Informational Ghosts

Exhibitions, Texts
MHSR (Birch Cooper e Brenna Murphy), Field Transducer Circuit, 2023. In Salto nel vuoto. Arte al di là della materia (GAMeC, 2023). Installation View ph. Antonio Maniscalco

Un lungo estratto da “Informational Ghosts. Arte e (im)materialità dell’informazione”, il mio saggio in catalogo per la mostra Salto nel vuoto. Arte al di là della materia (GAMeC, 2023), è ora disponibile online su Artext. A questo link trovate invece il prezioso catalogo della mostra, edito da Officina Libraria.

A View from Above – Curatorial statement

Exhibitions, Texts
Installation view. Photo Nicola Morittu, courtesy Exposed Torino Foto Festival
Installation view. Photo Nicola Morittu, courtesy Exposed Torino Foto Festival

What follows is a short introduction I wrote for the booklet of the exhibition A View from Above (curated by Domenico Quaranta, Salvatore Vitale and Samuele Piazza at OGR Torino for EXPOSED. Torino Foto Festival). The show can be visited from May 2 to June 2, 2024. Italian version below More info

Appropriation Art from Early Net Art to NFTs


In an order issued on October 25, 2023 in the District Court of Central California, judge John Walter condemned artists Ryder Ripps and Jeremy Cahen to pay Yuga Labs, the company behind the NFT collection Bored Ape Yacht Club (BAYC), about 1.6 million dollars, including statutory damages, fees and other costs. The decision followed a summary judgement issued on April 21, 2023, saying: “The court granted summary judgment in Yuga’s favor on its false designation of origin and cybersquatting claims, and against defendants’ First Amendment, nominative fair use and unclean hands affirmative defenses, as well as defendants’ counterclaim for knowing misrepresentation of infringing activity.”
I wrote this essay for a workshop held at the University of London in September 2022, and first sent it to the editors in March 2023. It has been released recently as part of the book NFTs, Creativity and the Law: Within and Beyond Copyright, edited by Enrico Bonadio and Caterina Sganga, and published by Routledge. In it, I contextualize Ripps’ practice as conceptual appropriation art. Judge John Walter, I strongly disagree with you.

Domenico Quaranta, “‘If You Don’t Want Something Stolen, Don’t Put it on the Net’. Appropriation Art from Early Net Art to NFTs”, in Enrico Bonadio, Caterina Sganga (eds.), NFTs, Creativity and the Law: Within and Beyond Copyright, Routledge, London 2024, pp. 201-217.

A View from Above

James Bridle, Drone Shadow, 2012 - ongoing. Photo Madana Gritane
James Bridle, Drone Shadow, 2012 – ongoing. Photo Madana Gritane

Curated by: Domenico Quaranta, Salvatore Vitale, Samuele Piazza

For: EXPOSED Torino Photo Festival

At: OGR Torino, Binario 2

May 2 – June 2, 2024

Featured artists: James Bridle; Laura Cinti; Mario Giacomelli; Mishka Henner; Hiwa K; Tabita Rezaire; Evan Roth; Susan Schuppli; Tomas Van Houtryve



I’m in this big expensive book with a short text about an artist I love and I’m happy to share it with you! “Encompassing the entire NFTs ecosystem — from algorithmic art to avatars — the first major art history survey of this field includes 10 academic essays and richly illustrated profiles of 101 key artists. Connecting the disruptive contemporary medium to its art historical context, this volume offers a deep dive into the sphere of non-fungible tokens and is also available for purchase in crypto.”

“Domenico Quaranta On Casey Reas”, in Robert Alice (Ed.), On NFTs. Collector’s Edition, Taschen, Koln 2024, pp. 144-145

Q&A con Alberto Fiz


Alberto Fiz mi ha fatto un paio di domande per un articolo poi pubblicato sul Giornale dell’Arte, sull’arte digitale nel mercato dell’arte e sugli effetti della bolla speculativa degli NFT. A seguire il Q&A integrale.

