Regina Harsanyi
@ReginaHarsanyi
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The cheerleader for time-based art @MovingImageNYC
Joined February 2021
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Pinned Tweet
I mean, I technically knew about BTC before 2016, so I must have been referring to Ethereum but isn't this kind of adorable?
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Let’s try this again: The engineers working on the Ethereum roadmap appear to not care about on-chain data interaction for art. On chain data will no longer be validated using Ethereum after the purge phase if older than a year unless there is a revolt.
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It often irks me to see threads like "I'm curating a show on surrealism, recommend me surrealist artists". If you need to rely on others' labor in this particularly lazy way, then perhaps you shouldn't be the one organizing the exhibition, writing that book, etc. 1/3
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Physical is not the opposite of digital. I’ve said this a million times, I lecture on it tirelessly, yet I’m still surrounded by the false dichotomy. Why?
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IPFS is slow because you are not helping to pin others' files. You're not volunteering to be a node. It would not be slow if we were all upholding the protocol. What do you think decentralizing the web means? The more computers storing the same file the faster the download.
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Happy to share with you all!
Not only is this about digital materialism but a celebration of web-enabled proximity.
@auriea
's work consistently reflects the paradoxical power of computers to enable intimacy while interfering with corporeal contact and occupation of shared space
Save the date: In January 2024, MoMI will present the first major survey of
@auriea
Harvey. Featuring more than 40 works spanning nearly 40 years, the show will include groundbreaking net-based interactives, video games, and augmented reality sculptures.
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Convince me that this is not the digital dark age. Do you really think any of your digital footprint will remain in 300 years?
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I'm excited to announce our next media wall installation at
@MovingImageNYC
:
Including our own recent acquisition, we'll be displaying
@lovidlovid
's TIDE PREDICTOR from the collection of
@FLAMINGODAO
,
@0xSimonSays
, and
@punk6529
.
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Artwork that utilizes emerging technologies, or any technology for that matter, can be just as compelling without the need for repetitive use of the word or excessive focus on "technology" in the didactics unless it's historically or conceptually imperative.
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From today until the end of Jan, visitors who enter our elevator at
@MovingImageNYC
for REFRESHING THE LOOP can experience a selection of GIFs exchanged between
@petcortright
and
@jjjjjjjjjjohn
on historically accurate computers, including a 2007 Sony VAIO and a 2008 iMac!
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I don't believe in minting artworks from artists posthumously and SEO on Stratus is nonexistent, so this will be a fun one:
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As I help a museum set up a digital forensics workstation and ingest still image, video and GIF files for acquisition I just want the general population to understand that there is so much one can do with media art that has nothing to do with blockchain.
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Make no mistake that there are still collectors, gallerists, museum workers, and general public in 2023 that do not consider media art fine art no matter what collection it's in or how it's contextualized.
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Every time we create exhibitions or events that solely highlight women we are only further contributing to gender divide. Femme artists need to be seen on equal footing as masc at the minimum and uncoupling them only continues to hinder actual reverence, enabling marginalization.
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I'm wary of those who do not acknowledge the history that precedes them. If you're confident in a contemporaneous movement or your own work, you don't have to pretend it's novel. Without acknowledging over half a century of media arts, you are asking to be forgotten.
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In 1992, Museum of the Moving Image (MoMI) was one of the first museums to appoint a curator of media arts. In fact, the title was “Curator of Digital Media" which, to my knowledge, was never given as an institutional title beforehand.
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I normally refuse to speak up about the monetary value of work but I have nothing personally to gain here: Sotheby’s is dramatically undervaluing MOTHERSHIP. It’s one of the first works ever registered to a blockchain in 2013, period. We even still know the hash.
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My interest in blockchain almost solely comes down to the fact there are a niche group of artists experimenting with it as a behavioral or conceptual aspect of their work and therefore narritivizing and understanding its technical infrastructure is crucial for art history.
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The good news is that the roadmap is estimated to take six years, so I imagine we have a few years to help the Ethereum Foundation understand why an on-chain solution for historical data validation is desirable. It’s achievable.
