Vik

gn to the 5 people it reaches to somewhere in prague ⚫️

@elonmusk Open source my work to be shown to people ser… you guys killing me and many other artists 😅

To give people confidence that we are not secretly manipulating the 𝕏 recommendations, it is critical that we open source anything that influences what people are shown

@Oaknarrow You know it fam 🤌🏽

@framesby_vik Hahaha “ShOW uP EVERyDay”

Validation!! I don’t need to be in this stupid app as much to sell art Adios bitches

@KaeliVanfossen Very insightful kaeli 💎

ARTISTS /// ART MARKET /// ART FAIRS My 2c on growing an artist career. If you are an artist with a genuine interest in both what you create and the stories you tell through it AND the working proactively to advance your career accomplishments to earn you name on the table of the biggest art market worldwide, then it is necessary to not only build your body of work and deep knowledge of your process, but also recognizing that "showing up" on social media is only one fraction of the puzzle that determines whether you get to be an outside observer, or a participant. Does talent and vision alone make you worthy? Many well-meaning (and incredibly talented) artists and their supportive community presume it should, but talent/skill alone is not what develops your visibility or reputation. So I need a large following online to get into the big shows? While a big audience helps, there are important nuances. ex: if the majority of your following is not organic and/or the proper target audience/market for your work, chances are your engagement is low as well as your traffic conversions to qualifying sales and institutional discovery. I have already exhibited with shows around the world, haven't I earned it yet? First, a well-deserved congratulations, you've already accomplished more than the majority of other artists (probably 80%+), HOWEVER (don't shoot the messenger) this looks great on early-emerging career artists CV for lateral traction into next shows, but there is still a mountain of recognition yet to climb before you earned some Art Basel cred. What if I have already sold more than a thousand works? I mean again, genuinely, you are already leagues ahead of most artists, HOWEVER (don't shoot the messenger), still be honest with yourself about the quality of those sales. Are most of them low-ticket $ with a few $$ sprinkled around and not yet any $$$ let alone a $$$$? You (and me both) have a long way to go to convince the top that our work has earned major gravity. What if I was also already included in a list of "100 artists to watch"?! That's great! I was too! (virtual high-five) but be honest with yourself too. Who was the audience watching the list? Was there a press release alongside it with international critical/curatorial public acclaim write-ups by leading art market authors? Likely not unfortunately, but being included in lists and write-ups is always a solid step in the "write" direction. heh heh heh. Our crypto art market community should be striving for more of these, and I honestly rarely see it outside of the upper echelons, which is a shame. we still have a long way to go. OK I'm listening, we have established our "early-emerging" professional art career to this point, what more is there to do to get my name on the table of the like of Art Basel? I got you, and yet please take this with a healthy grain of salt considering that I am sharing what I have learned to this point in my own art career, and not yet speaking from the perspective of someone who has already crossed that threshold. Recognizing that there is still a large gap between where you are and where Aziza Kadyri or DEAFBEEF are isn't talent, It's institutional sediment, is already a solid next step towards getting there too. Here are some valuable things to build on: 1. Museum or major institutional acquisition or exhibition. Not a pop-up. Not a satellite. A permanent collection accession, or a curated museum show. It helps to play long-term and nurture healthy relationships with (especially curators) in institutions like LACMA, SFMOMA, Musée d'Art Contemporain de Lyon, and MoA+L, Kunstmuseum, HEK (Haus der Elektronischen Künste) in Basel, ZKM Karlsruhe, Ars Electronica, the Buffalo AKG, the Whitney's digital/new media program, MoCDA, the Toledo Museum of Art (which hosted "Infinite Images: The Art of Algorithms"), MoA+L in Kansas, and the Currier Museum... to name a few of the many paths in. 2. Gallery representation by a gallery that itself shows at art fairs like Art Basel. Not just "I'm on HUG" or "I'm on SuperRare." Actual representation. The Zero 10 exhibitor list is your literal target shortlist for digital-native paths: Bitforms (New York), Fellowship (London/Marrakech/Porto Cervo/LA), Gazelli Art House (London), OFFICE IMPART (Berlin), Upstream Gallery (Amsterdam), Nguyen Wahed (NY/London), eastcontemporary (Milan), Asprey Studio (Kent), Galerie Oniris (Rennes), Interface Gallery (Breda), and ArtMeta. Long term career growth depends on the fostered relationships with galleries who carry the curatorial weight that gets a committee's attention. 3. Press in the publications that the committee actually reads. I mentioned this earlier. Press. PRESS. I'll say it again. Presssssss. I am NOT talking winning over a collector who writes a nice long thread about the depth and novelty of your work (which is still fantastic and hard earned, worth celebrating!) and there are many within our community that are nice early-career placements but they don't move the institutional needle because the "right" people at Art Basel likely don't read them at all, let alone with any serious consideration. The publications that do: Artforum, ARTnews, Frieze, Art in America, Hyperallergic, The Art Newspaper, Artnet News (their editorial side, not the listing), Outland, Right Click Save (this one is the digital-art critical journal of record — Alex Estorick's editorial), Le Random's editorial essays, Flash Art, e-flux, and ideally a profile or substantive review in the FT Weekend, NYT Arts, or The New Yorker, again, to name a few. --- OF NOTE: You don't pitch yourself to them directly, they cover artists whose institutional context makes them legible. You can also shorten the path by being interviewed on the digital-art podcasts that the writers there are listening to: The DAM Show (Roger Dickerman and Eli Scheinman, yes, the same Eli who co-curated Zero 10), Verse Talks, Right Click Save's podcast, NFT Morning, and Bright Moments' programming. 4. Critical / curatorial writing about the work, by someone with weight. This is what a "monograph" or even a single 2,000 word essay by an established critic does.. it gives a gallery a document to hand a fair committee. Look at how the Zero 10 release writes about Kadyri: "explores the intersection of cultural memory and artificial intelligence... examining authorship, translation, and the preservation of collective memory in the digital age." That language is curatorial scaffolding. Your work needs that scaffolding written about it by someone whose name is highly regarded, respected, and has shaped a lot of careers... not just you writing about yourself (but that does help writers gain context! so keep doing that too). 5. Auction-house presence on the editorial side (not just primary sales). When Christie's, Sotheby's, or Phillips includes you in a curated digital art sale... not a marketplace listing, an actual themed auction... that creates a public price history and validates you as a "collectible artist" in the eyes of secondary-market collectors who advise museums!!! These are usually curated by inviting artists on their radar. 6. Have a specific, theorizable thesis. Look again at how every Zero 10 artist is described: each one is doing a thing that can be summarized in a sentence connecting their visual practice to a critical question. Most artists, who even have one, are still stuck in having only a brand voice, not a thesis. What is the question that your work asks that a critic could write 2000 words about that would compel their most esteemed art market audience to give you a second look? It's a hard one that most all of us still struggle to pinpoint. 7. A geographic and physical-presence shift, or a digital-first thesis strong enough to substitute for one. For me? San Diego is wonderful but it's still not a primary art-market node. The artists getting institutional traction are either based in or showing in New York, LA, London, Berlin, Mexico City, Seoul, or building a digital-art-specific identity strong enough that location matters less (Bright Moments has done this for some). You don't need to move, but it IS pivotal to be in those rooms several times a year, like Miami Art Week, Frieze LA, Art Basel Basel, Paris+, the Venice Biennale opening week, NFT Paris. ALL This to say, "grinding on crypto art market X" is only a fraction of your potential evolution and opportunities, it matters and is a great way to foster friendships and conversation, be found by some collectors, gain news and insight into the market, ExPoSuRe and plenty of GM's, and helps you establish some of that social proof that tells a gallery you can sell. It is a real layer that matters, but not the whole pyramid. Real talk... there is no such thing as a checklist of things to do that gets you there. Grinding is not enough. In the art market, which has always been true historically and will always be true in the future long after we're gone most likely, it is whose attention you have earned and what they feel about you, that is what gets your name on the table. So there it is. My 2c on growing an artist career, and my perspective (so far) on what it takes to be on an artist list like Zero 10 at Art Basel. I don't often go this much into writing my entire perspective on the industry, so I hope... if you have read this far btw high fkn five on that!... you might have found this helpful and given you some perspective on your own trajectory too. All the best, Kaeli

