. Here’s a closer look at what makes ID.art a ground-breaking tool for artists and creatives across the globe.
Supporting Diverse Art Forms from Paintings to Crafts
World Art Day was chosen for the beta launch of ID.art to emphasize the platform’s commitment to enhancing the visibility and viability of art in all its forms. Whether you’re a painter, a sculptor, a digital artist, or a crafter, ID.art provides a robust and user-friendly suite of tools that simplifies showcasing, authenticating, and monetizing creative works.
Ulvi Kasimov, the founder of .ART, stated, “ID.art is the culmination of our vision to create a unified digital register for all art and cultural objects. It’s about providing a space where every form of creativity—be it painting, sculpture, crafts, jewelry, or even collectible items like trinkets and souvenirs—can be authenticated, managed, and shared with the world.”
Exploring ID.art’s Cutting-Edge Tools for Artists
ID.art introduces several innovative features that streamline the digital experience for users:
Unique Digital ID for You and Each Work
Every artist and each piece of art gets a professional portfolio website and dedicated webpages. This feature not only enhances the professional presentation of your work but also facilitates better management and authentication processes.
Centralizing Your Artistic Presence Online
This centralized dashboard allows artists to manage all their works, related content, and links to social media and marketplaces in one place, making it easier to maintain a coherent and powerful digital presence.
Certificates of Authenticity
Enhance the trust and value of your artworks and collectibles with verifiable certificates. These certificates are linked directly to the ID.art webpage for each item, where detailed provenance is stored and shared, adding a layer of security and authenticity.
Easy NFT Minting
With just three clicks, users can mint NFTs of any item without needing a digital wallet. This process simplifies the entry into the burgeoning NFT market, making it accessible even to those new to digital art and collectibles.
Global Art and Culture Register
As a secure global record of provenance, ID.art provides a recognized method for artists to declare their artistic and cultural presence and document their works, items, or collections comprehensively.
Join the Beta Launch
As we celebrate the beta launch of ID.art this World Art Day, we invite all art and culture enthusiasts to join us. Your participation and feedback will be crucial in refining a platform that not only meets the diverse needs of the global art community but also enhances global appreciation and accessibility of art and cultural objects.
To be part of this revolutionary journey, sign up for free at www.ID.art today and start exploring the myriad possibilities that ID.art brings to your creative endeavors.
The launch of ID.art beta marks a new chapter in the intersection of technology and art. By providing tools that empower artists and creatives to better manage, authenticate, and monetize their works, ID.art is setting the stage for a more interconnected and accessible global art community. Join us on this exciting journey to reshape the future of art and creativity.
What is art? This seemingly simple question yields as many responses as there are observers. For some, art is an expression of the human condition; for others, it’s a skillful craft or even a strategic play, like the art of war. Yet, what unifies these perceptions is the deep-rooted connection between art and creativity, technique, and expression. This blog post dives into the semantic and syntactic tree of the word “art,” shedding light on its rich, multifaceted nature.
Understanding the Semantic and Syntactic Tree of Art
In the words of visionary entrepreneur Elon Musk, “Make sure you understand the fundamental principles, i.e., the trunk and big branches, before you get into the leaves/details or there is nothing for them to hang on to.” This advice aptly applies to our exploration of the semantic and syntactic tree of “art.” Much like understanding the foundational principles before delving into complex details, grasping the broader meanings and functions of “art” as represented by the trunk and major branches of the tree is crucial before we can appreciate the nuances—the leaves and finer branches.
By first examining the trunk of the tree—’art’ as both a noun and an element of phrases—we set a sturdy base for comprehension. The significant branches then offer us insight into ‘art’ as a creative activity, fine art, and a skill, from which the myriad finer branches and leaves—representing the detailed applications and cultural references of ‘art’—extend. With this structure in mind, we can more thoroughly understand the diverse implications and uses of “art” across different contexts.
Exploring the Layers of ‘Art’: A Visual Map of its Many Meanings and Associations according to WordFlex by Oxford University Press
The Branches of Creativity
The tree of “art” first splits into two main branches: as a noun and within phrases. As a noun, it represents both a concrete product and an abstract process. This duality captures the essence of art as both a “creative activity” and “fine art,” the former emphasizing action and the latter, outcome.
