The utopia/dystopia dichotomy seems ever-present. The works by different artists have a range of fidelity to pre-existing artworks all the way into a space that feels much more speculative or fantastical. So through this disembodied, screen-based approach, you’ve managed to reintroduce site and context to this virtual experience in an impactful way. One example is this disembodied viewership in art which was increasingly the norm even before the pandemic, but really crystallized to a new level last year with basically every MFA program and art fair moving into screen-based interactions. While many galleries were trying to figure out the best WordPress plugin for their “online viewing rooms,” you started working with the premise of siting artworks in these elaborate fabricated contexts, often modeling an actual building or site in a state of ruin. Something that interests me about EPOCH is that it holds a balance between certain extremes. We haven’t had a chance to talk since your latest exhibition Freeport and I’m glad to catch up here about your recent use of NFTs and how it relates to your exhibition platform EPOCH. We’ve been having an ongoing conversation about blockchain and its implications on art and the economy since around February.
This post features artist and Art + Technology Lab grant recipient Cayetano Ferrer in dialogue with artist Peter Wu+, whose platform EPOCH recently offered the entirety of its current virtual exhibition as a NFT.Ĭayetano Ferrer: Hi, Peter.
Epoch art 3dgallery series#
The series examines what NFTs mean for museums that collect digital art, and looks at the artistic, curatorial, conservation, registration, and legal issues of this new digital format. Welcome to part 3 of NFTs and the Museum, a series of conversations between art and culture practitioners in and outside of LACMA.
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