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Async Art is an experimental art movement born out of the question: “What does art look like when it can be programmed?” What if art could evolve over time, react to its owners, or pull data from the outside world? It’s time to find out what’s possible when modern art takes full advantage of the digital medium. Async Art uses open source code to compile and allow purchase of unique, dynamically shifting artwork that will live on the blockchain. The differentiation here from typical cryptoart is that Async.art pieces will have tokenized Layers. The entire art piece, called the Master, can change at any given time at the Layer’s owner’s discretion. 

For the first sale of an Async artwork, 90% goes to the Artist, 10% goes to commission fee. For a secondary sale (all sales made after the first sale) 89% goes to the Seller, 10% goes to the Artist, & 1% goes to commission fee.


Async 4th Auctions Results

Async has released and auctioned another round of ground-breaking programmable art these recent weeks of May.

XCOPY’s second Async work, ”Doom Party”, is another important piece not only because of the COVID reference but because of the interactive possibilities between “Death’s Hand” and the rest of the Participants. The auction for the Master erupted in a three-way bidding war which ultimately was won by MOCA for 26 ETH. With the addition of the 9 Participant Layers as well as the device Layer, total sale of Doom Party was 68.9 ETH, the highest we’ve seen since launch period.

Leading up to his auction, XCOPY polled his Twitter community and asked which participant should be the next victim of his Death hand.

The new owner immediately started playing with “Death’s Hand”, a Layer that forces any of the Participants to change to their death scene, and will remain there until “Death’s Hand” changes to focus on another unlucky Participant. 

In the same weekend, Yura Miron sold his first Async piece The real secret of magic for an impressive 4.5ETH for the Master and 3.83 ETH for the Layers. 

There are at least 20 different states for each Layer, allowing for an endless amount of combinations and possibilities with this psychedelic piece. 

Last but not least, OficinasTK  sold his first Async piece Still Life with Silver Apple - 8.5 ETH for the Master, and 2.2 ETH for the “Black Circle” Layer.

A geometric, reflective Apple sits quietly in the scene as rendered sunlight alters the piece at 7am, 10am, 1pm, 4pm, 7pm and 10pm UTC every single day.  This is one of Async’s most active autonomous pieces yet, with 6 automatic changes every day.



NIFTIES Interviews Mattia Cuttini

Hi Mattia, it’s great to have a chat with one of the first and most active members of the crypto community. You are always ready to introduce and help out beginners in the space, would you like to start by sharing with us how you got into the crypto art scene yourself?

At the end of 2018, hex6c pushed me a lot: basically every now and then he would tell me "tokenize this, tokenize that." I had a small amount of cryptocurrencies and I've used them to tokenize my first pieces on KnownOrigin, and after some days on SuperRare. These are my main platforms right now, they both have done a lot for me so I'm faithful to them. And just because people helped me a ton, I do the same with others, that's simple. Oh, and I've done a collaborative piece on Async.art, right, that too was great.

You also witnessed the evolution of both galleries and community, with the rise of collaborations, bid wars, and VR shows, just to name a few things. How was your experience of that? What do you foresee in the future?

Yeah, you're right. It’s really good to evolve, even with ups and downs. Now I feel that we are still evolving, things are changing at the speed of light. What I can say is that experimentation and new features, like Async.art’s idea of programmable art, for example, will be the real game-changers.

Is there any figure or project in the crypto scene – or beyond – that particularly inspires you right now?

As I said, innovation is important but we also need some kind of "limits." Pixelchain.art, a pixel art tokenization platform of tiny 32x32-pixels canvases, is a good example of this "creative limitation" currently inspiring me. Limits make people do the best they can with a small set of possibilities, and with amazing results. I know that it seems impossible sometimes to have innovation with limitations, but there are a lot of good projects and examples. This reminds me of the simplicity of LEGO bricks and, considering my music background, the OP-1, an innovative synthesizer somewhat limited but also versatile, something you can use in infinite ways.

Your artistic production is usually an interplay between the material and virtual realms, between analog and digital technology. During the lockdown you produced a beautiful paper catalog of some of your generative artwork, can you tell us more about the whole project?

