EXPANDED.ART presents the international group exhibition of early computer art and generative art, THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 in collaboration with ELEMENTUM.ART. Curated by Anika Meier and Georg Bak. The exhibition will be on view from 6 to 27 JUNE 2023 at EXPANDED.ART in Berlin. Additionally, the NFTs will be shown at NFT ART Day Zürich on 11 June.
The exhibition presents pioneers from different generations, early 1950s until today, working in the field of generative art. On view will be, among others, plotter drawings, generative photography, sculptures, and NFTs from 30 international artists.
Artists: Ai-Da Robot, Victor Acevedo, Vladimir Bonačić, Analivia Cordeiro, Pierre Cordier, Geoff Davis, Hans Dehlinger, Boris Eldagsen, Primavera de Filippi, Herbert W. Franke, Hein Gravenhorst, Ira Greenberg, Samia Halaby, Heinrich Heidersberger, Karl Martin Holzhäuser, Roger Humbert, Gottfried Jäger, Mario Klingemann, Zach Lieberman, LoVid, Jonas Lund, Jennifer and Kevin McCoy, Lee Mullican, Frieder Nake, Piter Pasma, Aaron Penne, Manuel Rossner, Marcel Schwittlick, Travess Smalley, Marina Zurkow
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THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023

6-27 JUNE | BERLIN

EXPANDED.ART presents the group exhibition A BEATING HEART. FEMALE PIONEERS OF DIGITAL ART on view in Berlin 17 May to 4 June 2023.
The exhibition explores how female artists at the forefront of digital art approach the male-dominated field in a variety of mediums such as AI, AR, video, poetry, and sculpture. 16 artists delve into our relationship with technology, dissolve the boundaries of the female body, deal with young femininity and the burden of its expectations, draw a portrait of the collision of committed love, exhaustion, and desire, and ask us to consider what we truly value.
<meta charset="utf-8"> ARTISTS: Gretchen Andrew, Ana María Caballero, Carla Gannis, Claudia Hart, Tali Hinkis (LoVid), Sophie Kahn, Martina Menegon, Marjan Moghaddam, Oona, Operator, Chiara Passa, Kelly Richardson, Anne Spalter, Sasha Stiles, Addie Wagenknecht, and Kathrin Wessling.

A BEATING HEART. FEMALE PIONEERS IN DIGITAL ART

17 MAY - 4 JUNE | BERLIN

A BEATING HEART. FEMALE PIONEERS OF DIGITAL ART

The exhibition PLOTTED LINES by Hans Dehlinger is comprised by 26 of the artist's plotter drawings of the past three decades and shows the artist’s exploration of the medium and the line. With a focus on algorithmically generated line drawings, Dehlinger bases his generative artworks on computer code executed on pen plotters, forming delicate structures, dense textures, or even evoking an unsharp impression from sharp lines.<quillbot-extension-portal></quillbot-extension-portal>

HANS DEHLINGER | PLOTTED LINES

HANS DEHLINGER: PLOTTED LINES

PHILLIP TOLEDANO | ANOTHER AMERICA

NFT DROP

ANOTHER AMERICA BY PHILLIP TOLEDANO

EXPANDED.ART is pleased to present the group exhibition THE CUTE SHOW on the occasion of Gallery Weekend Berlin. More than 21 artists explore the duality of kitsch and its critique of modernity, technology, and online culture.
Bright, pastel-coloured fantasy worlds filled with unicorns, animals, and other fluffy creatures evoke feelings of tenderness and innocence. But is cuteness always this innocent? The rise of the aesthetic movement "cute" correlates directly with challenges of growing up and living in the digital age. ​
Artists: Albrecht/ Wilke, Arno Beck, Joachim Bosse, Arvida Byström, Chris Drange, Daniel Gebhart de Koekkoek, Claudia Hart, Andy Kassier, Clare Kenny, Nadine Kolodziey, Jiny Lan, Marcin Laszczewski, Margaret Murphy, Isis Maria Niedecken, Skye Nicolas, Cevin Parker, Leonie Specht, Josefine Schulz, Mateusz von Motz, Ruohan Wang
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THE CUTE SHOW

CURATED FINE ART

"I tend to think of AI as more of a really great sketchpad and idea generator than a stand-alone replacement for artistic creation." – Anne Spalter

ARTIST

EXHIBITION

The first version of 0°&lt;——&gt;45° is a historical work in computer-based dance. It is a solo dance performed by Cordeiro where the dancer’s body blends with the stage design while she makes movements following rounded or diagonal lines. 
Both the stage setting and the costume design were created with an aesthetic close to concrete art. This work develops a language of dance based on a very contemporary look for that time, which broke away from the then prevailing conventional dance aesthetics that still maintained a clear influence from classical ballet. The body seemed to become a moving sculptural form.
Performer Analivia Cordeiro
Direction and Choreography Analivia Cordeiro
Production Analivia Cordeiro, Computer Center of State University of Campinas — UNICAMP, and Escola de Comunicações e Artes da Universidade de São Paulo
Scenography Analivia Cordeiro
Direction of Photography Pedro Farkas
Computer Programming Analivia Cordeiro and Guillermo Barrera Fierro
Music Fox Trot by William Russell, conducted by John Cage
Editing Analivia Cordeiro, Computer Center of State University of Campinas – UNICAMP, and Escola de Comunicações e Artes da Universidade de São Paulo

