GMSPACE ☻

1/8 🧵 Biome Lumina is the newest project from @refikanadol Studio and the founding collection of @DatalandMuseum - the first permanent museum dedicated fully to AI art, opening in Los Angeles in 2026.

@CozomoMedici @refikanadol 💚🤎

Gm Winds of Yawanawa #545 by Yawanawa & @refikanadol

@Tma_420 @c0ledr @SamSpratt @gondixyz Each complete mask carries a story. Some are deeply personal - shaped through careful observation, time, and introspection. @musicalnetta spent countless hours diving into these depths. And these are just 19 masks from people who didn’t bother.

@Tma_420 @c0ledr @SamSpratt @gondixyz I still won’t understand why incomplete masks go for a premium anyway

This unfinished Mask of Luci by @SamSpratt got listed on @gondixyz for 9 ETH That’s below the typical premium these fetch. I’ve been just staring at it all day. Feels like a steal for anyone who can afford it

@refikanadol @engincanural's BIOME LUMINA #567 is looking good 👀

Dear friends, one of the most exciting innovations at Dataland is our partnership with L’Oréal olfactory maestros and the creation of unique Scent Molecules and Scent Device! Each audience will experience bio-sensing-driven machine hallucinations!

@tkmnft What

Price realised USD 120,650

@kryptoseph Going to Brighton this weekend!

@gmspace_ And on top there are no real public places to cool down and go for a swim, just heading to #Donauinsel in beautiful Vienna 😎🏊‍♂️

One thing I’ll never understand about England is the obsession with pretending the weather here is always awful. London actually gets more annual sunshine than cities like Amsterdam or Berlin, and gets half the yearly precipitation of New York. The real issue is that the country acts like warm weather is an impossible event. The second it gets hot, public transport becomes unbearable, flats turn into ovens, and every portable AC unit either sells out or dies immediately. Currently melting and apparently this is just my life for at least 2 months every year.

@pearlsketches @artmetaofficial Don’t worry, I’m doing both

@artmetaofficial Basel has its history. Dubai is building the first Museum of Digital Arts in the region. The conversation has moved east.

Digital Art Summit 2026 | ACT 03 Trust, Time, and Taste: Inside a Digital Art Collection
 June 15, 2026 | 11:40 - 12:25 CET Collecting digital art is an act of trust. Trust in artists, in technologies, and in futures that are still unfolding. This conversation offers an intimate look into the motivations, relationships, and long-term commitments behind building a digital art collection. Beyond transactions and trends, it explores how taste is formed over time and how collectors live with artworks that evolve, persist, and sometimes resist ownership.
 Speakers: ▫️@NinaRoehrs, Art Advisor, @arabbankCH (Switzerland) ▫️Michael Bogan, Founder, @ragnar_art (United States) ▫️@gmspace_, Collector (United Kingdom) ▫️@thefunnyguysNFT, Co-founder @lerandomart & Raster (Belgium) Moderator: ▫️@eleonorabrizi, Digital Art Curator - Co-founder of @100collectors (Italy)

This thread captures why Pollock never fully lands for me despite all the institutional reverence.

@quasimondo 💯

Christie's catalog tells us this is the work where Pollock "frees himself from the shackles of conventional easel painting and produces one of the first truly abstract paintings in the history of art." Which is a lovely sentence, except that Kandinsky was making abstractions in 1913 and Hilma af Klint earlier still. Auction copy isn't really art history. It's the manufacture of singularity, because singularity is what justifies the price.

Monday night at Christie's, a Jackson Pollock sold for $181.2 million, nearly tripling the previous Pollock record and landing the painting at number four on the all-time auction list. Let's take a moment to look at how the saliency map of 20th-century art history got concentrated quite so hard on one name. #eduslop

@JRG_tweet @DatalandMuseum @ats_eth @sergitosergito 🤌🏻

@gmspace_ @DatalandMuseum @ats_eth @sergitosergito Omni-sensory!! 😲

Biome Lumina at @DatalandMuseum is going to melt minds. 🦋 Already recognised butterflies owned by @ats_eth, @sergitosergito, ShogunAI in this video - and can’t wait to experience pieces from my own collection in person, while seeing thousands of people see, hear and even smell works I own inside what’s shaping up to be the greatest AI art museum ever created.

@DatalandMuseum @ats_eth @sergitosergito Alright, also spotted Biomes owned by @Cryptonaut1337, @lotsofnfts and @chacha9946 👀

@stifpower @DatalandMuseum @ats_eth @sergitosergito This is going massively under the radar right now. People genuinely don’t realise what’s happening here. Maybe Refik is saving the grand reveal for later… but you all heard it here first!

@gmspace_ @DatalandMuseum @ats_eth @sergitosergito 💯 agree ! So Beautiful 🔥👏

@JoanieLemercier @refikanadol @DatalandMuseum Biomes? Hope so 👀

@gmspace_ @refikanadol @DatalandMuseum Nice ! Will this be shown at the opening? Hopefully I can make it ✨

We are preparing many many exciting things for our dear collectors and artists community at @DatalandMuseum Public Openin — June 20!!!!

