Feral File  Chain Reaction

Jennifer and Kevin McCoys Public View / Private View opens up the artistic process of creation  usually driven by artists concepts and aesthetic choices  to a community of donors and art supporters connected to the McCoys. Collectors receive an animated composite of a series of images that are based on pictures submitted to the McCoys by a group of donors of the artists work who thereby participated in the NFTs creation process. Public View / Private View is based on the McCoys 2018 project Public Key / Private Key for which they produced a short 16mm film, donated it to the Whitney Museums Special Collection, then issued 50 Ethereum ERC-721 tokens to represent the right to be named as one of the donors of record for the film and selected 50 donors from an open call for applications. The tokens were allowed to freely circulate for a period of six months. For Public View / Private View, the McCoys asked these 50 donors of record to submit an image personally meaningful to them and created a coded interpretation of it. The interpretations of the donors 50 images were then combined into the animation that collectors can purchase as NFT. The 50 donors receive an ink-on-paper version of the image. While Public Key / Private Key made the donation process accessible to a wider public, Public View / Private View involves the donors in the creation process itself. Using the blockchain as authentication and distribution mechanism, the two projects form a creative chain that not only binds the artists as makers to an expanding community of interested supporters, but makes the nodes along the way a formal part of the work itself. In Public View / Private View the blockchain anchors the creation, distribution, and archiving process of the artwork.

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Sara Ludys Synchronicities plays with the idea of a collective psychic and visual space, and explores the aesthetics and materials of ephemerality. Collectors are invited to pick from a list of 100 time codes to mint an NFT corresponding to a clip from a 24-hour video shot by the artist, without having seen the video clip itself. The act of collecting, usually tied to an aesthetic choice, is thereby linked to a moment that intuitively resonates with collectors from afar, becoming a remote viewing exercise. As the time codes are minted, the matching video clips are positioned chronologically on a 4x6 grid corresponding to the 24 hours of the video, forming a structure resembling a multi-dimensional cube and viewable on a website. Collecting and minting the video clips thereby becomes a process of collectively revealing the unseen. The full-length video recorded by the artist over the course of 24 hours is a still-life scene subtly changing over time and involving appearing and disappearing ephemera in a cube-like environment. In Ludys project, synchronicity emerges on various levels: as an alignment of ephemeral objects over the time frame of a day and of transient moments imagined by collectors, as well as a temporal and visual space collectively constructed by a group of collectors.

[Please check the <a href="https://synchroniciti.es" target="_blank" class="link">synchroniciti.es</a> website for seeing the film evolve.]  

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