0°<——>45° version I

The Amiga kinetic paintings are programs that Samia Halaby coded between 1986 and 1989 using the programming languages Basic and C on a Commodore Amiga 1000. 
In DARK WEAVER, a set of rectangular bars repeat by moving back and forth incrementally, each defining a specific area. Areas already defined by a moving bar are invaded by the motion of other bars. As vertical and horizontal bars intersect, diagonal boundaries are created between them. Differently incremented bars overlap, leaving a remnant of what they covered in the negative spaces between. 
This was a period when Halaby had begun programming in the C language and was creating functions that she called Yoyos. These functions received three values and produced the result: a number that increased until it reached the upper limit, decreased until it reached the lowest limit, and was incremented by the requested quantity. Yoyo functions are thus culled repeatedly to determine the location and incrementation of each bar. This is how they are made to go back and forth or up and down. Several sets of bars are called simultaneously, and as they move back and forth, they intersect.

DARK WEAVER

As Heinrich Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s – more by accident and as a result of his insatiable curiosity than anything else – photographers were still known as lensmen, a name that really seems to fit for Heidersberger. At the same time as he did contract work for well-known architects of the Braunschweig School, who appreciated his use of light and the lens in particular, Heidersberger also began to experiment with luminography – the recording of a source of light in motion – at the beginning of the 1950s. He was fascinated by the idea of letting light itself become the object.
The invitation in 1955 to create a mural for the newly constructed School of Engineering in Wolfenbüttel was a welcome occasion for Heidersberger to become more involved with luminography. He began to build a device that he could use to record traces of light directly on photo material. The artist named the pictures he created rhythmograms and continued to pursue his experiments with great enthusiasm. The name he chose was the first indication of the uniqueness of his results.
The rhythmograph, as Heidersberger called his device, was redesigned several times and perfected. The larger version, which was made of a conventional scaffolding, still stands fully functional in the exhibition room of the Heidersberger Institute today and takes up close to twenty square meters of floor space. Using four harmonically muffled pendulums, it creates traces of light on photographic material via a mechanically linked mirror and a point source of light. Three-dimensional images are produced by controlling the frequency, phase difference, amplitude and transmission of the pendulums – two drive the mirror vertically and two horizontally.
Different from the constructive work of his contemporaries, who were following similar ambitions, Heidersberger's light images have a three-dimensional aspect and also include coincidence as a principle in their design. Heidersberger found the inspiration for the multi-dimensional solution in reading a book on PHYSICS IN GRAPHICAL PICTURES. There he discovered the figures of the physicist Jules Antoine Lissajous and they challenged him to get similar results in photography. From that time on, he called these pictures rhythmograms.
With each structural alteration, the machine became more complex and its use more skilled and more effortless at the same time. By extinguishing the light for a short period of time, for example, Heidersberger discovered new traces and he also began to work on the negatives. As a result of inversion, multiple exposures and sectioning that led to extensive compositions and solarizations, he created a completely new picture language.
His 'machine', as he likes to call it, was paramount to the synthesis of his artistic and scientific interests and still commands an imposing presence in the Wolfsburg Castle today.
In addition to the personal interests described here, the rhythomgrams must also be viewed in their contemporary context. They were very topical at the time of their creation. If we call to mind Applied Art - exemplified by wire and wicker furniture - in the decades after the war or the graphics at that time, the parallels are striking - Heidersberger had his finger on the pulse of the age.
From 1956 to 1968, for example, a rhythmogram was used as the broadcasting symbol of the Südwestfunk Baden-Baden, a regional German television station, and some say that the old national evening news logo was produced by him, a rumor that has not been substantiated to date. In addition, one of Heidersberger's light images received the silver medal at the 11th Triennale di Milano, a very important international exhibition of applied art and architecture at that time.
Contemporaries perceived the works as an adequate expression of modern living conditions: "[a rhythmogram] is able to put space-time relationships into a picture chronographically, lending a temporal process to the elements of space and quantity to produce a great metaphor of our newly won physical view of the world, in which space and time merge to form a uniform continuum at the speed of light." Such comments as this made by Lufft breathe the spirit of the 20th century and underscore once again the fact that Heidersberger is a representative of the modern arts.
Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a rhythmogram as a birthday present for Picasso.