Fine Art and Creative Activity
Delving deeper, we encounter “artwork” and “the arts.” Artwork directs us to the tangible pieces—paintings, sculptures, and installations—that populate galleries and spark discussions. “The arts,” however, broadens the scope to include disciplines like music, literature, and dance, highlighting art’s omnipresence across cultural forms.
Artistry and Skill
Moving to the other side of the tree, we find “skill.” This is where art converges with technique, craft, and aptitude. It’s the honing of ability into mastery, the process through which creativity is channeled into physical or intellectual outputs. This branch acknowledges that art isn’t just about innate talent; it’s also about the meticulous development of skills.
From Talent to Mastery
This skillful aspect of art unfolds further into notions of “talent,” “genius,” and “virtuosity.” Talent implies an inherent ability, while genius denotes an extraordinary capacity for creative insight. Virtuosity stands out as the pinnacle of skill and mastery, where art becomes not just practice, but performance.
The Art of Language and Expression
The tree also touches on syntax, where “art” as part of language becomes apparent in phrases like “art for art’s sake” and “art is long, life is short.” These sayings reveal art’s philosophical and moral dimensions, urging us to appreciate art’s intrinsic value and its enduring legacy beyond the brevity of human existence.
Art in Strategy and Metaphor
Lastly, the tree extends into the metaphorical and strategic realm with “the art of war.” This unexpected twist shows how art transcends the confines of creativity and beauty to encompass strategic thinking and tactical expertise. It’s a testament to the word’s flexibility and depth, capable of adapting to contexts far removed from aesthetics.
The semantic and syntactic tree of “art” is a testament to the word’s layered significance. From the tangible to the intangible, the innate to the learned, the personal to the universal, “art” encompasses a spectrum of meanings that reflect the diversity of human experience. This exploration not only enhances our understanding of the term but also enriches our appreciation for the boundless realm that art inhabits.
Above: “Uncertain balance” by Riccardo Malleo
Malleo’s works (riccardomalleo.art) delve into themes of self-discovery, dreams, reality, memories, and altered states of perception. Currently studying VFX at the prestigious Centro Sperimentale di Cinematografia in Rome, Malleo’s journey in the realm of digital art is as diverse as the mediums he explores. “I have always been interested in video and all the processes of editing animation,” he shares. “It was always my biggest interest.”
For Malleo, nature serves as a primary theme, intertwined with generative art, and is a recurring theme in his creations. “There are so many symbols and themes that I like to explore. The main subject is nature,” he explains. “I also like to explore specific symbols related to figures of the Oriental world, the themes of the body and discovery of ourselves”.
“Han’ nya” by Riccardo Malleo
His artistic approach is fluid, embracing both easily recognizable imagery and cryptic, dream-like compositions. “Dreams are one of the biggest inspirations,” Malleo notes. “I really like to explore different kinds of mediums and processes. I like to mix different elements and diverse techniques, different tools – digital and physical.”
Having collaborated with various galleries and artists, Malleo’s journey into the realm of NFTs and digital art has been a natural progression.
I’m interested in exploring the field of live audiovisual performances. Having a background as a pianist, I do incorporate music in my works.
His works have garnered international recognition, with exhibitions in New York, Tokyo, Milan, Amsterdam, Istanbul, Rio de Janeiro, and Miami. From the immersive displays on urban screens to the vibrant world of NFTs, Malleo’s art continues to captivate audiences worldwide, offering glimpses into the boundless possibilities of digital expression.
Reflecting on the significance of his newly launched .ART-based website, Malleo shares, “I am really interested in presenting my projects and I am looking for communities and websites that are open to emerging artists. I felt .ART was really open. I’m really excited to have a website which serves as a portfolio. Website is like a personal installation, it’s like an online exhibition of your own self and you are free to curate it the way you want.”
“Diffusion” by Riccardo Malleo
Here are some examples of available domains inspired by this article: audiovisuals.art / now.art /dreams.art / performance.art / action.art > Purchase yours now at our flagship store get.art or through your preferred registrar.
Above: Elif Koyuturk – Her Mind II, featured on zarastro.art
.ART sat down with the CEO of Zarastro Art (zarastro.art), Haydar Taygun, to talk mindful curation, fostering artist connections, democratising art access and – unexpectedly – Australian race horses!
