ART MARKET Curated Program

The contemporary artistic field unfolds within a perceptual regime shaped by infrastructures rather than institutions, by circulation rather than location, by continuity of signals rather than permanence of objects. Art today exists inside systems that modulate attention, memory, and visibility long before meaning takes form. In this environment, artistic practice does not confront technology as an external tool, but inhabits it as a condition that structures how work is encountered, revisited, and sustained over time. The digital operates here as a supportive ecology, a field that carries, extends, and amplifies artistic presence rather than replacing the singularity of individual practice.

For many contemporary artists, sustaining attention around a body of work has become an increasingly delicate condition. Digital practices circulate within accelerated systems where images operate as events, briefly emerging before yielding to what follows. Algorithms privilege immediacy, feeds reward repetition, and works unfolding through duration often dissipate before their internal logic can fully register.

From its inception, Fakewhale has addressed this condition directly.
Its curatorial orientation has remained consistent over time: to construct a digital environment in which contemporary artistic practices remain present without being compressed into explanatory narratives or stabilized through predetermined readings.

The focus remains structural. The aim lies in sustaining the conditions under which works circulate with integrity, allowing experimentation, tension, and interpretive openness to persist across time rather than collapse into momentary visibility.

Within the Tezos ecosystem, Fakewhale has continued to engage practices developing through accumulation, relation, and duration. Curatorship operates here as orientation. It provides points of entry for collectors while preserving the work as an active field, capable of returning, shifting, and sustaining attention beyond a single encounter. Presence becomes a temporal condition rather than a singular event.

It is from this position that, in April 2025, ART MARKET introduced the Curated Program. Conceived as a sequence rather than as isolated releases, the program offers artists the possibility to unfold projects across multiple works. Internal coherence develops through continuity, while each project remains available for re encounter and return. Continuity enters the experience itself, shaping how works are perceived, revisited, and understood over time.

What follows revisits this first year as a composed arc. A movement across media, sensibilities, and modes of digital practice, held together by a shared proposition: a positioned curatorial structure that remains open and becomes active through the artists who engage it.

The Curated Program opens with practices that approach artificial intelligence as a condition of image making rather than as stylistic effect. Works by Goo Vision and Sway Molina establish a shared ground where authorship remains central and the image resists fixation. In Goo Vision’s evolving visual systems, artificial intelligence operates as terrain. Forms destabilize, regenerate, and mutate, producing synthetic ecologies in continuous formation. In Sway Molina’s performative sequences, emotion unfolds through gesture, costume, and ritual tension. The body functions as a volatile interface, carrying affect through movement and staged presence. These initial releases articulate the program’s orientation through multiplicity and coexistence.

As the sequence expands, the field opens across distinct modes of production while maintaining internal coherence. Aria Pd Samarin translates emotional states into code based environments where waveform logic becomes spatial pressure and interaction carries mood. Aysan Faeghi filters archival dance through monoprint logic, allowing historical gesture to return as cyclical trace and fragile imprint. Von Doyle constructs a dense mythological register where classical iconography dissolves into recursive hallucination, treating neural training as a site of excess, distortion, and symbolic saturation. Robinson St. George stages suburban memory as atmosphere, rendering landscapes shaped by heat, smoke, and stillness, as if recalled by a system trained on loss.

Material tension enters the image through practices that retain presence within unstable carriers. Ilya Bliznets approaches digital figuration as a site of friction, merging AI generated imagery with manual intervention until surfaces preserve hesitation and resistance. ML compresses horizons into temporal residue, where memory appears delayed and condensed, suspended between seascape and texture. ranxdeer allows light to function as both subject and structure, forming abstracted environments where presence hovers without resolution.

The program then turns toward seriality and affect. With humdrum, memory becomes structure. How is a promise inherited? unfolds as a complete group shaped through archival intervention and relational residue, inviting sustained engagement with transmission and repetition. Yuri constructs narrative momentum through compositional disruption, layering textures into scenes where motion punctuates the image. Mime activates collage as performative surface, cutting and reassembling found material into theatrical compositions where identity fractures and reforms through rhythm and gesture.

This movement intensifies with Henrique Cartaxo, whose works engage instruction as a cultural form under strain. Degraded archives and an artificial voice transform guidance into performance, allowing the body to persist through glitch, repetition, and discomfort.

From this point, the Curated Program deepens its dialogue between physical gesture and technological image. Il’ya Zhura treats AI figures as raw material, pushing system output through distortion, scanning, and cut until computation acquires tactile surface. Element Lee constructs drawing networks where each work operates as node and fragment, extending the cave as archetype into digital architecture. DV_ghost collapses nostalgia into signal instability, working with MiniDV, datamosh, and GIF logic as contemporary residue, where compression and memory share the same unstable temporal field.

As the year consolidates, the program foregrounds practices grounded in sedimentation, balance, and system building. Marine Bléhaut develops filmic and photographic archives through the hybridization of original footage and synthetic memory, constructing environments where identity migrates across rooms, faces, and temporal layers. Cinema and artificial intelligence function as emotional montage, transforming the archive into an open narrative space.
SeeThrough operates at an intimate scale, treating the single image as a unit of unstable memory. Digital surfaces become sensitive fields where erosion unfolds as process and perception oscillates between recognition and loss.
With Zeliang Zhou, repetition and minimal geometry articulate an inquiry into duration and waiting. Cyclical visual systems convert delay, loading, and suspension into perceptual experience, allowing stillness to function as active presence.

Vidal Herrera, CCDDBB, and Zlaser extend this inquiry through abstraction, system thinking, and memory. Vidal Herrera employs the body and digital automatism as intuitive excavation tools, producing dense images that operate as emotional fossils. CCDDBB translates code into disciplined visual architectures where line, rhythm, and algorithm negotiate balance and instability. Zlaser reconfigures photography and digital imagery as devices of emotional retention, allowing erosion to function as endurance.

The sequence closes with practices that interrogate ritual, space, and transmission. nubplus constructs generative relics where symmetry operates as ritual gesture and code becomes breathing geometry. Andrea Balestrero transforms architecture into mental geography, allowing rooms and voids to act as extensions of thought. Aempatia stages emotional transmission as visual structure, circulating care, lineage, and memory through relational images. MACBETH develops atmospheric desert rituals through video, repetition, and compositional restraint, where erosion shapes time and return. humdrum returns with ritual – 02, extending archival practice into a full series that treats repetition as method, scanning as gesture, and affect as visual matter, consolidating an inquiry into memory, performance, and cultural transmission.

This first year of the ART MARKET Curated Program establishes a positioned curatorial structure spanning image based practices, generative systems, performance driven video, code oriented research, archival processes, and hybrid visual forms. The program remains open by design, activated through experimentation and individual trajectories.

Fakewhale continues to develop new curatorial and structural directions extending this line of operation into 2026. At the center of this ongoing work remains a sustained focus on the visibility of artistic voices and on the conditions that allow works to circulate with presence, continuity, and depth across time.

Discover a selection of works from the ART MARKET Curated Program currently available on objkt ↓