03782_000_double_black

Created in 1987, the ECTOPLASMIC KITCHEN series was Victor Acevedo’s first important group of digital art images. The series was created with a software package called Artwork. This was a 2.5D Vector Graphics Software licensed by West End Film/Pansophic. 2.5D (Two and a half ‘D’, D=dimensions) means it supported mouse controlled, manipulation of on-picture-plane graphical objects within any implicate or explicate polygon domain toward convergent perspectival vanishing points. However, the software’s computer graphic capabilities would not be classed as that of a full 3D modeling system.
The original DOS-based image file was saved to a 5.25” floppy disk; usually written to a ‘Pansophic’ flavor of the PIC or Hex format. However, the NFT linked JPG files presented in this exhibition were produced from high-resolution scans of 35mm slides that were output via a 2K Matrix digital film recorder directly from the original computer files in 1987. The slide film was developed by the artist himself in a small dark room, after-hours at the business-to-business 35mm slide production service bureau, where he worked in the Spring of that year.
The key image of the series is the eponymous ECTOPLASMIC KITCHEN v01.
“What I consider my first successful computer graphic image is ECTOPLASMIC KITCHEN v01. For me, it’s the definitive version in the set of many variants based on a photograph I took using 35mm slide film in 1983. Combining influences from both M.C. Escher and R. Buckminster Fuller, it combines Escher-inspired open-packed zoomorphics enclosed in a synergetic great-circle spherical domain. The Escher-like creatures are arrayed symmetrically around 3-fold roto-centers and emerge from an underlying triangular and hexagonal grid.”  
– Victor Acevedo
“Significantly, using computers to make images in the summer of 1987 rekindled my fondness for zoomorphic tessellation. The software’s ability to easily replicate forms and perform symmetry operations such as rotation and translation made repeating patterns quite a natural thing to do. I believe that M.C. Escher’s work in many ways prefigures the advent of digital art. Conceptually and graphically,  I continued to employ polyhedral nets that would interpenetrate my figurative subjects, persevering with the metaphor born of my 1977 Escher-inspired Satori at the Alhambra, in Granada.”   
– Victor Acevedo
Acevedo’s earliest public showings of his digital artwork usually included ECTOPLASMIC KITCHEN versions 1 or 2.<quillbot-extension-portal></quillbot-extension-portal>

ECTOPLASMIC KITCHEN V01

CURATED NFTs: THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023

PLN DD 9 is a vintage computer-generated photograph created by Vladimir Bonačić as part of his PLN series in 1969. The PLN series is associated with the international art movement known as [New] Tendencies ([N]T), which promoted the synergy of science and art. [N]T gained recognition as a leading avant-garde visual art movement that emphasized rationality, social engagement, and interactivity with the user. 
Within the PLN series, Bonačić utilized computer-generated images and mathematical algorithms to construct visual compositions. The artworks featured numerical combinations visualized in fields containing various elements. The PLN DD 9 photograph, along with other works in the series, depicted symmetrical and asymmetrical compositions within a set geometric raster. Bonačić's approach involved using pseudo-randomness generated by Galois-field algebra, allowing for the visualization of mathematical laws and exploring the invisible dimensions of the universal. 
The PLN series demonstrated Bonačić's innovative use of computer technology and his exploration of the possibilities offered by standardized computer peripherals. The artworks pushed the boundaries of artistic expression, combining elements of science, mathematics, and visual aesthetics. By bridging the gap between art and technology, Bonačić sought to create a new universal language that transcended traditional categorizations and stimulated cognitive processes.

PLN DD 9

SIEMENSSTERN TABLEAU BLACK is an artwork created in 1966 by Hein Gravenhorst, a photographer known for his involvement in Generative Photography. In 1968, Gravenhorst participated in an exhibition at the Bielefelder Kunsthaus alongside Gottfried Jäger, Pierre Cordier, and Kilian Breier, where Generative Photography was not only the title but also defined the program of the exhibition. 
Generative Photography aimed to create aesthetic structures based on defined programs using photochemical, photo-optical, or photo-technical operations. The goal was to achieve optional and functional references within the construction of the aesthetic structure. This genre of photography was influenced by Max Bense's Generative Aesthetic, which provided principles for generating specific operations methodically. 
Gravenhorst's works from 1965 to 1972 are highly regarded, and this particular artwork, SIEMENSSTERN TABLEAU BLACK, is part of his impressive oeuvre. The artwork features the Siemens Star, a geometric pattern generated through the combined rotation-translation number system of 1, 2, 4, 8, and 16. It is presented on silver gelatin paper, measuring 59.5 x 49.5 cm. The artwork is in good condition and is a unique piece. 
Hein Gravenhorst's works have been acquired by international private and public collections, including the Collection Peter C. Ruppert in Würzburg and the Museum of Modern Art (MoMA) in New York. In addition to his artistic career, Gravenhorst has also pursued alternative medicine as a therapist since the mid-1970s. He currently resides and works in Berlin. 
The artwork is hand-signed by the artist and dated on the reverse side with a pencil, adding to its authenticity and provenance.

Siemensstern Tableau Black

MECHANO-OPTISCHE UNTERSUCHUNG, SERIE 3 is an artwork created by Karl Martin Holzhäuser. This specific piece is part of an artist's print edition, numbered as the first out of two, produced in 1975. 
Karl Martin Holzhäuser, a member of the international group Concrete Photography (Konkrete Photographie), has developed a consistently remarkable body of work through his artistic practices since the late 1960s. His art is influenced by two cultures: the culture of Concrete and Constructive Art, which he felt connected to from a young age, and the culture of photography as a medium, particularly its inclination towards experimentation and design. Holzhäuser's oeuvre can be seen as an experiment that visually synthesizes the cultures of art and technology. It explores the interplay of colors, forms, space, and time within the medium, constantly challenging its inherent ambitions. 
His early works, such as the MECHANO-OPTISCHE UNTERSUCHUNG created between 1965 and 1972, exemplify this approach. 
Holzhäuser continually seeks the latent image of time through photographs that do not aim to represent or reproduce the world as it appears. Instead, his photographs aspire to be visual themselves, intentionally returning to the essence of the medium and searching for the elemental in a world where fleeting moments have become a disconcerting reality. The previous associations between an artwork and its specific place, space, and time of creation have become irrelevant due to reproducibility and mass distribution. Globalization has already taken hold, and photography supports this process rather than halting it. However, it also offers an opportunity to play within this context and produce authentic contemporary images—signs that bolster individual and collective consciousness. Holzhäuser's works capture the fleeting moments in their own unique manner. He may work in darkness, but his medium is light.

