Fellowship is a contemporary art gallery specializing in artists working with technology.
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Fellowship and @showsupnaked are proud to announce the donation of 7 artworks by @newrafael (Rafaël Rozendaal) to @museummodernart (MoMA).
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RT @nonperformant: paruparo.cloud 🦋
online & up on view at 39 great jones st nyc today-7pm // tmrw 12-3 as part of t.co/…
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Fellowship retweeted
Cover Art is Bamboo by @sheldrick_ai from
Post Photographic Perspective III drop on @fellowshiptrust.
In the collection of @WAPSHOP_ETH
I will spend a bit more time looking, but at first glance @harvey_rayner, we're in there!
nitter.net/harvey_rayner/status/2…
The current British Art Fair has a DIGITALISM segment with 77 artists/exhibitors.
I might be wrong, but I don't see a single artist from the blockchain art community and I would bet there is not a single tokenized artwork being sold.
britishartfair.co.uk/exhibit…
The digital artists from this decade that are still talked about in 50 years time may or may not have created tokenized art. Tokenizing art does not make the art better.
Tokenization has created a digital art movement but tokenized art does not in any way represent the totality of digital art created today.
Many people here assume the greatest digital artists alive are touching the blockchain in some way, but of course there are large incentives for us to cling to this belief without really investigating if this might be true.
One thing I have learned from talking to digital artists and gallerists outside our bubble is the hyper-financialization of block-chain art is not viewed as anything to do with art. It is also still viewed as a huge turn off to many talented and pioneering digital artists.
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🚨Tomorrow!
@exonemo's The Last Acres of the Internet goes to auction.
⭑ Opens Sunday at 12 PM ET
⭑ Closes 24 hours after the first bid
⭑ Starting at $24, on Fellowship → 🔗fellowship.xyz/artwork/exone…
⭑ Proceeds directly support @rhizome's work as a memory institution for digital art.
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The work offers the web's least desirable real estate for sale. While short domain names sell for colossal amounts, like land in Manhattan, exonemo trades in the opposite: the duo registers meaningless domain names of 63 characters, the maximum length permitted, and grows an HTML wilderness generated from random strings on each one. Whoever buys a website owns both the domain and its wilderness, free to build there as they wish.
Bidding opens at $24, the sum Dutch colonial director Peter Minuit is said to have paid the Lenape for Manhattan Island in 1626.
In contrast to artists raised within today's platform economy, exonemo reflect on what was lost as the web became centralized, asking who holds its territory and what remains for those arriving next.
To explore the full project, visit → the-last-acres-of-the-intern…
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To learn more about the artists, visit:
Artists You Should Know → .✦ ݁˖ @exonemo .✦ ݁˖
exonemo is a Japanese artist duo formed on the internet in 1996 by Kensuke Sembo and Yae Akaiwa, based in New York since 2015. Their work explores the paradoxes of the digital and analog environments surrounding us, moving freely between computer networks and the physical world to expose the relationship between technologies and the people using them. Their own profile describes the method as wielding anger, laughter and a text editor, approaching every medium with a hacking sensibility.
Across nearly thirty years the move has stayed consistent: take something so ordinary online it has become invisible, a search engine homepage, a browser window, a desktop, a dead link, and drag it across the boundary between digital and physical until both sides look strange. Playing with randomness and error, they find a kind of humorous intimacy in tools and machines we normally treat as pure utility.
Their project The Road Movie won the Golden Nica in the Net Vision category at Prix Ars Electronica in 2006. They have been NEW INC members since 2015, founded the internet secret society IDPW in 2012, and in 2020 received a museum retrospective, UN-DEAD-LINK, at the Tokyo Photographic Art Museum. Their work is included in Rhizome's Net Art Anthology, and has been shown at the Whitney Museum, Aichi Triennale, YCAM, Art Tower Mito and NTT InterCommunication Center.