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This year is going to be crazy. My birthday is in two days. I go back to Rome in less than a week. So much still to do for the biggest survey exhibition I’ve ever curated in my life. The show opens to the public in a New York museum on Feb 2nd. I’m already booked to go to the
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Since 2017 I’ve been helping Museum of the Moving Image better understand how to steward complex born-digital art and artifacts as a conservator. As of this month I will be joining the institution as their Associate Curator of Media Arts.
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If I wasn’t running to a dinner I’d be hosting an impromptu Twitter space about recent LACMA and Pompidou acquisitions of media art that have nothing to do with blockchain. Anyone care about those? What is it that you care about exactly?
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In art, creating the texture of paper in code isn't all that different than creating virtual, architectural spaces that surrender to the laws of offline physics. Unless there is conceptual, reasoned intent it's a fundamentally uncreative use of the medium.
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Thank you to
@OnassisUSA
ONX,
@rhizome
,
@artblocks_io
,
@MovingImageNYC
and everyone who braved the weather today to attend a full day of events with
@auriea
and
@lovidlovid
!
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I'm beyond thrilled to announce that we'll be celebrating
@lovidlovid
and our TIDE PREDICTOR installation with the help of
@artblocks_io
!
@auriea
will also be present, with additional galleries open after hours. See you there! ✨
MoMI is pleased to announce that we’ll be hosting
@artblocks_io
’s exclusive anchor event on Apr 3 during , celebrating the work of
@lovidlovid
. RSVP here:
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The Harold Cohen exhibition made me so happy at
@whitneymuseum
. I also spent a good twenty minutes talking to visitors outside about CENTO, encouraging them to scan the QR code 😆. One couple said “we really want to take more time to learn about media arts.” ❤️
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I'm on a video synthesis kick. Have you ever wanted to control live analog video feedback and audio effects through an arcade cabinet? Starting tomorrow, opposite
@lovidlovid
's TIDE PREDICTOR,
@MovingImageNYC
will be showcasing Allen Riley's VIDEOFREAK:
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Reminder: Just because a programming language is an essential aspect of the artwork doesn't mean the work is generative.
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If you're interested in art history you should also have an interest in file integrity unless history to you is just about looking back and not about looking forward.
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MoMI has celebrated GIFs in our elevator since 2017. I'm happy to announce the newest iteration of this tradition.
REFRESHING THE LOOP, a new series of animated-GIF installations in our elevator, opens Apr 21 with work by
@FrancoiseGamma
+
@p1xelfool
, followed by pairings of
@PasticheLumumba
+
@katecursed
,
@petcortright
+
@jjjjjjjjjjohn
. Organized by
@ReginaHarsanyi
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For me, it's really difficult to just talk about 2-3
@mollysoda
works instead of talking about the importance of her practice for more than a decade now. I first came across Molly's Tumblr in probably 2010. I was just starting my undergraduate degree in art history.
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I couldn't resist reducing cryptomarket figures to putti-esque
@finiliar
, a series first conceived six years ago by artist
@EddFornieles
. They not only inspire "cute aggression," as psychologists like to call it, but the OpenSea page is essentially an orphanage.
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@funghibull
You might want to create a correction tweet. She's showing in the Carrousel du Louvre, which is a mall and has nothing to do with the Louvre. It's a Superchief rental.
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When you tell me to touch grass do you mean grass.js or GRAphics Symbiosis System?
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Most people wouldn’t even notice because they forget that Etherscan is a centralized GUI. As long as they’d continue to see the data on Etherscan, Opensea, etc. they wouldn’t realize it’s no longer a valid ledger entry on the actual blockchain.
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Museums need not forget they are civil services and that curators, among all museum employees, are civil servants. I’m only interested in working with people who believe in serving artists.
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The only things I ask of arts workers are that they're thoughtful, well-researched, respect the genealogy of materials, involve the artist and their collaborators, and do not try to reinvent the wheel as if in a vacuum devoid of history. We can disagree on almost anything else.