Mechano-Optische Untersuchung, Series 3

STANZFORM (Theme and Variations VI) is a series of artworks by Gottfried Jäger, created in 1965. This series, along with the Rasterfelder works from the same year, represents a transition in Jäger's art from object-related to free, non-object-related designs. The STANZFORM series features grid indents that take on their own form and meaning within the broader context of the Rasterfelder group. 
Gottfried Jäger has been working in the field of abstract photography since the early 1960s. He sees photography not just as a medium to capture external conditions but as an artistic object in itself. Throughout his over fifty years of artistic practice, Jäger has become one of the most renowned names in German photographic art. In 2014, he received the Culture Prize of the German Society for Photography, which recognized both his artistic achievements and his contributions as a photo theorist and photo historian.

STANZFORM

CURATED FINE ART: THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023

MAGAZINE

"The line is extremely intriguing to me. Actually, rock paintings are where art begins. The line is straightforward. There is a beginning and an end point. What occurs in the meantime is entirely up to chance. I assert that there is a line universe. It's a distinct, limitless universe." – Hans Dehlinger
 ABOUT PLOTTER DRAWINGS
Plotter drawings are line drawings. A mechanical drawing machine, the plotter, is controlled and driven by a computer program. The drawing pen clamped into the machine moves across the paper and draws, almost like a mechanical hand. Simply put, this hand responds to three commands: lift the pen, place the pen on the paper, and move the pen. When the move pen command meets the pen is down situation, a stroke is created.
 ABOUT THE FRAME
The plotter drawing comes in a white, customized frame made by the artist himself.

RASTER_05_2pen

A straight line, pen-drawn and executed on a pen plotter, is by default sharp. Likewise, drawings generated from such lines are, by definition, sharp. With his "Unsharp" plotter drawings, Hans Dehlinger explores ways of generating line drawings executed on pen plotters that appear to be wholly or in part unsharp, even though they are drawn with sharp lines. When viewing two converging lines, there is a point called the "minimum separabile" where the human eye stops distinguishing between two separate lines and starts seeing grayscale. It is different for each individual and is also dependent on the distance from which the two lines are viewed. This limitation of human eyesight can be artistically exploited to create "unsharp" impressions from sharp lines. Hans Dehlinger has approached this topic systematically in the article "Line Drawings that Appear Unsharp" (International Journal of Creative Interfaces and Computer Graphics, 2011) and has applied the results to his drawings, in which "unsharp" impressions of different kinds can often be observed.
 ABOUT PLOTTER DRAWINGS
Plotter drawings are line drawings. A mechanical drawing machine, the plotter, is controlled and driven by a computer program. The drawing pen clamped into the machine moves across the paper and draws, almost like a mechanical hand. Simply put, this hand responds to three commands: Lift the pen, place the pen on the paper, and move the pen. When the Move Pen command meets the Pen is Down situation, a stroke is created.
ABOUT THE FRAME 
The plotter drawing comes in a white, customized frame made by the artist himself.

SU_WU-013

TE.02

Edition set of 3
"The line is extremely intriguing to me. Actually, rock paintings are where art begins. The line is straightforward. There is a beginning and an end point. What occurs in the meantime is entirely up to chance. I assert that there is a line universe. It's a distinct, limitless universe." – Hans Dehlinger
 ABOUT PLOTTER DRAWINGS
Plotter drawings are line drawings. A mechanical drawing machine, the plotter, is controlled and driven by a computer program. The drawing pen clamped into the machine moves across the paper and draws, almost like a mechanical hand. Simply put, this hand responds to three commands: lift the pen, place the pen on the paper, and move the pen. When the move pen command meets the pen is down situation, a stroke is created.

GA 99 MILANO

CURATED: HANS DEHLINGER | PLOTTED LINES

ARTIST 

SHORT SEASON by Claudia Hart is the NFT of her artwork, THE SEASONS. THE SEASONS portrays a room in which a slowly evolving sculptural figure gradually transforms. In this animated loop, a variety of visual, temporal, and conceptual cycles are offset and overlaid so that their movement is obscured. All is in flux, but time seems to stand still, as in life. In THE SEASONS, a seated woman in a pose of erotic abandon cycles clockwise on a rotating pedestal. As she cycles, she decomposes, a vine of roses surrounding her, blooming and then fading away. The room also revolves, though counterclockwise, while the animation camera pans back and forth. These movements function in counterpoint, appearing only on the edge of perception. The sound for the piece is crumpling paper. The color scheme is white on white. ABOUT THE NFT Contract address: <a href="https://etherscan.io/address/0x1837ca3e3d6239148551e9716c57c985161dca9b">0x1837ca3e3d6239148551e9716c57c985161dca9b</a> Blockchain: Ethereum Token standard: ERC-721 Metadata: Frozen and decentralized