AF. Sto facendo un’inchiesta sul Giornale dell’Arte sulle ragioni secondo cui il mercato dell’arte snobba l’arte digitale nonostante abbia un ruolo sempre più significativo. Tu stesso ne parli nel tuo libro Media, New Media, Postmedia scrivendo: Il mondo della New Media Art si regge su un’economia che non prevede nel suo sistema di distribuzione un mercato dell’arte.” In che senso? Pensi che ci possa essere un sistema di mercato alternativo?

Printed on ePaper

Kamilia Kard, A Rose by Any Other Name (2021)

So, I have this screen on my wall. It’s called the Philips Tableaux, and it’s a kind gift from Philips, a thank you for my participation to the Jury of the first MUSE Digital Art Award, which invited artists to submit images adapted to the device’s specifications, and engaging the topic of The Energy for Tomorrow. Here, you can see it in my home place, showing a screenshot from a software artwork by Kamilia KardA Rose by Any Other Name (2021, original here), and below with some of the works exhibited in the Award’s exhibition in Milan, curated by Julia Rajacic.

Arte e intelligenza artificiale: intervista per Interni


“l’IA non è uno strumento artistico.

È un fenomeno evolutivo interno al processo di automazione dei mezzi di produzione del tardo capitalismo. Il suo fine primario non è l’arte, è l’estetizzazione delle merci.

L’arte la può usare, come usa e ha usato altri strumenti nati allo stesso scopo: ma quando lo fa, il suo è sempre un atto di appropriazione, un uso deviato e illegittimo.

Se polarizzazione ci sarà, non sarà tra arti tradizionali e arti digitali, ma tra artisti che usano l’IA in questo modo e industrie creative che producono merci estetizzate.”

Paolo Casicci, “Domenico Quaranta: come cambia il ruolo dell’autore con l’IA”, in Interni Magazine, 16 novembre 2023

All These Fleeting Perfections

All These Fleeting Perfections at Biblioteca Geisser, Turin. Photo Nicola Morittu

All These Fleeting Perfections is the group exhibition curated by Domenico Quaranta in the renovated spaces of the Biblioteca Geisser in Turin for EXPOSED. Torino Foto Festival, the new International Festival of Photography which will take place in Turin from 2 May to 5 June 2024 under the artistic direction of Menno Liauw and Salvatore Vitale.

The show is part of EXPOSED PRELUDE – a series of teaser events staged in collaboration with some of the main cultural institutions around the city of Turin on the occasion of the Turin Art Week; produced in collaboration with Artissima and with the active participation of a number of exhibitors, it can be visited from 27 October to 5 November 2023.

The event presentation is scheduled for the morning of Friday 3 November, from 10 am to 1 pm, although the exhibition will also be accessible over the days leading up to the event.

Press folder (Ita / Eng, courtesy Lara Facco)

Theo Triantafyllidis: Sisyphean Cycles

Theo Triantafyllidis, BugSim (Pheromone Spa), 2022
Theo Triantafyllidis, BugSim (Pheromone Spa), 2022. Live Simulation. Ultra Widescreen Display, Gaming PC. Sound by Holly Waxwing. Image courtesy the artist

On the occasion of Art Verona 2023, Spazio Vitale opens to the public for the first time with Theo Triantafyllidis: Sisyphean Cycles (curated by Domenico Quaranta). The exhibition brings together, for the first time in a single set-up, four simulations by the Greek artist, guiding the viewer through an articulated and compelling narrative journey, and into as many ecosystems-worlds, programmed by the artist in such a way as to modify themselves according to autonomous behavior.

Spazio Vitale

Via San Vitale 5 – Verona

October 13 – November 11, 2023

Monday through Friday, 2 p.m. – 7 p.m.; Saturday, 10 a.m. – 1 p.m. and 2 p.m. – 7 p.m.

Opening: October 13, 7 p.m.