In an online art market crowded with platforms claiming to ‘democratize’ art, how does Zarastro Art uniquely address the challenges faced by art lovers and collectors in finding great art at fair prices?
Zarastro Art is neither an online gallery nor an e-commerce platform. We do not have a fixed roster of names that we rotate periodically, as is common in online galleries. We do not feature millions of randomly uploaded works without any sense of curation, as is typical on online platforms.
We offer carefully curated works by prominent artists only (both emerging and mid/late-career) from all around the world, in a variety of mediums and themes, ensuring that there is something for everyone. We introduce new names every single month and continually refresh our selection.
We keep our pricing fair, making exquisite artworks accessible to anyone and everyone. We offer free consultation services during the selection process for our clients. A buyer truly gets their money’s worth at Zarastro Art.
We also cover news and articles to help our subscribers stay updated on the art world. Our ultimate goal is to share our passion for the arts with everyone by harnessing diversity and bridging cultures through contemporary art as a universal language.
Haydar Taygun, CEO of Zarastro Art
Can you elaborate on how Zarastro Art supports its artists, ensuring their work is presented with the respect and understanding it deserves?
We appreciate that it is challenging for artists to find new collectors and connect with them. There is fierce competition for visibility in the art market due to the large number of artists.
Despite not officially representing artists, we are committed to understanding their needs and collaborating effectively to showcase their works. Through dedicated engagement, we have cultivated strong relationships with each artist, resulting in a streamlined workflow. Artists regard us as trusted partners, appreciating both the quality of our final product and our proactive approach to marketing and PR efforts.
We cherish our partnership with artists and strive to give them a well-deserved voice to fully communicate the backdrop of their work. We achieve this by conducting video interviews and curatorial texts to help art lovers thoroughly grasp their narrative.
Jaan Toomik – Fly Paper III
What is the curation process like at Zarastro Art, and how do you balance the need for quality control with the platform’s goal of accessibility?
We constantly seek to onboard a more diverse pool of exceptional artists from around the world.
In addition to collaborating with artists from our home country, Turkey, we have successfully worked with artists from Finland, Estonia, Azerbaijan, Georgia, Venezuela, Switzerland, Israel, the United Kingdom, and the United States.
Without a doubt, diversity applies not only to geography. While we begin by focusing on a specific country or region and conduct extensive research about its ecosystem with the support of local curators to come up with a shortlist, we carefully evaluate the themes and mediums that we have showcased so far to capture and bring something new to our audience each time. We constantly shift gears. This is an intentional choice. We want our community to continue the discovery process.
Quality control and accessibility go hand in hand. We need to preserve our “art world” aesthetic while expanding the business online by embracing different audiences.
Zarastro Art aims to integrate contemporary art into everyday life. Can you share some examples of how your platform has achieved this?
Zarastro Art allows its community to immerse themselves in an ever-changing collection of contemporary art and engaging content from the comfort of their own homes.
We pride ourselves on offering an extensive online exhibition space featuring renowned artists, alongside our curated “New Voices” section, which highlights the work of emerging talents in a concise and accessible format. Additionally, our “Guide” section delivers insightful articles and news from the art world, free from fluff. We believe in dismantling “artspeak” and fostering a welcoming environment for all. Our weekly newsletter and social media channels offer valuable exclusive coverage.
What are your long-term visions for Zarastro Art, especially in terms of creating unique experiences that inspire new ways of thinking and creating?
Our ultimate goal, akin to that of every other player in the creative sector, extends far beyond profit maximization. We do not merely showcase art for the purpose of selling; rather, our aim is to cultivate a meaningful connection between artists and art lovers to ensure the sustainability of our endeavors.
A deeper connection between the two will inevitably give birth to unique experiences.
As an art lover, when you understand the narrative of the work you appreciate and become acquainted with the artist who created it, the process of discovering and acquiring art becomes a distinctive experience in itself. It broadens your horizon, encouraging you to contemplate art in a more sophisticated manner.
The artist, motivated to produce and deriving greater satisfaction from intellectual engagement with a specific audience, produces more profound works. The cycle continues and expands with a snowball effect. As a platform, our raison d’être is to better the world of art through this very cycle.
What do you see as the biggest challenge in the contemporary art world today, and how is Zarastro Art addressing it?