Short Season

View the collection on <a href="https://opensea.io/collection/liquid-harmony">Opensea.</a>
Through the fusion of milk and body, shape and container, pixel and shader, LIQUID HARMONY by OONA establishes a bond between the artist and their creative output. 
Beginning in its raw and unadulterated form, the video art series gradually evolves, piece by piece, inviting viewers to untangle the complexities of its imagery using their prior knowledge as a guide.
Meticulously applying low-frequency oscillators (LFOs) to trigger Interactive Shader Formats (ISF), the videos harmoniously blend the milk and its maker, unifying the visual experience. The accompanying soundscape resonates with the noise of milk pouring and tones of DMinor. 
This series encompasses two distinct perspectives that add depth to its narrative: a direct gaze at the milk presents a visual register of equality, while a top-down view of OONA situates the audience in a position of power and authority. LIQIUD HARMONY invites viewers on a journey into namelessness, where milk overflows, dissolving boundaries of the female body and illuminating the dynamics of power.
ABOUT THE NFT
Contract address: <a href="https://etherscan.io/address/0x4756de6300cf340f2dd1b29ba5500545b4fb1f43" target="_blank">0x4756DE6300Cf340F2dD1b29bA5500545B4Fb1F43</a> Blockchain: Ethereum Token standard: ERC-721 Metadata: Frozen and decentralized

Liquid Harmony, ASCII Milk, made by OONA

In the 1990s and early 2000s, Tali Hinkis loved walking around with a video camera. During this time, she was influenced by Sophie Calle, Pipilotti Rist, and Tracey Moffatt’s video HEAVEN. It was in 2000, when Hinkis first learned to use After Effects and began to reject linear thinking in her editing, that something clicked. She started considering short videos as drawings or paintings and also incorporating loops into VJ sets. BED, a video of a campy bedspread, is one of those rare videos from that time period that Hinkis managed to digitize and preserve. When she views BED in the present day, Hinkis sees a dark and moody flower contorting itself, a play on young femininity and the burden of its expectations. 
ABOUT THE NFT
Contract address: <a href="https://tzkt.io/KT1BESpPgwwGEG6R6kHScSTKZADC3tYUYq85/operations/" target="_blank">KT1BESpPgwwGEG6R6kHScSTKZADC3tYUYq85</a> Blockchain: Tezos Metadata: Frozen and decentralized

THIN LACE is a spoken-word poem from Ana María Caballero’s MAMMAL about the evolution of intimacy in long-term relationships. Written in Caballero's signature, multi-valent style, it paints an honest portrait of the collision of committed love, exhaustion, and desire.
MAMMAL was the winner of the prestigious 2022 Steel Toe Books Poetry Prize and a semi-finalist for both the Vassar Miller Prize and the Birdy Poetry Prize. It will be published by Steel Toe Books in 2024.
thin lace
 
perhaps it stops being about
me loving you
you loving me
us loving us
 
&amp; more about
ceasing
                        embracing a life that ends
 
         watch          it       end
 
i bought flimsy pajamas         for you
for me            
for us
 
lace for the children’s
rock-hard home
 
but who cares about sex         
i just want you to wipe away baby shit
 
mature love       is the best
 
 it makes you smarter
 because you have to think
 
i’ve always preferred smart               to happy
our mid-life love makes me  happy
 
            i think
 
ABOUT THE NFT
Contract address: <a href="https://etherscan.io/address/0x7cde13f6289a5dfb77424aa3edd83ffddc46d354" target="_blank" rel="noopener noreferrer">0x7cde13f6289a5dfb77424aa3edd83ffddc46d354</a> Blockchain: Ethereum Token standard: ERC-721 Metadata: Frozen and decentralized

thin lace

CURATED: A BEATING HEART. FEMALE PIONEERS OF DIGITAL ART

EXPANDED.ART is pleased to present MY TRAVELS TO HYPERREALITY, a solo exhibition by Claudia Hart in collaboration with ANNKA KULTYS GALLERY in London.


CLAUDIA HART

MY TRAVELS IN HYPERREALITY | LONDON

23 JUNE - 24 JULY

EXPANDED.ART is pleased to present the solo exhibition TANGIBLE TIMELINES by LOVID on view at the gallery in Berlin in summer 2023. 

LOVID

TANGIBLE TIMELINES | BERLIN

29 JUNE - 19 JULY

EXPANDED.ART is pleased to present A CHILD’S MACHIAVELLI, the first solo exhibition by Claudia Hart at the gallery in Berlin. On view will be drawings and digital artworks from Hart’s iconic book of the same title in an immersive environment. 