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Did Chris Michaels even come to the exhibition before writing this? There are three entire rooms dedicated to Auriea’s net-based artwork between 1995-2006, lovingly conserved by Rhizome, Auriea, Michael Samyn, and myself. It’s a 4,000 sqft show!
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Even though our next installment of REFRESHING THE LOOP technically doesn't open until tomorrow, you can get a sneak peek today if you're visiting
@MovingImageNYC
, featuring work by
@PasticheLumumba
and
@katecursed
!
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Picture a world where museums fork, maintain, and/or emulate obsolete blockchains for the purpose of preserving artworks with on-chain components.
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If you don’t trust scholars, curators and gallerists, why would you trust centralized marketplaces that don’t have any background in logistics for born-digital and digitized art?
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They say that if you want to see past ledger entries, which were supposedly “immutable” a third party storage protocol like IPFS or Arweave would store it, knowing that they do not have the same security affordances as an actual blockchain for validation.
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While some art collectors may be wolves in sheep's clothing, I take solace in knowing that their deceit does not need to sway art history in the long run. I have to believe that work created with sincerity by percipient artists can prevail without their seal of approval.
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Before you start downloading the visual and/or sonic assets that are associated with your NFT just remember that you don’t own or have any ownership rights to them. You can’t even resell them without the NFT. You’re basically just doing the public good of object redundancy.
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Please read paying extra attention to the “Backwards Compatibility” section.
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Arguably, the desire to register art to the blockchain inspired the very creation of Ethereum. Let me explain.
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Curation is never just responding to the moment, reminding us of the past, or simply looking to the future—it illustrates the interrelationship between all three. If not, perhaps it's not curation at all.
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or the fact that there are artists who chose to include components of their artwork in smart contracts, and for it perform on-chain for reasons that don’t translate to transferring their data to other protocols.
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Want to learn all about the emulation process for
@auriea
's work and join an artist-led tour?
Come to
@OnassisUSA
ONX to learn how we revived works for the show and the launch of
@rhizome
's ArtBase Anthologies before heading to
@MovingImageNYC
. RSVP:
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Thank you to
@outland_art
and
@RefractionDAO
for this conversation on curation and exhibition design of media art with
@CraigmBarrow
!
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I had the chance to make a 20-minute crash course on blockchain art history. Who did I include?
Punycodes, Dan Kaminsky, Jonathan Monaghan Harm van den Dorpel, Constant Dullaart, Rhea Myers, Simon Denny, Daniel Temkin, Kevin Abosch, Kevin McCoy, Sarah Mehoyas, Nili Lerner,
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"As an AI language model, I don't have personal preferences or desires, so I wouldn't "come" to your exhibition even if I had a body. However, I can understand the appeal of the exhibition and appreciate the efforts you put into curating it." Oh. Okay.
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Considering material preservation, including digital art and artifacts, if you’re someone who likes using the term “forever” what does it mean to you? When is it satisfactory for “forever” to end—human extinction, the death of the Sun, or maybe the Big Crunch? 😏
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To be clear, in these instances the institutions aren't asking me to be on their committee or compensated--they're just asking for recommendations because they know I've already done the research for them. 3/3
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"You can resist digital work by saying it has no intellectual excitement, or you can do the work of understanding its intellectual contribution" - Johanna Drucker
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I said this a long time ago but collectors should be pinning and ensuring remote pinning, the onus shouldn’t just be on the artist. If you buy artwork, think of yourself as a custodian of that work. Maintaining born-digital and digitized work isn’t free of cost.
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See img: I’m genuinely curious, especially as someone who saw art museums receive countless emails from blockchain-related platforms that confused the concept of a commercial art gallery and a non-profit public or private collecting institution. Feral File was never confused.
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"It’s important that Ethereum historical data are preserved and seeded by independent organizations, and their availability should be checked frequently. We consider these mechanisms as out-of-scope for this proposal.” HAH
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The Artsy screens around the city are so silly to me. Why scan through high resolution stills of paintings instead of spotlighting video or software based art that’s appropriate for the dimensions?
