Curated by Venus Lau (Unbiased Curator and Writer), the portion presents five commissions by artists Liu Chuang, Nik Kosmas, Peng Ke, aaajiao and Lu Yang, the is effective will also be out there to acquire as non-fungible tokens (NFTs). The presentation will mirror the latest developments in this sphere, and is supposed to check out how NFTs could be a helpful tool for artists, instantly connecting the work they make with the industry in digital space. 

Electronic and digital existence is much more than what seems on a screen, it is no longer opposed to the serious, as an alternative it is a component of, or an anamorphosis, of reality. Artists aaajiao, Nik Kosmas, Liu Chuang, Lu Yang and Peng Ke rethink the mechanisms of electronic existence in the artworks presented in the electronic area of Frieze Los Angeles 2021’ – Venus Lau, Electronic Artwork area curator

Frieze Viewing Room will make use of OTOY’s groundbreaking systems to mint the NFTs on the RNDR community the place information and facts about the do the job will be registered in a blockchain database and confirmed utilizing RNDR’s authentication engineering. RNDR leverages Layer 2 technologies to lower carbon emissions.

aaajiao, icon 009 and icon 010, 2019-2020, Screen printing, chevron board, steel body, acrylic paint, installation watch. Courtesy of the artist and AIKE

aaajiao 
Media artist, blogger, activist and programmer, aaajiao (b. 1984 in Xi’an, China) is a Shanghai and Berlin-based mostly artist who rethinks the Internet phenomenon through dystopian awareness and literati spirits. aaajiao’s commission on Frieze Viewing Room uses overall performance and shaman rituals to resist the algorithm. His most recent projects encompass various disciplines (architecture, topography, and design) to capture the pulse of the younger generation consuming cyber engineering and residing in social media. 

Liu Chuang      Can Sound Be Currency? (2021)   2k, color, stereo, 19’43”      Courtesy of the artist and Antenna Space      Commissioned by 13th Shanghai Biennale and Power Station of Art
Liu Chuang, Can Audio Be Currency?, 2021, 2k, shade, stereo, 19’43”. Courtesy of the artist and Antenna Area. Commissioned by 13th Shanghai Biennale and Electricity Station of Art 

Liu Chuang 
For Frieze Viewing Home, artist Liu Chuang (b. 1978 in Hubei, China) proposes a field-recording of the noises of bitcoin-mining sites in China. Chuang’s work traces the social, cultural and financial transformations of modern China. By online video, sculpture, located objects and installation, Chuang weaves narratives that connect micro and macro, previous and present, fiction and reality to reveal how the dramatic nonetheless intricate alterations in character, society and technology have an effect on persons and their engagement with the world. 

Lu Yang 
Lu Yang (b. Shanghai, China) combines manga, anime and recreation aesthetics to crank out a digital alter-moi that transcends gender and dying. Mortality, androgyny, hysteria, existentialism and non secular neurology feed Lu’s jarring and at periods morbid fantasies. Taking inspiration and methods from Anime, gaming and Sci-fi subcultures, Lu explores their fantasies through CGI, immersive video activity installations, are living performances, VR and computer programming. Lu has collaborated with experts, psychologists, performers, designers, musicians, robotics labs, and famous people throughout their practice.  

Nik Kosmas      Bodyhunter Mandala 3b (2020)   metal, pvc, acrylic    180x180x30cm       Courtesy of the artist and Temnikova & Kasela gallery
Nik Kosmas, Bodyhunter Mandala 3b, 2020, metal, pvc, acrylic,180x180x30cm. Courtesy of the artist and Temnikova & Kasela Gallery 

Nik Kosmas 
Shanghai-centered artist Nik Kosmas (b. 1985 in Minneapolis, United states of america), formerly one of the post-web duo AIDS-3D, fluidly moves involving mediums, from sculpture to NFTs to develop bodily, emotional and religious journeys by technological innovation and human knowledge. His work departs from science fiction, sport, science, sexuality and psychology. 

Peng Ke      Dolphins (disappeared) (2019–2021)   Archival inkjet print, tin, glass, walnut frame 73 x 91 cm (28 3/4 x 35 7/8 in)      Courtesy of the artist and Gallery Vacancy
Peng Ke, Dolphins (disappeared), 2019–2021,Archival inkjet print, tin, glass, walnut body 73 x 91 cm. Courtesy of the artist and Gallery Vacancy 

Peng Ke 
Images and urban practical experience are at the heart of Peng Ke’s (b. 1992 in Changsha, China) follow. Her function represents the approach of modernisation and the unintended aesthetic of city up to date China by focusing on the liminal spaces within the Chinese cityscape. From synthetic lights, ornamental grates, fences and blocks of concrete, Peng searches for a perception of get and intimacy in the community room in which the connection concerning subject and object intertwine.  

 

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Viewing Place Opening Moments
Tuesday Preview, July 27, 8am PST – Invitation only
Wednesday Preview, July 28, 8am PST – Invitation & Frieze associates only
Thursday, July 29, 8am PST – Sunday, August 1, midnight PST – Absolutely free access to all