A CHILD'S MACHIAVELLI | BERLIN

UPCOMING EXHIBITIONS

For a while now, the world has been feeling increasingly off-kilter. It’s familiar and deeply foreign simultaneously: wars, pandemics, conspiracies. Ideas we hold as true change overnight. ANOTHER AMERICA by Phillip Toledano is a reflection of this uncertain world. It shows us the familiar, but not. The series is set in the late 1940s, a time close to the beginning of photography, when a photograph was the truth. Finally, how else to address the idea of uncertainty than with the technology, Artificial Intelligence, that is making the world uncertain?
ABOUT THE NFT 
Contract address: <a href="https://etherscan.io/address/0xb6921ecffe335a1360a930619ddccb3fceea47c1">0xb6921ecffe335a1360a930619ddccb3fceea47c1</a> Token Standard: ERC-721  Blockchain: Ethereum  Metadata: Frozen and decentralized

Another America 41

Another America 30

Another America 20

Another America 37

NFT DROP: PHILLIP TOLEDANO | ANOTHER AMERICA

PHOTOGRAPHY AND AI

PHILLIP TOLEDANO: "AI IS A MIRROR TO THE IMAGINATION"

PHOTOGRAPHY & AI

"AI is boundless. It’s a mirror to the imagination. So it’s as good as your imagination." – Phillip Toledano

INTERVIEW

EXPANDED.ART is pleased to present RECOLLECTION. AI AND MEMORY in collaboration with The NFT Gallery at their galleries in New York and London, 11 April – 13 May 2023. 19 artists explore the idea of further challenging the concreteness of human memory—personal or collective—through creative collaboration with AI. Memories are nebulous. Scientific studies and phenomena such as "The Mandela Effect" have shown that humans rarely recall things in their unbiased exactitude. Artificial Intelligence already assists human memory in the form of predictive text and GPS navigation. One would surmise that there exists a role for AI when it comes to supplementing even more complex memory. RECOLLECTION. AI AND MEMORY: 11 April - 13 May 2023 
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 Artists: Ilya Bliznets, Crashblossom, Anna Dart, Olga Fedorova, Ross Goodwin, Danielle King, Margaret Murphy, Kika Nicolela, Roope Rainisto, Daria Rastunina, Manuel Rossner, Travis LeRoy Southworth, Anne Spalter, Nathaniel Stern, Sasha Stiles, Stephan Vasement, Nicola Villa, Sabato Visconti, Erika Weitz The NFT Gallery, New York 88 Clinton Street Tuesday - Friday: 10 AM - 6 PM Saturday: 10 AM - 5 PM Opening: 13 April | 2-5 PM On the occasion of NFT.NYC. The NFT Gallery, London 5-7 Dover Street Tuesday - Friday: 10 AM - 6 PM Saturday: 10 AM - 5 PM Opening: 11 April | 6-8 PM 
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NFT RELEASE SCHEDULE The NFTs will be minted on Ethereum and Tezos and will be available to collect on EXPANDED.ART and Objkt.com. The artists will release 1/1s and limited editions created in collaboration with AI. 26 APRIL | 6 PM CEST | 12 PM ET | 9 AM PT Crashblossom, Ross Goodwin, Manuel Rossner, Travis LeRoy Southworth, Anne Spalter &amp; Nathaniel Stern, Sasha Stiles, Sabato Visconti, Erika Weitz 28 APRIL | 6 PM CEST | 12 PM ET | 9 AM PT Ilya Bliznets, Anna Dart, Olga Fedorova, Danielle King, Margaret Murphy, Kika Nicolela, Roope Rainisto, Daria Rastunina, Stephan Vasement, Nicola Villa In collaboration with The NFT Gallery. The NFT Gallery exists to make NFTs more tangible, providing an immersive experience where both existing and emerging collectors can enjoy a curated selection of NFTs in a physical space, as well as online. The NFT Gallery aims to make NFTs and digital art accessible to everybody, it is a space to collect, engage and learn.
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RECOLLECTION. AI AND MEMORY

Recollection Machine 04

Gaussian Blur-Filled Gaze

Future Mythologies: Ariadne

View the collection on <a href="https://opensea.io/collection/future-pasts-past-futures" data-mce-href="https://opensea.io/collection/future-pasts-past-futures" data-mce-fragment="1">OpenSe</a><a href="https://opensea.io/collection/future-pasts-past-futures" data-mce-href="https://opensea.io/collection/future-pasts-past-futures" data-mce-fragment="1">a</a> ABOUT THE WORK The absurdity of AI-generated art is reminiscent of adolescence. As a teenager, nothing makes sense, everything feels exaggerated and extreme. Expectations about how things will turn out<meta charset="utf-8">—sometimes met, sometimes not. These expectations are heightened, thanks to hormone changes and a lack of life's lessons to draw from. Expectations are depicted using AI text-to-image tools. Language has meaning and value, and it carries implications that are understood differently by each individual. The absurdity of AI text-to-image outputs is used as a metaphor for making sense of our pasts as teens in Margaret Murphy's FUTURE PASTS, PAST FUTURES, while simultaneously hypothesizing adolescence in the future. Murphy explores popular adolescent cultural traditions like prom, summers at county fairs, joyrides, house parties, summers pool-side, family vacations, and skate parks with a reverent nostalgia that, in connection with AI, feels almost like last night's dream. As time passes and memories fade, technology both helps us recall and forget our pasts more swiftly. Murphy's series attempts to comprehend the perspectives of adolescent absurdities through AI wonders about teenagers of the future.
ABOUT THE EXHIBITION
FUTURE PASTS, PAST FUTURES is part of the exhibition RECOLLECTION. AI AND MEMORY presented by EXPANDED.ART in collaboration with The NFT Gallery at their galleries in New York and London, 11 April – 13 May 2023. 19 artists explore the idea of further challenging the concreteness of human memory—personal or collective—through creative collaboration with AI.  <meta charset="utf-8">Memories are nebulous. Scientific studies and phenomena such as "The Mandela Effect" have shown that humans rarely recall things in their unbiased exactitude. Artificial Intelligence already assists human memory in the form of predictive text and GPS navigation. One would surmise that there exists a role for AI when it comes to supplementing even more complex memory. Artists: Crashblossom, Ilya Bliznets, Anna Dart, Olga Fedorova, Ross Goodwin, Danielle King, Margaret Murphy, Kika Nicolela, Roope Rainisto, Daria Rastunina, Manuel Rossner, Travis LeRoy Southworth, Anne Spalter, Nathaniel Stern, Sasha Stiles, Stephan Vasement, Nicola Villa, Sabato Visconti, and Erika Weitz. <meta charset="utf-8">ABOUT THE NFT <meta charset="utf-8">Contract address: <meta charset="utf-8"> <a href="https://etherscan.io/address/0xca171ec002ca5999176d8d7330ba38208ba35e6b" data-mce-href="https://etherscan.io/address/0xca171ec002ca5999176d8d7330ba38208ba35e6b" data-mce-fragment="1">0xca171ec002ca5999176d8d7330ba38208ba35e6b</a> <meta charset="utf-8">Token Standard: ERC-721 Blockchain: Ethereum Metadata: Frozen and decentralized <a href="https://opensea.io/collection/future-pasts-past-futures" data-mce-href="https://opensea.io/collection/future-pasts-past-futures" data-mce-fragment="1"> </a>

