The Byzantine Generals Problem: an online group exhibition opening on July 4, 2022 at distant.gallery!

Exhibitions

An alternative to capitalism, or capitalism at its worst? An emancipatory network economy where everyone has a stake, or a dystopian panopticon where only the best man wins? An opportunity for democracy, or a techno-libertarian wet dream? A new creative economy or a pyramid scheme? A planet saver or a planet burner? Rarely has the debate around a technology been so polarised as with blockchains, Web3 and NFTs. We are facing a problem of consensus, trapped within a Byzantine Generals Problem.
A group of generals is besieging Byzantium. In order to avoid catastrophic failure, they must agree on a concerted strategy, but some of them are unreliable. Used to illustrate how consensus is reached within distributed systems, this allegory can be applied to blockchains as well as societies. Yet, in a peer-to-peer debate with no central authority, consensus is hard to reach for a reason; and the disagreeing general, the unreliable actor, may be our best resource against the common sense of the crypto-yuppies.
The Byzantine Generals Problem is an online exhibition focused on artworks which do not avoid an engagement with blockchains and crypto culture, but do so in a critically constructive way: questioning dominant narratives, raising problems and sometimes proposing alternative solutions.
Featuring works by Anna Ridler, Ben Grosser, Constant Dullaart, DIS, Face or Factory, Kyle McDonald, LaTurbo Avedon, Moxie Marlinspike, Nascent, Rhea Myers, Sarah Friend, Sarah Meyohas, Simon Denny / Guile Twardowski / Cosmographia, Sterling Crispin, The Miha Artnak.
Curated by Domenico Quaranta and produced by Aksioma – Institute for Contemporary Art, Ljubljana, The Byzantine Generals Problem is hosted by distant.gallery,a not for profit organization making an innovative independent and noncommercial online platform available for partners to reach their audience online. During the opening, on July 04, 2022 at 1 PM CEST, the platform will host a short guided tour with the curator and the available artists.

Collezionisti e valore dell’arte in Italia

Texts

Sollecitato da Alberto Fiz, ho contribuito al libro Collezionisti e valore dell’arte in Italia 2022, prodotto da Intesa San Paolo in collaborazione con Skira, con un breve saggio su collezionismo e arte digitale. Di prossima uscita, il volume è stato presentato oggi con un video in streaming presentato da Luca Beatrice, che ospita anche (dal minuto 35.30) una breve conversazione tra me e Alberto sul tema degli NFT. Non sono mai fiero delle mie performance verbali, ma lo splendido sfondo delle Gallerie d’Italia e il logo dell’Ansa valgono ben una condivisione.

Censored by Pak & Assange & Me

Uncategorized
Censored #26500

I’ve been watching “Collateral Murder” with my students again and again since it was released in 2007. Watching it together is a kind of ritual, a group prayer, a tribute to the victims of the killing, a way to refresh (in my mind) and to distribute and implant (in the minds of others) one of the most outstanding images of war of all times and one of the most representative of our time. And we have to thank Chelsea Manning and Wikileaks for it. This is why I engaged in censored.art and tokenized this sentence. Proceeds raised from the NFT sale will benefit Assange’s legal defense fund and campaign to raise awareness about the free speech implications of his case. More information here.

I have my (outspoken) concerns about crypto, but honestly – I didn’t stop using PayPal and Visa when they boycotted Wikileaks for gifting us “Collateral Murder” and other truth about wars. Nobody on the bright side of the chain is doing a darn thing to save Assange from 175 years in prison, so why not mint a fucking #NFT instead?

Censored is a collection by Pak & Assange & You. 29.8K statements have been minted by 29.8K owners, while a unique dinamic nft, named Clock, was sold at auction for 16.593 eth.

Il metaverso come spazio espositivo (sort of)

Texts

Sull’ultimo numero di Artribune, Valentina Tanni ha curato un bello speciale sul metaverso, invitando artisti e autori (Marco Cadioli, Miltos Manetas, Matteo Lupetti, Auriea Harvey) a dire la loro. Io dico la mia a pagina 75.