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Future art historians will definitely be gushing over
@artblocks_io
in a genuine manner more than most of these platforms, communities, etc. I just know I’ll be reading some earnest art history dept dissertation on them in 20yrs, the same way I gushed over EAT or Julian Levy.
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Thank you to ArtNews and Francesca Aton's thoughtful article on the exhibition!
"Auriea Harvey Has Been Breaking the Internet for Three Decades"
For
@artnews
, Francesca Aton spoke with
@auriea
,
@ReginaHarsanyi
, and
@rhizome
about our current exhibition
#aurieamomi
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Anyone ever read artist proposals and cry because they're just so special and at least you know you're living your life in alignment with your values despite so many other imperfect factors in this tiny universe?
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But what's somewhat shocking to me is that well respected institutions do this too. I've had at least three institutions reach out to me in the last six months asking for me to recommend artists for their grant or fellowship program. 2/3
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If you're going to be in town for NFT NYC please let me know if you're planning to see the Auriea Harvey exhibition...starting to plan some events with other cool partners!
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If you're not asking media art conservators how to acquire software-based artworks (including blockchain related work), or where the pain points are in such acquisition, then who are you asking? Why would you waste your time asking fish how to climb trees?
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I’m teaching a three-hour introduction to Dweb course today for
@GrayAreaorg
and we won’t even mention blockchain until the last 30-minutes. If that’s confusing to you, you probably should have signed up.
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Don’t just tell artists how you’re going to display their work and then ask them to export files based on that display. First understand if an artist intended for their work to be exported and displayed in a particular configuration.
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If you’re in Miami, there’s a must-see group of media artists exhibiting at PAMM, all of which have been nurtured by
@KelaniNichole
and
@habitual_truant
throughout the last decade:
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REFRESHING THE LOOP opens today in our passenger elevator at
@MovingImageNYC
!
Click the link to watch a conversation between
@FrancoiseGamma
and
@p1xelfool
, where they talk about each other's work and their relationship to GIFs.
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I'm happy to announce
@EvaDavidovaNY
's GLOBAL MODE > will be the first lobby wall takeover I've organized at Museum of the Moving Image in partnership with
@OnassisUSA
ONX Studio. This iteration will be on view October 20th 2023-February 11th 2024.
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"Historical data can be packaged and shared via torrent magnet links or over networks like IPFS. Clients that wish to continue providing archive support would need the ability to import historical blocks retrieved out-of-band and retain support for each historical upgrade.”
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Did you know that some of the works in Lady PheOnix’s Christie’s auction, ‘Proof of Sovereignty’ actually come with collector guides, short artist questionnaires, uncompressed and/or lossless files, legally enforceable contracts, and plain txt READMEs?
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We are currently accessioning three 4-channel GIF installations into the permanent collection including work by
@mollysoda
and
@rafiaswrld
too! Each will be highlighted as a Collection Spotlight on the museum website early next year. I’ll remind everyone when the time comes ❤️.
Yellowwhirlaway (2017) ed 1/2 is now in the permanent collection of the Museum of the Moving Image. Thank you
@ReginaHarsanyi
for helping to facilitate this.
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Let's play a game: Look at the smart contract associated with your NFT without opening any external URLs. How much does that smart contract or associated non-fungible token tell you about the artwork or the artist?
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Token Art continues to be the very best event related to blockchain. Its construction fosters such special, thought provoking conversation and brings together so many great people who genuinely care about media art.
There's no question that Token Art NYC was the highlight of the week. I'm already looking forward to next year.
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I was showing a client how to access metadata via the token URI today. I picked a completely random work by an artist I knew and was so impressed to see that they included detailed display instructions and copyright language on their own 🥲.
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Fracturing myself across three or more platforms that have nearly the same utility is not only draining, but it's almost as equally nonsensical as having the inclination to submit bite-sized text to vie for attention in the first place.
