Lenses on Glitch, Part 2
Three artists share the perspectives that have shaped their work with glitch.
Outland is a new platform dedicated to fostering critical conversations around emerging digital technologies and their connections to contemporary art.
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Commentary | 29/11/2023
Three artists share the perspectives that have shaped their work with glitch.
News | 22/11/2023
Inspired by his research in theoretical physics, Eric De Giuli makes dynamic digital works that evoke nature’s emergent properties.
Commentary | 17/11/2023
The prototypes of the CripTech Metaverse Lab suggest that virtual worlds can appeal to users by offering multiple ways of being online.
Collections | 14/11/2023
Curator Franziska Kunze discusses an ambitious survey of glitch practices, spanning from early photography to net art
Criticism | 9/11/2023
The Museum of Modern Art’s Postcard project is a collaborative art-making game that upends the commercial expectations of NFTs.
Conversations | 7/11/2023
The artists discuss their attraction to live coding, which becomes a means of bringing processes to the surface and pushing their limits
Commentary | 1/11/2023
The hacker folk art of esoteric programming languages yields insights into glitch as a practice that hijacks existing algorithms to emphasize plurality and freedom.
Commentary | 26/10/2023
Prompt-based image generators seem unhackable. But a committed glitch artist can still instigate interventions.
Commentary | 24/10/2023
Four artists share the tools and approaches they have developed for working with glitch.
Conversations | 19/10/2023
The two glitch practitioners compare notes about their creative journeys and communities, both online and offline.
News | 17/10/2023
Guest editor Rosa Menkman introduces a special issue on the artistic practice of glitch.
Collections | 10/10/2023
Curators Benoit Palop and Vienna Kim discuss the nostalgia and social signaling that drive the impulse to collect.
Criticism | 6/10/2023
Simulated brushstrokes have long appeared in digital art. But generative art's expressivity is less about imitating painterly gestures than devising a system to produce them.
Commentary | 3/10/2023
How can the generative art community foster innovation and creativity, and a better ecosystem?
Commentary | 28/9/2023
Increasingly, painters are using digital tools and computer-generated images to capture the tone and texture of reality.
Criticism | 26/9/2023
Jonathan Chomko’s pixel-based water simulator critiques the fetishes of randomization and realism in generative art.
Conversations | 20/9/2023
Duane King of Highlight and Paul Schmidt of fxhash reflect on the evolving field of code-based art the platforms supporting it.
Collections | 14/9/2023
Founded by Czech entrepreneur Karel Komárek, the Basel-based collection has an explicit focus on digital and new media art.
Criticism | 12/9/2023
Generations of artists have experimented with automated handwriting, illustrating the ongoing entanglement of humans and machines.
Criticism | 7/9/2023
The significance of contemporary generative art hinges on how it brings disparate kinds of similarity and difference into unreconciled—and productive—tension.
Guest Editor
The tools of web3 tools offer some exciting possibilities for art organizations. But it’s still crucial to build human networks around them.
Commentary | 25/5/2023
How is the web3 principle of decentralization changing the way art is funded, produced, collected, and displayed?
News | 12/4/2023
Outland’s new guest editor Refraction DAO is creating alternative models for organizing and funding an international network of exhibitions and events.
Conversations | 26/4/2023
The community structures of Friends with Benefits and Refraction DAO are informed by web3 tools, but not determined by them.