FellowshipAI

✨ Fellowship Presents: 📌 Daily Program | February Edition 📅 Launching on Tuesday, February 10th We’re sharing the first Daily Program edition of the year, an ongoing space for artistic experimentation around AI video, and a way to stay close to a medium that keeps changing in real time. AI video is still an unstable genre. The tools evolve quickly, and each new release can shift what motion, continuity, storytelling, aesthetic explorations, and time do inside a set of moving images. But that instability is also what makes the work exciting, inviting risk, iteration, and the invention of new visual grammars. This edition brings together 29 artists working across different approaches and model families, from text-to-video to image-to-video workflows. The works offer a snapshot of a field in motion, showing what artists are trying now, what breaks, and what becomes possible when the tools shift. For us, the Daily Program is also a living archive that moves at the tempo of the medium, tracking how artists adapt, question, and reinvent these systems as they evolve. ↓ See the full lineup of this month’s edition

Let’s do this 🔥

↓🔗 Now live at the link below! daily.xyz/artwork/noper-…

New work by @bagdelete. → “If Time Just Stopped” part of “Walking At Night,” a series exploring the nostalgic imagery of teenage midnight walks.

#23 from the "Hunting" collection by @loved_orleer → Now available

Digital Art, NFTs, and What Comes Next - Written by curator, @gallegosfer ☕️ It’s interesting to see critics, galleries, institutions, and audiences and general “discovering” digital art just now, some of them the same people that rejected a revolution that was not invented but widely impulsed by those initial art-nft era of the early 20’s. Now you see in major museums and galleries exhibitions featuring digital art in the form of visuals, interactive pieces and even sculptures powered by algorithms. In that sense, digital art doesn’t seem to be taking the road some used to think. Digital art is not limited to visuals in the screen of a computer, it is understood now as a new tool in the artist’s tool-set. You can use a brush or you can use a computer to achieve the form to your concept, and as we keep diving into the digital age our concepts will need digital tools more and more. We know that every now and then a new thing becomes a trend, when it is really useful it ends up getting completely integrated into our lives, digital tools are in the process of being integrated right now and I expect the same thing happening with NFTs as a whole. There was a time in which we thought that NFTs had finally arrived, and that digital art finally had a simple, useful way of proving ownership, and it did happened, but that doesn’t necessarily mean that the world needed it just yet, although it isn't difficult to see a near future in which the world will need it. As digital art becomes fully integrated into our lives and the artworld it will become even more obvious that we need a way of registering ownership of otherwise infinitely reproducible pieces of art, but first we need undeniable evidence that digital art is what’s “happening” right now and an interesting question arrives in terms of what we think digital art is: if you see a robot that acts in certain ways, powered by a computer program or even with an integrated AI, what’s the piece of art? Is it the physical shape or the program that moves it? or is it both? There’s many things to define and sometimes I worry we don’t think about them enough before jumping blindly into the new trend and dismissing it entirely as soon as it is not the “new exciting thing” anymore. If we have a task as a community that is at the center of this so called “intersection between art and technology”, then it is that of thinking hard about what these elusive, shapeless, seemingly ephemeral things actually are, we need to define them in order to push them out into the world, and as artists, thinkers and in may ways pioneers of these new age of digital art there’s not a more important role to fulfill for us. "Cloud Drive" by @peteburkeet

@GrantYun2 gm

gm!

@quasimondo @hofagallery congratulations Mario🔥

🏆🏆🏆 Thank you @hofagallery, Phillips Auction and all the jurors!

gm! "tornado alley" by @loved_orleer for the Daily Program

↓🔗 Now live at the link below! daily.xyz/artwork/noper-…

New work by @bagdelete. → “Looking Across a New City” part of “Walking At Night,” a series exploring the nostalgic imagery of teenage midnight walks.

🫴 Artists You Need to Know: @sougwen Sougwen Chung is an artist and researcher known for turning drawing into a site of exchange between human and machine gestures. Across performance, drawing, painting, robotics, and AI-driven systems, they ask what authorship looks like when a mark is no longer made by a single hand, but emerges through feedback loops, memory, brain waves, and a combination of material tensions. Here’s an overview of their career ↓

#17 from the "Hunting" collection by @loved_orleer → Now available

On the Necessity of Slowness in Art → Written by curator @gallegosfer ☕️ Almost always, the best thing to do is to do nothing. probably not the best advice for life in general, but in art I think it does apply. Sometimes we will be working in something in the same way for a long time, and we do it because the form responds to who we are as individuals and the way we respond to the world. But in an era of content, with the expectation of a rapid flow of information, the push for doing something different, something new, something that resonates with current trends, can be overwhelming for artists and organizations, resulting in rushed, not well thought pieces of art and exhibitions. In these cases it’s important to understand what’s the reason we started making art in the first place, or in the case of organizations, what's the reason it exists in the first place, what was it that we wanted to do, and why. Form should always respond to the necessity it covers and I ask myself if these reasons are so easily transformed in a way that an organization or an artist should change their ways. We see these cycles happen throughout history, things always seem to come back to the classics for good reason, and the reason is that classics are classics in the first place because they go straight to the feeling, disregarding the trends of the era. But for an artist to keep making sense to themselves it’s very hard to walk a straight line when the world seems to be going someplace else. Organizations should know this too. There will always be ups and lows, no one asks questions when things go well, but when they get slow we tend to panic, we start looking for who’s responsible and for ways of making things go up again, the problem is that doing that is unsustainable, we don’t see that what people wants more than anything is a place they can call home, a place that’s dependable in what they offer, something genuine that makes sense in itself. People don’t want to be responsible for what they consume, they may enjoy pointing fingers and being listened to, but they will abandon anything as soon as they realize it didn’t work the way they wanted it, leaving organizations (and artists) in a very difficult place. My advice is simple: be genuine, make the effort to understand yourself and act accordingly to what you believe in. If that level of truth is achieved, what you do as an artist or organizations will be very difficult to be denied, and even if people get bored a little for a while and go explore other things, they will always come back eventually, because we all need things to be dependable in this fast changing new world we live in. (Raindrops on Palm Trees by @bagdelete)

gm! "Crystal Lake" by @sinusoidalsnail for the Daily Program Season 2

↓🔗 Now live at the link below! daily.xyz/artwork/noper-…

New work by @bagdelete. → “Meet Us in the Parking Lot” part of “Walking At Night,” a series exploring the nostalgic imagery of teenage midnight walks.

#10 from the "Hunting" collection by @loved_orleer → Now available