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If you identify with the 13% we should be friends.
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I’m really thrilled for what’s to come and can’t wait to place artists in all stages of their career into new museological contexts within the lineage and mission of .
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If you’re an Auriea Harvey collector and follow me but I did not get in touch with you yesterday, you’re going to want to DM me today!
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On the Topic of Museums Commodifying Works of Art:
1. Conflict of interest: Museum curators engaging in the sale of artwork may compromise their impartiality and raise questions about the integrity of their professional judgment.
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There’s less than 48 hours until I can finally tell the world about a thing that has been eating away at my brain for over two years. After that I probably won’t shut up about it for two months 😅
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If you think that software-based work is materially simpler than tangible art and don't even know the difference between a container and codec you're probably hanging out with the wrong circle.
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If you want to know about technical problematics of exhibiting in virtual space, 20+ yr old examples of social, virtual exhibition, what “curation” *actually* means in a museological context that gets overlooked, and those who’ve been creating thoughtful exhibitions for years…
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Next time someone asks if I'm an artist, I'll tell them I have the drawing skills of Ingmar Bergman.
The below sketch was created during the production of PERSONA in 1965.
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Get ready to save the entire date of April 3rd on your calendar 😉…more coming next week!
If you're going to be in town for NFT NYC please let me know if you're planning to see the Auriea Harvey exhibition...starting to plan some events with other cool partners!
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If you're in the Bay Area and not going, you better have a good excuse!
Friends, the fruits of a year of fervent research are coming to bear ~
DIFFERENCE MACHINES: Technology & Identity in Contemporary Art
Opens FRIDAY
@GrayAreaorg
! The conversations started by the works in this show are so important, I really hope you'll join us.
Wanna come? 👇
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“Should we look at digital, computer-generated artwork in the same way we evaluate performative happenings?” Of course we should, or at least this is what I’ve been saying/teaching as long as I’ve been interested in variable media. I wish I had the time to write this myself 😆.
Appreciating the Performative Quality of Computer Generated Art
#filippolorenzin
#georgnees
#friedernake
#manfredmohr
#veramolnar
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Finally, after over a year of contemplation and bringing artists together via virtual studio visits, plus re-thinking how
@FeralFile
can accommodate greater complexities than initially conceived, On Screen Presence is going live!
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When the NFTs are orphaned due to broken links, it won’t be the token that retains value. If the collector downloads the artwork (especially archival files) and maintains it, born-digital and digitized art will hold an economic value in the market on its own.
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Just like your parents collected thimbles or souvenir tea spoons from around the world, I want a storeroom of various, ornately designed flash drives with irretrievable digital assets.
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I can assure you that ICOM-defined museums are not thinking about what the artwork they acquire will be worth on the secondary market in the future. No museum acquires artwork with the intent to one day deaccession. Museums don't acquire work as a financial investment...
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Some of you may know that I started working primarily from home a few months before lockdown in March 2020 because of a new diagnosis that was not yet being treated properly. I was traumatized and depressed for plenty of reasons but inaccessibility to art in-person didn’t help.
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Unique works will be created during each performance by
@_deafbeef
@mollysoda
@golan
@WienaLin
and
@Every_Icon
(John F Simon Jr) ❤️
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"After this proposal is implemented, certain JSON-RPC endpoints (e.g. like getBlockByHash) won’t be able to tell whether a given hash is invalid or just too old.”
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Thank you to
@Gizmodo
for featuring
@MovingImageNYC
‘s REFRESHING THE LOOP! See
@PasticheLumumba
and
@katecursed
speak about their work and the exhibition:
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@jerrysaltz
Oh look, Jerry is trying to be me. Also, there's no such thing as "the blockchain" but there are blockchains.
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Thank you WAC for doing a great job on this summary, explaining why most institutions need to take a step back, assess their internal resources, and fill knowledge gaps before letting their boards dictate trend adoption:
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How to navigate the art world without becoming a diplomat/politician:
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