Physical galleries and fairs worldwide struggle to expand their audience beyond a select group of collectors, unable to reach younger art lovers. This is due to the intimidation factor experienced by this audience.
On the online side, buyers feel overwhelmed by the sheer number of options and/or make poor choices, both financially and artistically. There is a lack of contextual information available on various marketplaces.
We address these challenges by offering works that possess depth and significance, while ensuring accessibility beyond pricing. As mentioned, if artists and their works are better understood by society, then there will be a simultaneous increase in the appreciation of art. Through online exhibitions, we provide the necessary context to fully appreciate the artworks and enhance the viewing experience.
By facilitating the discovery process from the comfort of people’s home and presenting a monthly showcase of diverse artists, themes, and mediums, we envision a transformative shift in the global distribution and consumption of contemporary art.
Given the evolving landscape of digital and physical art, how does Zarastro Art utilize technology to enhance the user experience?
We are working hard to enhance the experience by consistently seeking ways to augment it with technology. However, it is crucial to emphasize that this does not imply adopting popular solutions without thoughtful consideration of the essence of our work.
For example, in the case of AI, we leverage it to enhance the efficiency of our team. However, we refrain from employing it in our primary workstreams, such as the discovery process. Mind you, some other platforms offer this as their main service, let alone employing it in their own workstreams.
The decision stems from our belief that our unique value in the art world lies in careful manual curation. We benefit from technology to explore avenues that will render virtual storytelling on par with, or superior to, physical exhibitions.
Imogen Marsteller – We Are More Than The Victims They Make Us Out to Be
The name Zarastro is inspired by a character from Mozart’s ‘The Magic Flute’. Could you elaborate on the story behind the name? And how come does having a .ART domain weave into this?
The Magic Flute, Mozart’s masterpiece, holds a special place as one of my favorite works of art. I will not disclose too much, but within the overall narrative of the opera, Sarastro, the high priest of the Temple of the Sun, is initially perceived as an evil character. However, he eventually emerges as a character illuminating the path to profound truth, boundless wisdom, and ultimate happiness, bringing the main characters (lovers) together.
We have to admit that in the art world, middlemen are typically not well-received due to the cut they take from each sale. Yet, the middleman, at least in our case, aspires to have a special role in the lives of both sides and truly earn that commission. In light of our vision, we want to create the Sarastro effect.
The alteration from “Sarastro” to “Zarastro” was implemented to ensure a universally understandable pronunciation. The incorporation of the .ART domain serves to distinguish the company name from a successful racing horse in Australia!
Joking aside, .ART is the market standard, one of the few things in the art world that has been embraced by everybody. We are delighted to use it and integrate it into our brand name.
Here are some examples of available domains inspired by this article: now.art / newvoices.art / Turkish.art / mozart.art / fiction.art / adventuresome.art > Purchase yours now at our flagship store get.art or through your preferred registrar.
Big news for .ART and the creative community: several of our publications have been added to the Library of Congress! This is a pretty cool moment for us because it means our work is sitting on the same shelves as some of the most important books and documents in the world. The Library of Congress isn’t just any library—it’s the largest one out there, housing everything from historical treasures to the latest in scientific research.
Among the works that made the cut are “.ART ODYSSEY – Navigating the Future of Art”, a print testament to the versatility of the .ART community, and “The New Flood” by .ART Founder, Ulvi Kasimov. These publications dive into how art and technology are coming together in new ways and what that means for artists and society. It’s about exploring new horizons in art and making sure these conversations reach as wide an audience as possible.
Having our publications recognized by the Library of Congress is a big deal for us. It’s not just about the honor; it’s about what this means for the future of art. It places .ART’s work alongside a diverse and rich collection of global knowledge and cultural heritage. This inclusion is a nod to our ongoing efforts to blend art with technology and to support the art community in every way we can.
Read the official press release
Reflecting on the recent webinar honoring Women’s History Month, the diverse narratives of Martha Fiennes, Barbara Rachko, and Sophia Wallace illuminate the intricate dance between creativity, resilience, and the female experience in the arts. The event evolved into a profound exploration of personal histories, artistic innovation, and the unyielding spirit of women navigating the complex landscape of creative fields.