They will be part of WEBSITES WEBSITES WEBSITES! (WWW!) Opening September 21st in NY. websiteswebsiteswebsites.net…
↓ Below is an overview of their past projects
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Fellowship retweeted
Haven't spoken too much about this film, but it's one of the most cherished things we have ever made. On show in Paris.
Last chance: come see "Simulacres" at Les Magasins Généraux before it closes this Sunday, September 27. 👀
📍 Les Magasins Généraux, 1 rue de l'Ancien Canal, Pantin
Free entry, open Wednesday to Sunday, 2 to 7 p.m. Among the works on view is a film by @hollyherndon and @matdryhurst
In an early use of AI image generators, Herndon and Dryhurst harness their dreamlike qualities to reconstruct a reverie tied to the coma Holly fell into after the birth of their child. She spent a week in a coma. Her recorded account of it serves as both the source for the generated images and the video's narration.
Born in 1980 in Johnson City, Tennessee, Holly Herndon lives and works in Berlin. Born in 1984 in the UK, Mat Dryhurst also lives and works in Berlin. They are recognized for their pioneering work in machine learning, software, and music.
Join a guided tour on Saturday at 5 p.m. or Sunday at 2:30 p.m. This weekend is your last opportunity.
———
📆 "Simulacres," through Sunday, September 27, 2026
🕖 Wednesday to Sunday, 2 to 7 p.m.
🗣️ Guided tours: Saturday 5 p.m., Sunday 2:30 p.m.
🆓 Free admission
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Last chance: come see "Simulacres" at Les Magasins Généraux before it closes this Sunday, September 27. 👀
📍 Les Magasins Généraux, 1 rue de l'Ancien Canal, Pantin
Free entry, open Wednesday to Sunday, 2 to 7 p.m. Among the works on view is a film by @hollyherndon and @matdryhurst
In an early use of AI image generators, Herndon and Dryhurst harness their dreamlike qualities to reconstruct a reverie tied to the coma Holly fell into after the birth of their child. She spent a week in a coma. Her recorded account of it serves as both the source for the generated images and the video's narration.
Born in 1980 in Johnson City, Tennessee, Holly Herndon lives and works in Berlin. Born in 1984 in the UK, Mat Dryhurst also lives and works in Berlin. They are recognized for their pioneering work in machine learning, software, and music.
Join a guided tour on Saturday at 5 p.m. or Sunday at 2:30 p.m. This weekend is your last opportunity.
———
📆 "Simulacres," through Sunday, September 27, 2026
🕖 Wednesday to Sunday, 2 to 7 p.m.
🗣️ Guided tours: Saturday 5 p.m., Sunday 2:30 p.m.
🆓 Free admission
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New project launch!
the-last-acres-of-the-intern…
Tribute to the net.art pioneers who once broke ground on unclaimed land.
Short, memorable domains have grown expensive, like land in Manhattan. What we deal in is different: long, meaningless domains, far off the grid.
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.@exonemo's The Last Acres of the Internet goes to auction this Sunday!
The work offers the web's least desirable real estate for sale. While short domain names sell for colossal amounts, like land in Manhattan, exonemo trades in the opposite: the duo registers meaningless domain names of 63 characters, the maximum length permitted, and grows an HTML wilderness generated from random strings on each one. Whoever buys a website owns both the domain and its wilderness, free to build there as they wish.
Bidding opens at $24, the sum Dutch colonial director Peter Minuit is said to have paid the Lenape for Manhattan Island in 1626.
In contrast to artists raised within today's platform economy, exonemo reflect on what was lost as the web became centralized, asking who holds its territory and what remains for those arriving next.