As I've also written in my last digital output, Generated #30 Second Iteration - Animated on SuperRare, these works are the result of the Covid-19 lockdown. Once again, what is interesting about them is how the limitation of possibilities created such a result. I'm working on the second booklet now, that will be in full color, printed somewhere else than home - but I'll try to put some artisanal effort into it too. I think there will be a third booklet, to conclude the series with the last iterations. And maybe something to keep them all together, or some reprints.
Oh, I'm also in the process of printing some of these artworks as silkscreens - you know, this speed-of-light-change thing is true for my production too.

You proved to engage in endless experimentation while creating. Any hints on the future developments of your art practice?

Physical and digital means will clash more and more. I want to create some artworks with NFC tags - with Near Field Communication, the tech behind contactless cards. I'm also designing a physical "glitch machine" that might become an actual installation. Oh, and I've also to restart the "SpoXify Dreams" project - I've 2 pieces on KnownOrigin about this that was temporarily halted by the lockdown. So, stay tuned.
And thank you for the interview, Chiara!

Interview by art editor and curator Chiara Braidotti
Cover photo: image curtesy Irene Beltrame


NIFTIES Interviews Jake Johns

Hi Jake, it’s a pleasure to get an insight into your artistic personality and practice! You are a trained artist and your production is particularly informed by your personal life and travels. Can you start by briefly describing your artistic journey?

Yes, I've had many projects throughout the years. These projects have ranged from explored meaningful application with contemporary art practice and activism in politics, to current trends, to exploring world cultures, and extreme fan art.  


After a decade in Asia, you left China just before the country lockdown without interrupting your work. How was it to portray the experience, did it help you get through it?

Using art as an exploration and learning of Eastern culture, I subjected myself to living in China for a few years in order to teach art and study Chinese culture for a Western audience. I made paintings and wrote about my experience in my book: Available on amazon Kindle. This book aimed bridging connections between the East and the West and unfortunately the book is not available for sale in China.


Related to the current emergency is also your Async release, Masked, where the mask reflects the current status of the virus’ spreading. What are the most significant features of this piece, in your lights?

This piece inspires us to become more aware of the dangers of Communism and how it has affected not only on it's people but the world. This calamity has brought extreme awareness to me from my personal journeys in the East of the horror of Fascism and all of its forms. My hope is to raise awareness of this through art.  



Also judging from your direct experience of this critical moment, when do you think the mask will disappear from Masked?

This is the ultimate goal of the world and will be reflected in the ever-changing nature of the artwork. Imagine if the Mona Lisa could change her expression based on the pollution of the air outside? What an incredible time to be innovative in art, and block-chain technology is allowing this to happen.


Masked* addresses a very urgent issue, but your art is very varied, going from comics to Chinese culture, from oil paint to digital work on the blockchain. Do you have any favorite project or artist that inspires you?

I take inspirations from other dynamic creative activists, such as Ron English who uses his own "Propaganda" in art to showcase and critique this absurdity in our societies.  Although the projects are very different, there is a method to the madness. I like to think of it as anti-communist propaganda.


Was the Chinese reception of your work very different from that in the US? How do these markets differ? And what about the interest in your digital work in Asia?

Writing a book in China was an absolute disaster, I was working with a publisher in Shanghai who had to censor all of my writings in my book, and in the end I wasn't able to publish it because I'm a foreigner, or I didn't know the right people. It's hard to share cultural ideas in that environment.


Any things you miss from your time there? 

The amazing people I met there. I'm now dedicating this first-hand experience of living in a communist controlled state to help spread the awareness of the failure of this government and the people it enslaves, in the hopes of a brighter future. No system is perfect, but we must come together in the world as one to recognize the threat it poses to the free world and human beings.



 Proceedes for first sale with Async to COVID-19 Relief Fund. Owner has dynamic control over color settings on each individual layer. Layers are hidden behind a mask, which will slowly dissappear/reappear as Covid-19 stastics are projected through the John Hopkins Coronavirus Resource Center Statistics are projected in real time.