FUTURE PASTS, PAST FUTURES

NFT DROP: RECOLLECTION. AI AND MEMORY

QUADRATE

LICHTFORMEN

OSZILLOGRAMM

MATH ART LOGIC

MATH ART 3D-LANDSCAPES

MATH ART (1980-1995)

RELIEF MATH ART FOURIER

MATH ART

MATH ART KOMET

MATH ART FRAKTAL

DRAKULA

Herbert W. Franke (1927-2022) was a pivotal figure in bridging the gap between art and science, who worked between science, literature and art. 

ESTATE OF HERBERT W. FRANKE

Known as a universal genius, Herbert W. Franke (1927-2022) is the forefather of computer art, co-founder of Ars Electronica, mastermind of the Metaverse, and science-fiction writer. He spent his entire career bridging the worlds of art and science.
EXPANDED.ART represents the estate of Herbert W. Franke. 
ABOUT MATH ART
In 1980, Herbert W. Franke began a fifteen-year collaboration with programmer Horst Helbig at the German Aerospace Center. Together, they studied mathematical disciplines in relation to aesthetics. The series MATH ART is the output of their research at the intersection of science and art. It reveals a universe of numbers transformed into images through a variety of shapes and colors reminiscent of Pop Art. 
Throughout his entire life, Herbert W. Franke used mathematical principles for art experimentation. From the very beginning, it was clear to him that it is the artist's mission to examine new technologies and their social significance through the lens of their creative potential. For Herbert W. Franke mathematics are the essence of visual arts. While he saw the artist as an analytical maker using mathematics to create structures, he assigned the computer the task of modulating these principles of order through varying random processes. Franke, therefore, considered the computer as a creative partner for the artist very early on.
The color served to code certain structural elements and was of fundamental importance. The computer system at DLR in Oberpfaffenhofen, which was powerful at the time, had integrated output equipment with which the digitally developed image worlds were transferred directly to high-resolution photo film. On his own DOS PC, Franke created the preparatory work for the captivatingly vivid aesthetics of this mathematical investigation.
In the beginning, there were algebraic formulas for three-dimensional spatial areas: The three dimensions were converted into two-dimensional landscapes, whereby the "contour lines," i.e., the z-axis of the room, were color-coded with specially developed color grids. Starting with algebraic landscapes, the two worked their way through a wide variety of disciplines via wave functions, Fourier transformations, broken dimensions, and logical connections, until they finally visualized complex and irrational numbers as well as random processes and logical connections with their method.
ABOUT EXPANDED.ART's HISTORICAL EDITIONS
EXPANDED.ART’s Historical Editions are artistically influential works by pioneers of digital art from the 20th century. By representing estates, EXPANDED.ART ensures the legacy of both artists and artworks and recontextualizes them for a new audience.