@strakts 🤌🏽

collab with @framesby_vik going well I think

@Itsfredi1 lol… I’m not judging you at all for this btw 😅…. I went to Siracusa as well it’s beautiful there 🔥🤌🏽🖤🖤🖤

@framesby_vik Oh couldn’t have been more wrong lol, mozia is on the literal opposite side. My family is from (near) siracusa!

gm ☀️ sicily 2023 📷

Working across Solana, Tezos and Ethereum. Mïna expands textile practice into speculative digital territory building immersive woven ecologies where craft, system, and world-building merge into a single visual language. See more of the work on Exchange Art ⬇️ exchange.art/minahloy/nfts

Mïna’s woven environments resist stillness. Even in static form, the work carries the sensation of ongoing transformation, where structures continue evolving beyond the frame itself.

Artist Highlight on @exchgART 💎 Mïna @minahloy Mïna’s practice approaches digital space as something grown rather than constructed. Across woven terrains, clustered forms, and dense organic structures, the work builds entire ecosystems through repetition, accumulation, and texture.

@hb_taylor gm hannah

@framesby_vik Good morning ☕️🤍✨

@kamand_kavand gm kamand

@framesby_vik GM ☕️

we do a little collab 💎 @strakts

@Itsfredi1 i was in catania when i took this image

@framesby_vik Do you remember where? Reminds me of mozia island

@JTLissPhotoArt 🫂💎

@framesby_vik Not to always saying yes. No is super important. Like extremely. But if the only thing that’s holding you back from yes is fear, plow through that shit and figure it the fuck out. LY homie.

• Produced an exhibition 10 years ago at a bar/restaurant on Manhattan’s Upper East Side. Invited some artist friends to exhibit with me. • A gallerist who came to see one of the other artists showed up to the opening, we chatted a bit and he invited me to create a mural for a mansion project in Long Island. I had no idea what I was going to do, but said yes. • Next day took the train to Long Island, was given two walls, called a homie down in Miami to see if he could print two huge vinyls for me within 72 hours. We made it happen. • Same week: Installed the vinyl mural myself — first time ever — just in time for the opening. • Hundreds attended; featured in The New York Times; met curator Harris Lobel. We kept in touch. • Now Harris is one of my lead curators at @cycol_gallery and one of the headlining artists from that project has a solo show at the gallery next month. Moral of the story: Say yes and figure that shit out. The ripple effect from just saying yes to something can alter the trajectory of your life.