Martha Fiennes delved into her upbringing within a creatively rich yet financially unstable household, revealing how early exposure to diverse artistic practices shaped her destiny in film. Her journey underscores the notion that the roots of one’s artistic inclinations are often deeply intertwined with their earliest experiences and family environment. Fiennes’s venture into autonomous digital artworks, notably YUGEN, represents a groundbreaking fusion of technology and traditional storytelling, redefining the boundaries of cinematic art.
Barbara Rachko’s transformation from a naval officer to a pioneering artist in pastel on sandpaper illuminates the power of art as a vehicle for healing and transformation. Her documentary, “Barbara Rachko: True Grit,” not only showcases her unique artistic journey but also serves as a beacon of inspiration for those facing adversity. Rachko’s story is a testament to the resilience and adaptability inherent in the human spirit, illustrating how personal tragedy can catalyze profound creative exploration and success.
Sophia Wallace’s “CLITERACY” project stands as a bold confrontation of societal norms surrounding female sexuality and body sovereignty. Through her work, Wallace challenges the cultural silence and stigma associated with the female body, advocating for a more inclusive and educated discourse on sexuality. Her approach, integrating text, performance, and sculpture, exemplifies the transformative power of art to question and redefine societal perceptions, encouraging a more enlightened and inclusive understanding of the feminine experience.
The roundtable discussion further amplified the underlying thread connecting these narratives: the realization of one’s identity as a woman in the arts and the transformative potential of embracing this identity as a source of strength and inspiration. Each speaker’s journey underscores the importance of resilience, the pursuit of personal truth, and the inherent value of vulnerability and authenticity in the creative process.
This webinar not only celebrated the contributions of women to the arts but also highlighted the continuous need for dialogue, support, and recognition of the unique challenges and opportunities faced by women in creative industries. The stories of Fiennes, Rachko, and Wallace serve as powerful reminders of the indomitable spirit of women artists, their ability to innovate in the face of adversity, and the profound impact of their work on reshaping the cultural landscape.
The Malta Biennale (maltabiennale.art), under the patronage of His Excellency the President of Malta, showcases a riveting collection of art and culture from around the globe. Among its featured pavilions, the Sea Pavilion stands out, commissioned by the Ta(r)dino 6 Art Platform (tardino6.art). This unique exhibition, titled “Tales of the Sea,” is a testament to the platform’s commitment to fostering artistic expression and dialogue. Curated by Ali Hassanzadeh, produced by Samir Belasri and featuring the compelling work of artist Nikolay Koshelev, the Sea Pavilion offers visitors a deep dive into maritime narratives and environmental contemplation.
Tales of the Sea: A Journey Through Art
Hosted in the historical Fort St Angelo in Birgu, “Tales of the Sea” engages audiences with Koshelev’s exploration of the sea’s mysteries and its relationship with humanity. The exhibition begins with a powerful painting of a multidimensional mainsail, where Koshelev employs a palette of blurred colors to draw viewers into an abstract, immersive experience. A shadowy figure of Venus, hinting at Malta’s mythological heritage, oversees the narrative, adding depth and intrigue.
The exhibition evolves with a collaborative sculpture representing a boat, a poignant symbol of the present and communal endeavors on the island. It culminates in a personal ceramic sculpture, reflecting Koshelev’s intimate connection with Malta’s natural landscapes, shores, and terrains.
Behind the Scenes: Curator and Artist
Ali Hassanzadeh, born in 1992 in Tehran, Iran, brings his background in anthropology and his curatorial expertise to the forefront of the Sea Pavilion. His prior work, highlighting emerging artists and the underground music scene, sets the stage for a nuanced representation of painting and contemporary art. Hassanzadeh’s vision, in partnership with Ta(r)dino 6 Art Platform, emphasizes the dynamic and evolving art landscape.
Nikolay Koshelev, the artist featured in the Sea Pavilion, is celebrated for his unique blend of game design elements, post-Internet aesthetics, and traditional artistic mediums. Since 2021, after 10 years of living and working in New York, he is based in Paris, France. His recent works, including notable exhibitions “The Moon Pool: Archive” at the State Tretyakov Gallery, Moscow (2020), “The Moon Pool: Paris Period” at Atelier 11, Paris (2021) and “Silver Dust” at Oregon Contemporary, Portland (2023), showcase his talent for creating immersive, narrative-driven art. Koshelev’s contributions to “Tales of the Sea” invite viewers to ponder their relationship with the marine world, through a lens that is both modern and deeply reflective.
