Upstream Gallery

☀️ SUMMER BREAK! ☀️ Upstream Gallery is closed for the summer from the 11th of July and open again from the 5th of September. For any inquiries we're still open by appointment. Stay tuned for new exhibitions by Jan Robert Leegte and Rafaël Rozendaal opening on 5 September!

New WWWork 🌺 “Ghost” 🥚 👉 newrafael.com/ghost

JPEG, 2026 dye sublimation on metal, 100 x 100 cm

Radio Feature 📻 From Code to the Museum: The Rediscovery of Digital Art Listen to @JanRobertLeegte talking about his practice and the new work series for 010 @ArtBasel for SWR Kultur 🔊🔊 swr.de/kultur/kunst/d…

@JanRobertLeegte @0xassembly Such a beauty

Orbit 542039321 collected by @0xassembly

Orbit 720241205 collected by @felixgwong

Together with @GalleryUpstream , we presented new works by @JanRobertLeegte , a pioneer of net art who has worked with and about the internet since the 1990s. Across JPEG, Sightings, and Orbits, his work investigates images without a source — from compression without an image beneath it, to photographic appearance without a lens, to a world generated live, frame by frame.

Looking back on an inspiring and successful week at @ArtBasel O 10 in Basel. For us, presenting @JanRobertLeegte at O 10 together with Upstream Gallery was a true highlight of an already fast-moving art year.

@OmletteMerve @JanRobertLeegte @office_impart Was a pleasure meeting you Merve!

Was a really busy week for @JanRobertLeegte as he had also exhibited in Zero10. Will never forget your excitement the day before opening 🫂 Congrats with @office_impart and @GalleryUpstream meeting with all of you was a great pleasure!

Time for the star of the @ArtBasel , Zero10 💜 Huge respect to @eli_schein and @trevorpaglen. I am privileged to compare first edition and the last one and I can easily say everything felt more grounded. This one was crucial because they showed everyone the history of digital art in a constitutional setting!

We're delighted to share that Museum de Fundatie in Zwolle, The Netherlands, has acquired two paintings by Jen Liu for its permanent collection. Both works are on view in the museum's collection presentation through 20 September 2026.

Shadow (grass, sea), 2025 Screens, video files, wooded construction, sand bags. Showing at the group show Old Master at Wouters Gallery, Brussels, curated by Rectangle. With @lm_netwebs Auriea Harvey @clmntvalla @JoanHeemskerk Alexandra Crouwers

@nilsfisch @office_impart @ArtBasel @JanRobertLeegte 🙌

I'm currently on a mission to vault digital art. During @ArtBasel I was really impressed by the works of @JanRobertLeegte and finally acquired an "Orbits" (after missing the mint during the premier by minutes). More works I found and fell in love with in the thread…

ONCE again: I loved the @JanRobertLeegte solo show, beautifully presented in such a pure and clean way in collaboration by @office_impart and @GalleryUpstream. 😍 Happy to have added a few works from this iconic first Zero 10 presentation at @ArtBasel Basel to my collection. Which one do you think I acquired? 😉

Behind the scenes recap of a fantastic week @ArtBasel Zero 10 showing @JanRobertLeegte with the best collaborators @office_impart, @aliciaframis viral performance The Walking Ceiling at Basel Social Club, where we also showed work by @constantdull and @BrayKvn. Thanks everyone💙

@DagieDee @eli_schein @trevorpaglen @ArtBasel @fellowshiptrust ❤️

@eli_schein and @trevorpaglen These are some of my highlights from Zero Ten @ArtBasel . I believe the curatorial layout of the booths worked exceptionally well and almost functioned as an invisible guide into a storyline about digital art. Starting with @fellowshiptrust and the three flags by @john__gerrard , who uses code as a medium to connect stories of critique and hope about the world we live in today. I felt that the central placement of these three works at the entrance created a beautiful bridge between the traditional part of the art fair and the rest of 0.10. Moving on to @_deafbeef , it had never been so clear to me how much his work engages with the roughness of raw material, the craft it demands, and the way the digital component evokes a nostalgic glimpse of the past. His work speaks to the poetry that emerges when these two radically different worlds are brought together. At the centre of 0.10 sits the booth of @nguyenwahed . @lennyjpg 's Infinite Garden was beautifully installed horizontally on the floor, while at the back of the booth stood one of the most compelling code-based artworks by @andreasgysin . It felt almost like a coded counterpart to Joseph Kosuth's One and Three Chairs. I was in awe and completely fell in love with it. Behind that sat maybe one of the most needed artworks at the fair by @artmetaofficial , featuring several historically important works of generative photography. In my opinion, these pieces are among the missing links that help explain where contemporary generative art comes from. Nearby was the boot of @office_impart and @GalleryUpstream with @JanRobertLeegte . To me, Orbits is one of the most poetic outcomes of his more than twenty-five-year exploration of what it means for something digital to possess material form. Next to that sits @artblocks_io with @williamapan . I hope his work managed to open the eyes of some traditional art collectors, because the Landscape series represents something genuinely new in the history of painting. Mapan has found a remarkable path forward for the medium. Painting once served as a window onto the visible world. Later, during Modernism it increasingly turned inward, becoming a reflection on its own materials, gestures, and emotional possibilities. Mapan takes the next step. His work asks what painting can become in a world where systems and algorithms increasingly mediate how images are produced, distributed, and seen. Rather than resisting those conditions, he transforms them into a new visual language. These were just some of my favourite moments at 0.10. What I particularly appreciated was how the curation and mise-en-scène created pathways between contemporary digital practices and stories that stretch deep into art history. Rather than presenting digital art as something isolated or detached, the exhibition revealed its connections to much longer artistic trajectories. I believe that is precisely the direction in which the conversation should continue. A big congratulations to @eli_schein and @trevorpaglen .

@MathiasThiel @JanRobertLeegte @office_impart Must read!

Some art is made of compression itself. Back from Art Basel, where Jan Robert Leegte showed three bodies of work at Zero 10. New on Superposition: what it's like to live with one of them, and why the JPEG is the image itself. @JanRobertLeegte @office_impart @GalleryUpstream @ArtBasel open.substack.com/pub/mathiasthi…

orbit 702366122 @JanRobertLeegte @office_impart @GalleryUpstream zero 10 @ArtBasel

Bye @ArtBasel 0 10 🤍🤍 @JanRobertLeegte 🙏🙏 @eli_schein @trevorpaglen @GalleryUpstream + @office_impart

💙💙💙 @office_impart

Sliding Door (2017) by @constantdull acquired by the Orlow Art Collection from @GalleryUpstream at Basel Social Club A true pioneer of AI, Dutch artist Constant Dullaart was one of the first to work with convolutional networks, recognizing a future in which we would manufacture the image using AI. As a playful twist, he sent the results of his model to a painting factory in Shenzen, China, to have the exact image ‘industrially’ produced as a painting. To finish the mechanical production process, it was then finished at an auto paint shop in the Netherlands. The result is a painting that feels inherently human made but was conceived of by a machine. Finished almost 10 years ago, it radiates a weird nostalgia for early AI.