⭑ Opens Sunday at 12 PM ET
⭑ Closes 24 hours after the first bid
⭑ Starting at $24, on Fellowship → fellowship.xyz/artwork/exone…
⭑ Proceeds directly support @rhizome's work as a memory institution for digital art
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To learn more about the artists, visit:
Artists You Should Know → .✦ ݁˖ @exonemo .✦ ݁˖
exonemo is a Japanese artist duo formed on the internet in 1996 by Kensuke Sembo and Yae Akaiwa, based in New York since 2015. Their work explores the paradoxes of the digital and analog environments surrounding us, moving freely between computer networks and the physical world to expose the relationship between technologies and the people using them. Their own profile describes the method as wielding anger, laughter and a text editor, approaching every medium with a hacking sensibility.
Across nearly thirty years the move has stayed consistent: take something so ordinary online it has become invisible, a search engine homepage, a browser window, a desktop, a dead link, and drag it across the boundary between digital and physical until both sides look strange. Playing with randomness and error, they find a kind of humorous intimacy in tools and machines we normally treat as pure utility.
Their project The Road Movie won the Golden Nica in the Net Vision category at Prix Ars Electronica in 2006. They have been NEW INC members since 2015, founded the internet secret society IDPW in 2012, and in 2020 received a museum retrospective, UN-DEAD-LINK, at the Tokyo Photographic Art Museum. Their work is included in Rhizome's Net Art Anthology, and has been shown at the Whitney Museum, Aichi Triennale, YCAM, Art Tower Mito and NTT InterCommunication Center.
They will be part of WEBSITES WEBSITES WEBSITES! (WWW!) Opening September 21st in NY. websiteswebsiteswebsites.net…
↓ Below is an overview of their past projects
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WWW! Theme 4/4 → ⭑ Ghosts ⭑
WEBSITES WEBSITES WEBSITES! (WWW!) is now open in New York until September 27, and online the exhibition is organized into four themes, each a distinct path through thirty years of art on the web.
⭑ Anarchy
⭑ Abstraction
⭑ Poetic Computing
⭑ Ghosts
Over the next four days we'll introduce them one by one, starting today with:
Ghosts:
In June 2026, the ‘Dead Internet Theory’ officially became a reality, with over 50% of activity on the internet being generated by bots and AI agents rather than humans. The overarching sentiment in the 2020s is that the internet has become a place that is increasingly alienating and hostile towards humans. Methods of self-expression and connection with others reach an increasingly machinic audience programmed to scrape data, cause drama, or generate spam. The internet is now populated by countless ‘ghosts’ and autonomous spectres.
The theme of Ghosts explores the unease of an internet that can feel crowded and deserted at once. Abandoned domains and error pages are haunted with an unexpected presence; virtual properties and lands have become ghost towns; an AI agent moves autonomously across a screen, toggling through pages and highlighting important material on a website as if guided by a spectral hand… These works explore the missing or obscured spaces of the internet, questioning what is preserved and what disappears, whilst also confronting the reality of living and sharing netspace with non-human entities.
↓ WORKS:
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→ Most Improved (2025 - ongoing) by @luke_shannon_
🔗 mostimproved.site/
A single prompt drives Most Improved: “Improve this site”. From this command, repeatedly given to an AI agent, what began as a blank webpage evolves into what is apparently considered the most optimized website. With no external content and no purpose, the site turns to documenting itself. It records, catalogs, and justifies each feature it creates, changing its log history into the story of what it is becoming. Most Improved interrogates the new era of website-building that we currently find ourselves in, where bot activity has officially exceeded human activity on the internet, and anyone (human or not) can create a website by vibecoding. Most Improved could have become anything. What resulted is a website that behaves as a subject, whose endless self-improvement exposes the coercive texture of progress and self-actualization built into LLMs, the machines we now ask to think for us.
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Together, these works ask how artists can reclaim space within an increasingly corporate internet and imagine more personal, critical and creative ways of being online.
To explore more about the exhibition, visit:
websiteswebsiteswebsites.net
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Fellowship retweeted
the impeccable range of
@100o111 @rhizome, @exonemo @ nowhere_newyork, Arthur Jafa @newmuseum & @ Eva & Franco Mattes @ 260 Madison
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