Samir Belasri studied in France and India, lived in Australia, Morocco, visiting many other regions; in each, finding the unique languages of Aesthetics, rooted in local history and culture. Inspired by the DADA theorists, e.g., Tzara and Duchamp, Samir never came closer to feeling deep in the guts that beauty is nowhere and everywhere at the same time. The point of view of the observer is what matters! Now based in Paris, Samir has supported and exhibited numerous promising artists such as Apolinaria Broché, Denis Davidov, Nikolay Koshelev, Lisa Boostani, and others.
Ta(r)dino 6 Art Platform: Commissioning Innovation
Ta(r)dino 6 Art Platform, the commissioner of the Sea Pavilion, has been instrumental in bringing “Tales of the Sea” to the Malta Biennale. As an independent art initiative with roots in Baku, Azerbaijan, and an international outreach, Ta(r)dino 6 has a rich history of supporting art professionals from the Eastern Europe, Caucasus, and Central Asia regions. Its collaboration with Hassanzadeh, Belasri and Koshelev for the Malta Biennale highlights its ongoing commitment to cultural exploration and artistic excellence.
The Malta Biennale, with its diverse array of exhibitions, offers a unique opportunity for visitors to engage with the complex narratives and artistic expressions shaping our world. “Tales of the Sea,” through the visionary efforts of Ta(r)dino 6 Art Platform, Ali Hassanzadeh, and Nikolay Koshelev, stands as a beacon of artistic innovation and cultural dialogue.
For more information on the Malta Biennale, “Tales of the Sea,” and other participating pavilions, visit www.maltabiennale.art or follow the event’s updates on social media.
Above: Still from Yugen, a moving-image artwork by Martha Fiennes
Martha Fiennes is a celebrated film director, writer, and producer known for her innovative and thought-provoking works. Her passion for exploring the metaphysical and spiritual aspects of human existence is reflected in her films and art pieces, which delve deep into the complexities of the human mind and body. Her most recent exhibition, “YUGEN,” (yugen.art) held at Volte Art Projects (volte.art) in Dubai, showcased her signature work of the same name. This piece, which features visually stunning moving-images on a floor-to-ceiling screen created using generative coding technologies, stars Hollywood actress Salma Hayek Pinault and originally premiered at the Venice Film Festival in 2018.
Can you talk about the debate surrounding AI and intellectual property in relation to your project?
Sure, the use of AI in my project is fully contained within the artist’s intellectual property, but the issue of AI and intellectual property is complex. As soon as you use AI that is not fully owned by the artist, you have to be conscious of potential IP issues, especially if you become successful. For example, I’ve heard that even a photograph posted on Instagram is actually owned by Instagram.
However, I personally believe that AI is just a tool to explore and will always reflect the biases that it has been fed. It is not a replacement for the human mind and potential, which is what I find truly fascinating. As for the idea that AI-generated poetry or paintings will one day replace human artists, I don’t think that is a concern because there will always be humans who appreciate and value human art.
Martha Fiennes
In your work, you are giving up some control and agency to AI. How does that feel for you?
It feels very exciting for me. I come from the film industry and I have a deep understanding of how to construct moving images and sound. When I’m editing a film, I have complete control over what the audience experiences, but like any specific creative system, it has its own rules and conventions. My ‘hybrid’ AI-generated digital artworks effectively hand the editing process over to the ‘machine’. This is a complete shift of the filmmaking ‘rules’ but it yields fascinating results as a moving-image artwork. So, in this way, the process of handing over some of the editing control to AI was a delight for me. I can still set the potential for what could happen, but the final outcome is an unknown for me. It’s like giving the AI the autonomy to make its own decisions based on the potentials I have created. I can still see myself as the director, but the end result may be poetically interesting and unique. The first time I worked with AI was a big gamble because I couldn’t see the final outcome until the end of the process. It was an exciting moment to see how the AI performed. I was working intuitively and drawing on my experience as a filmmaker, but I was still working to some degree in the dark.
What is your perspective on the limitations of AI compared to the potential of the human mind and body?
