The Digital Soul Is Closing In!

Next level collaboration and mutating digital artifacts

Join The Sphere’s Launch March 1st

Collecting Live Art, or Circus Art in particular is a bit of a paradox. How can you collect something that only exists at the moment? How can you make it live forever? 

Beyond following Live Artists social media accounts, there are only few ways in which you can actually invest in Live Art. Until now. When you invest in Sphere's Digital Soul, you not only support the work of artists you love; you become part of the artwork itself. 

You become part of a generative network of performing artists who take collaboration to the next level. You collect a mutating digital ARTIFACT. You co-own a piece in a growing network of live performances. “The NFT will transform in your wallet“. You signal generosity, and you receive generosity back. Yet you must detach a little bit from the outcome.

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The Metagallery Launch

MARCH 1st 15:00-17:00 CET 

Program:

15:00 About The Sphere

15:20 Partners presentation

15:40 The Sphere Digital Soul searching

15:55 The Karmic Engine

16:15 The Sphere Metagallery – Behind The Scenes

16:30 Artist Introductions

16:45 Metagallery Presentation

16:55 Short break

17:00 Q&A on voting and wallets

Link at https://thesphere.as will appear March 1st.

If you want to get info as early as possible. Join our Discord.

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On performative contracts with Lene Vollhardt

This Wednesday evening at 7pm CET you can join The Sphere core member, choreographer and artist Lene Vollhardt.

Meeting link is posted in Discord (#anarchiving-process)

“Contemporary Art, which is called that way due to the institutional context of the museum which legitimizes its status, is obsessed with where the Art “sits” within the work. This demarkation constitutes its entry into the world of circulating commodities, which the museum is intricately entangled with.

I am inviting you to think together with me through examples of "Performance Artists" who have worked along those perforation lines of art and assetization by utilizing the institutional frameworks of the museum to create both invisible as well as visible contracts.

We will be looking at contemporary artist Tino Sehgal, a choreographer, whose background in economics has informed the premises of the production of a dematerialized product, that is - scripted situations - of which no trace is found afterwards.

We will also look into Yves Klein’s “The Specialization of Sensibility in the Raw Material State of Stabilized Sensibility” as well as “Ritual Rules for the Transfer of Zones of Immaterial Pictorial Sensibility” and how they might relate to a current shift towards collecting sensibilities (one of the Sphere's propositions).

Why did both Tino Sehgal and Yves Klein prevent documentation from functioning as a kind of surrogate of their work? While the Visitor is given responsibility to shape and even contribute to the realisation of the piece, viewers are co-constituting the form taken by the category of commodity.

Let's use this session to talk about cases of unstable forms of notation, of a messy cosmos of clues, of faulty methodologies, and how in spite of those, or perhaps even precisely because of those, the artists’ authorship remains intact.

We will, if time allows, also touch upon performativity as as a kind of magic ingredient that lends every artwork its power to reveal and shape the condition of their circumstances.”

, Lene Vollhardt

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Thanks for reading. See you next week. Don’t forget to share this post intensely.

Love,
The Sphere