Title

Math Art Fraktal

Relief Math Art Rotation 2

Herbert W. Franke has always envisioned his MATH ART series to be displayed in this way, light and bright and strong colors, Francisco Carolinum in Linz made it possible for the first time for his solo show VISIONARY in 2022. LOGIC and 3D-LANDSCAPES were not part of Franke‘s MATH ART NFT collection released in 2022. No NFT is connected to the Light Box. Payable in ETH. ABOUT HERBERT W. FRANKE Known as a universal genius, Herbert W. Franke (1927-2022) is the forefather of computer art, co-founder of Ars Electronica, mastermind of the Metaverse, and science-fiction writer. He spent his entire career bridging the worlds of art and science.
EXPANDED.ART represents the estate of Herbert W. Franke.  
ABOUT MATH ART
In 1980, Herbert W. Franke began a fifteen-year collaboration with programmer Horst Helbig at the German Aerospace Center. Together, they studied mathematical disciplines in relation to aesthetics. The series MATH ART is the output of their research at the intersection of science and art. It reveals a universe of numbers transformed into images through a variety of shapes and colors reminiscent of Pop Art. 
Throughout his entire life, Herbert W. Franke used mathematical principles for art experimentation. From the very beginning, it was clear to him that it is the artist's mission to examine new technologies and their social significance through the lens of their creative potential. For Herbert W. Franke mathematics are the essence of visual arts. While he saw the artist as an analytical maker using mathematics to create structures, he assigned the computer the task of modulating these principles of order through varying random processes. Franke, therefore, considered the computer as a creative partner for the artist very early on.
The color served to code certain structural elements and was of fundamental importance. The computer system at DLR in Oberpfaffenhofen, which was powerful at the time, had integrated output equipment with which the digitally developed image worlds were transferred directly to high-resolution photo film. On his own DOS PC, Franke created the preparatory work for the captivatingly vivid aesthetics of this mathematical investigation.
In the beginning, there were algebraic formulas for three-dimensional spatial areas: The three dimensions were converted into two-dimensional landscapes, whereby the "contour lines," i.e., the z-axis of the room, were color-coded with specially developed color grids. Starting with algebraic landscapes, the two worked their way through a wide variety of disciplines via wave functions, Fourier transformations, broken dimensions, and logical connections, until they finally visualized complex and irrational numbers as well as random processes and logical connections with their method.

Math Art Logic

DRAKULA stands for Dragon Curves Superimposed (German: Drachenkurven überlagert). The dragon curve is a fractal object. The basic idea was first explored by NASA physicists John Heighway, Bruce Banks, and William Harter and described by Martin Gardner in his 1967 Mathematical Games column in Scientific American. However, the mathematical theory for this was not developed until 1970 by the mathematician Chandler Davis and the computer scientist Donald Knuth.

Dragon curves are created by sequences of left and right turns according to certain rules. The program allows dragon curves of different orders – or sections of them – to be lined up and superimposed. Left and right turns were not only represented in the usual way by right-angled bends but also by mathematically defined elements, such as triangles or curved sections of curves with multiple curves. These elements were designed in such a way that when they are superimposed, clearly recognizable new form elements are created through overlaps and attachments. The superimposition of closed curves in different colors is particularly attractive. The dragon curves were also interesting for Franke as an object of experimental aesthetics and for his studies on information psychology, since here the rare case of an easy possibility of specifying their statistical information (complexity) occurs; this is equal to the number of 0,1 indications used to construct it.

Franke also overlaid dragon curves – mostly mirrored – and not only used straight lines as individual elements but also other shapes, such as semicircles or triangles, as basic elements.

The pictures of DRAKULA were made with a Siemens System 4004. The Fortran program was written by Peter Henne from the Gesellschaft für Datenverarbeitung GMD according to detailed specifications from Franke. The plots were realized by Peter Vordermaier at Siemens AG. A complete printout of the program is available.

Edition

Drakula

CURATED: Herbert W. Franke

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Cute but disproportionate facial features, fluffy fur, and an innocent yet uncanny gaze. 
These vintage toys from the last century feel like fabricated contemporaries. Animal and human features combined merge into an individual creature. The painting PLUSHIE by LEONIE SPECHT invites to explore the relationship between living being and object, reality and simulation. 
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PLUSHIE

ARTISTS

"Our paintings are an interweaving of formal elements, art historical quotations and a lot of irony. We draw on what surrounds us in our own lives and everyday life, pop culture, the Internet or even art and cultural history. Figurative, associative, subjective and also abstract are words that can be used to describe our craft. Key subject in our work is the examination of the German middle class milieu, the associated clichés and insignia of German national culture.” – Albrecht/Wilke

BLÜMCHEN ORANGE

Jiny Lan (b. 1970) is an internationally renowned Chinese concept artist. Her large-format works focus on urban life in the metropolises of this world. Trained in China and living in Germany, the painter combines the artistic traditions of Asia and Europe into her own visual language, with which she describes the various forms of interpersonal interaction from her perspective as a cultural traveller.

PEACEFUL TRANSFER OF POWER

COHERENCE by Ruohan Wang describes the nature of the correlation between waves and their own waves and the coexistence between waves and other waves with respect to some internal physical quantity.
The term "unity of mind and body,"  as coined by the Chinese philosopher Wang Yangming in the Ming Dynasty, is mainly used to describe the unity of the opposition between the mental and physical, the unity of the opposition between the spiritual and the material, and the unity of the opposition between the essence and the phenomena.
<meta charset="utf-8">Everyone is a self-contradictory body; the body and the mind are related, so how to find the entrance and exit to a self-related but contradictory existence is the theme of my artistic life at the moment. Only through a vivid state of life in the way of self-experience in the real existence of the self can we maintain physical and mental performance.

Coherence 01

CURATED: THE CUTE SHOW

HISTORY 

ABOUT

 turns Web3 inside out and expands the notion of a gallery and an online marketplace by being both. The focus is on the history of digital art and on supporting female and non-binary artists. Art is made collectible for everyone by offering NFTs and time-limited and limited editions. As a gallery, EXPANDED.ART, represents yesterday's pioneers and today's avant-garde.

ABOUT EXPANDED.ART

EXPANDED.ART turns Web3 inside out and expands the notion of a gallery and an online marketplace by being both.