AI is just a tool that can only replicate and repeat what it has been taught, inheriting any biases present in the data it was trained in. However, I believe that the human mind and potential is far more compelling and holds much greater power and creativity. I am interested in the spiritual and metaphysical aspects of human existence, as well as the possibilities of quantum computing. Although AI has advanced to the point of taking over in higher dimensions, it can never surpass the organic form connected to the pure creative force. The current AI we have is tool for exploration, but it will always be limited by its programming. I believe that the real excitement lies in being human and exploring the limits of the human mind and body. One of my favourite books is “Autobiography of a Yogi”. It describes and highlights the superhuman abilities of humans when they truly understand the potential for their own mind and body.
Are you worried that someday AI-generated poetry and paintings will replace real artists and there won’t be a need for them anymore?
The possibility of a dystopian future where machines completely take over and human artists are left behind is perhaps a real concern, if one chooses to think along those lines. However, I believe that the majority of people will ultimately do whatever it takes to resist that from happening and will always have a love for human creativity and art. There will always be those who explore and excite the potential for a dystopian future, but I believe that the majority will see beyond that.
At the moment, AI-generated music or art may be a curiosity for some, but it will never replace the human touch and emotion that goes into creating true art. I personally have a strong connection to the arts and can sense the difference between human-created art and AI-generated art. There is a coherence and intelligence that only comes from a human mind.
I’m also interested in the idea of intelligence and what constitutes the highest level of it. According to some beliefs, the human potential for intelligence is unparalleled beings. However, the same beliefs suggest that humanity’s overall level of consciousness is still ‘young’. The conversation about AI and its place in the world is important, but it’s also important to explore the deeper questions about intelligence and consciousness.
Still from Yugen, a moving-image artwork by Martha Fiennes
Could one compare your work with the viewer choice options in TV shows like Black Mirror?
The idea of giving the viewer the choice to shape a TV or movie plot has been attempted before, but I don’t think it’s been particularly successful. People want to have a cohesive narrative and a specific experience, rather than a split-up story with different potentials. The story has to be well-constructed by a human beings, and trying to do it with AI can become too complicated and unsatisfying.
However, in shifting the creative expression system of the work I am exploring to a different creative sector, to become that of ‘art’ enables such explorations. I am interested in exploring the possibilities of AI in storytelling, but in a different way. I find it exciting to hand over a degree of control of my work to AI, as it can yield something poetically interesting. I tend to think of it as working with serendipity and synchronicity. The challenge is not being able to see the AI work until the end of the process.
On a related note, I like the idea of slow reading, where you take time to contemplate and think about the narrative rather than just consuming it. It gives you a deeper level of intimacy with the author and the book. ‘Empathetic Listening’ is a similar concept. Wouldn’t it be great to have that taught in schools? It’s an important skill to have in life and in relationships. An ideal society, in my opinion, would encourage daily mindfulness and quiet time for individuals to connect with their inner selves and the world around them.
Still from Yugen, a moving-image artwork by Martha Fiennes.
Can you share some details about the projects you’re currently working on?
I have two projects in the works… On that note, I believe in co-creation, where fate and personal effort both play a role in shaping the outcome. At times, things may not happen even with efforts, but later they can suddenly materialize.
So, one of the things I’m working on is what I would call a “fate project”. It is based on the life of Mata Hari, an exotic dancer who was convicted of being a spy for Germany during World War I. It is an epic story set against the backdrop of the cultural birth of Belle Époque. I find the metaphysical and tragic aspects of her life to be incredibly meaningful and her femininity in the midst of the masculinity of war is what makes her story so compelling. She was put to death at the end of the war, but her life embodies the dualistic division that is often present during war – the division of the mind. I hope to bring this story to life and shed light on the themes of peace and war, and the dangers of divided thinking.
The second project is a limited TV series based on a true story about a woman in her 70s who has been abducted by aliens throughout her life in the Midwest of America. This project explores the truth behind abductions by beings residing at an alternate, dimensional level of consciousness and delves into the issue of dark forces at play in the universe.
Finally, I am working at the early stages of the next generative artwork. This one promises to be a game-changer. It will utilise extraordinary combined technologies and offer a fully immersive, multi-sensory experience. The content is grounded in the highest level of metaphysical expression. It will involve some very exciting collaborations too.