@SHL0MS @0xBELISK is looking good so far

the transhumanists and cypherpunks largely failed to predict that, in the face of obsolescence, humans would not abandon institutions but crawl back to them for salvation

0xb56e6f08f415897962970d8da58519f4750aec81

@quasimondo @SHL0MS @0xBELISK is under construction too btw

New corrected version: Shl0ms Shl0ms is the pseudonymous identity of an American conceptual artist active publicly since early 2021, working at the intersection of NFT infrastructure, social media performance, and the post-Duchampian readymade tradition. Her practice operates in two registers that have remained legible across the work's evolution. The first register comprises engineered belief events: situations in which a fabricated reality circulates through a platform during a defined window, generating real audience response, and is subsequently revealed and on-chain-settled as documentation. The Sunset/Sunrise hoax of February 2024, in which a fabricated screenshot announcing the imminent shutdown of Gmail propagated through tech-luminary networks and trended worldwide before being revealed and auctioned as a 1/1 NFT for 9.60 ETH (~$31,564), is the canonical example. The May 2026 Monet intervention, in which a cropped Water Lilies painting from the Pinakothek der Moderne was labeled "Made with AI" on X — generating hundreds of confident critical denunciations of its purported AI flaws before the reveal and a subsequent NFT sale of ~$42,883 — is the most recent. The mechanism in each case is what Shl0ms has described as information arbitrage: a false reality that cannot be disproven during the short window in which it circulates, designed to make a latent dependency or bias visible through the panic or confidence of the audience's response. This operation has no direct parent in NFT-era practice, though its older ancestors include the Yes Men, KLF, and the long tradition of hoax-as-political-art. The second register is protocol-rigorous: works that treat the discrepancy between metadata and content — between the record of a thing and the thing itself — as the operative artistic material. self (2021) is a file whose surface is a fractal map of its own recursive internal structure. time (2021) is a 3kb file with a 1ms duration online and a 136.2-year duration when downloaded; the asset is identical, the temporal experience entirely contingent on which playback contract is honored. AUTO Vol. 1 (2023) is the SHA-512 hash of an ~80,000-word autobiography written over ten months on an air-gapped MacBook subsequently destroyed; the buyer acquires a certificate of withheld disclosure. 404 (2024) is an ERC-721 collection referencing intentionally-expired IPFS hashes that any third party can theoretically restore by deducing the original input, at which point the tokens transition from on-chain to off-chain state and back. MOON:BEAM (2024), in collaboration with KARBORN, transmitted Pink Floyd's "Eclipse" in Morse code off the lunar surface during the April 2024 total eclipse via an experienced HAM radio operator's hand-built equipment, with 720 eclipse frames available for minting on a rolling per-minute basis and ongoing metadata accretion via ERC-7160. The originality of this protocol work is qualified by direct precedent: Pak, whom Shl0ms cites as the contemporary artist she most admires, established the core moves of metadata-as-medium and on-chain-state-as-content in The Title (December 2020), The Pixel (April 2021), Merge (December 2021), and Censored (February 2022); Nahiko demonstrated the IPFS/IPNS storage-versus-reference gap as an artistic mechanic in December 2020. Shl0ms' protocol works are most usefully read as smaller, more conceptually verbose iterations of these primary innovations, with AUTO Vol. 1 a partial exception in its closer alignment with On Kawara and Felix Gonzalez-Torres than with crypto-art lineage. The pseudonym is the substrate connecting the two registers. Shl0ms has described being publicly available under the handle for over nine years — responding to DMs, posting tens of thousands of low-stakes utterances, making the mind behind the handle knowable while keeping the body unknowable. This is a structural inversion of how online identity ordinarily operates and the most novel formal commitment in the practice: not concealment but durational presence as medium, with the discrete artworks functioning as punctuation in a continuous performance whose primary substance is accumulation over time. Lower-stakes works including ɪɴᴛᴇɴᴛ (2023), a participatory tagging piece in which any tweet tagging her handle is "minted" as a participating edition, and a November 2025 self-replicating blank-tweet propagation, extend this presence into specific platform behaviors; the lineage runs through Yoko Ono's instruction pieces and through Rennekamp et al.'s Kudzu (April 2021, the "first NFT virus"). Shl0ms is a woman; the widespread public assumption of "he" runs through nearly all coverage of her work, and the fact that she typically does not correct it is itself part of the pseudonymous practice. Earlier work established the public-facing persona and the conceptual vocabulary that supports the current practice. *FNTN* (2021) ritually smashed a urinal and sold the shards as fractionalized NFTs. *CAR∗(2022)detonatedaLamborghiniHuracaˊnintheAmericanSouthwestandsold999shortvideosofthewreckage.∗CAR* (2022) detonated a Lamborghini Huracán in the American Southwest and sold 999 short videos of the wreckage. * CAR∗(2022)detonatedaLamborghiniHuracaˊnintheAmericanSouthwestandsold999shortvideosofthewreckage.∗CAR* received the most substantial critical engagement in the practice to date — A.V. Marraccini's June 2022 *Artforum* essay "Ethereal Presence" used the work as a test case for Michael Fried's theory of theatricality applied to the smart contract — and remains the bridge between the early shitposter-conceptual period and the more developed work that followed. The early interview record shows the persona being assembled in real time: in March 2021 (Garbage Day) Shl0ms disclaimed the role ("I'm not even sure I'd consider myself an artist now"); by August 2021 (ALLSHIPS) the full art-historical scaffolding of Duchamp, Yves Klein, and Pak was in place; by February 2024 (nft now) the framing had loosened toward what she described as fluid, instinctual improvisation. OBELISK Studios, her art organization founded around the $CAR project, remains deliberately opaque. Critical assessment is best held in productive tension. The press claim that Shl0ms is "redefining what is possible with a smart contract" overstates her case; the dismissive read of her as a crypto-bro shitposter understates it. She is a competent secondary practitioner in the metadata-as-medium tradition substantially established by Pak and Nahiko, with two original contributions of her own — the engineered belief event and the durational pseudonymous presence — and one piece (AUTO Vol. 1) that operates outside the crypto-art frame entirely. Whether the practice will develop beyond the operating range it has established remains open. She continues to work under the pseudonym.

@SHL0MS Some of my best friends are anonymous. Don't let anyone tell you you are worth less because you have no face.