Domenico Quaranta, “Il metaverso come spazio espositivo”, in Artribune, n. 64, gennaio – febbraio 2022, p. 75

Nella crypto giungla / In the Crypto Jungle su Inside Art

Texts

Before the summer, I’ve been interviewed by the Italian magazine Inside Art on topics related to my fresh book, Surfing con Satoshi. Arte, blockchain e NFT (Postmediabooks, Milano 2021). The interview is now available in printed form, in Italian and English (pdf scan here). Below, I’m releasing the full original text file for the sake of archiving.

inside art - in the crypto jungle

Francesco Angelucci, Fabrizia Carabelli, “In the Crypto Jungle”, in Inside Art, Issue 122, July 2021, pp. 58 – 67. Online version (Italian)

NFT changed my life! La blockchain sta reinventando il futuro?

Texts

Qualche settimana fa NOT ha pubblicato un paio di estratti in italiano dal volume Surfing con Satoshi. Arte, blockchain e NFT (Postmedia Books, Milano 2021), con un breve cappello introduttivo. Lo trovate qui:

Domenico Quaranta, “NFT changed my life! La blockchain sta reinventando il futuro?”, in NOT, 6 ottobre 2021.

L’introduzione a Surfing con Satoshi tradotta in cinese

Texts
Alterazioni Video, Surfing with Satoshi, 2013. Production still

Grazie a Ren Yu, che ha scovato su Medium la versione inglese dell’introduzione a Surfing con Satoshi, quest’ultima è ora disponibile anche in lingua cinese! La potete leggere al seguente link:

2021 年 2 月 19 日,〈霓虹貓〉動畫的原作者 Chris Torres 在線上平台 Foundation 以約 561,000 美元的價格售出了該動畫,那個平台幾個月前才剛成立。實際上,出售的是與作品相關的 NFT(non-fungible token,不可替代的代幣),這是一串數字代碼,用來代表、並在乙太坊區塊鏈上永久識別該圖像。

Surfing with Satoshi, a new blog on Mirror.xyz

Texts

After publishing Surfing con Satoshi. Arte, blockchain e NFT (Postmedia Books, Milan 2021), my new Italian book discussing the NFTs (non fungible tokens) phenomenon and its impact on contemporary media art, I started writing shorter pieces in English, and thinking about how to bring it to a more international audience. Thanks to a friendly advice, I discovered Mirror.xyz, a nice web3 platform focused on writing, that allows you to set-up a blog, mint your pieces of writing as collectively owned collectibles, and run crowdfunding campaigns in order to fund larger projects. In their own description: “Mirror is a community-owned and operated protocol and economy. The value of Mirror is the aggregate value of the community’s body of work, meaning existing members have both cultural and economic stakes in who’s contributing.” To join Mirror, you need to be voted in by the community. When it happened, I set up surfingwithsatoshi.mirror.xyz, which is now live and offers a few pieces of critical writing on art and blockchain. The first is a draft for an upcoming paper on the ambiguities of the “Crypto Art” definition, based in part on Chapter 4 of Surfing con Satoshi and open to comments and suggestions.

The second, titled “Code as Law. Contemporary Art and NFTs, has been originally commissioned by the Künstlerinnenpreis website blog, an editorial platform connected to a prize for female artists. Instead of writing about women’s art, I set out to offer a critical, non-promotional introduction to what it means to put one’s art on the blockchain, as much of the NFT marketplaces propaganda insists on how friendy and open this space can be for groups and categories that are usually marginalized in the art world. The text is illustrated with works by some of my favorite female artists on the blockchain (Image above: LORNA MILLS, Door #7, 2020. Animated GIF, courtesy the artist and Roehrs & Boetsch, Zurich).

Surfing with Satoshi. Art, Blockchain and NFTs

Surfing with Satoshi

Domenico Quaranta, Surfing con Satoshi. Arte, blockchain e NFT, Postmedia Books, Milan 2021. 250 pp., 87 ill., 220 x 140 mm, isbn 9788874903030. Italian.

Abstract and Index: Italian / English

Introduction: Italian / English (Medium)

Full Bibliography and link

Buy on Amazon (22,80 €, paperback; 9,99, eBook, Italian Edition)