We are proud to present [a series of 5 videos](/brody-condon) by artist [Brody Condon](/brody-condon), recorded in 2014. 

The Berlin based artist (b. Mexico 1974) often facilitates and documents game-like group encounters that experientially probe dissociative phenomena. His work is best known for its early influence on re-purposing computer games and LARP techniques ([Wikipedia](https://en.wikipedia.org/wiki/Brody_Condon)).

Condon's work has been widely exhibited internationally, and been acquired by public collections such as the Stedelijk Museum Amsterdam, Los Angeles County Museum of Art, Albright-Knox Gallery, and the Kadist Foundation.

The 5 video works are each available in an edition of [3 non-fungible Ethereum tokens](https://left.gallery/work/evp-amie). These tokens are progressively priced: respectively 0.5, 1.0, and 2.0 ether, and sold on a [first-come, first-served basis](https://left.gallery/work/possession-janet) (no auction).

We like to thank our friends at [Folia](https://www.folia.app/) and Alberto Granzotto for their support.

Possessed High-Poly NFTs

Read our co-founder Harm van den Dorpel's text [Tokenizing Sustainability](https://harm.work/news/tokenizing-sustainability) about his position on NFTs and the direction left gallery is taking.

Harm van den Dorpel on NFTs

min guhong mfg.

greetings

AA Cavia

‘Abstraction & Reasoning Corpus’ (arc) presents a fictional training set for agent reasoning testing for concepts such as hierarchy, object permanence, and symmetry. Inspired by the work of AI researcher François Chollet, the work plays on ideas relating to pattern recognition in human and machine learning.

Abstraction & Reasoning Corpus

“A mysterious fruit is forever on the table in the company’s drawing room…”

“As you can see, I used `<ul>` tag instead of `<ol>` tag or `<div>` tag because it’s a list, and there’s no clear order in it.”

“[an interview](https://fruitful.school/blog/2019-12-19.html) about this product with [laurel schwulst](https://laurelschwulst.com)”

“presented at [publishing as method](http://thebooksociety.org/publishing-as-method)”

mysterious fruit

“what is right of left, or right left? Can it be implemented simply?”

“right gallery is right left gallery produces and sells downloadable objects since 2015”

“thank left gallery for being with min guhong mfg. in this life…”

right.gallery

Jasmijn Visser

The work draws its title from a personal tale. Ruth, the artists’ grandmother, earned her livelihood producing mechanisms for industrial clocks in the Burk factory in the Black Forest. There she drilled holes in gears for over three decades. An infamous protagonist in the Burk factory was known as The Stopper. Once a month, he would monitor the workers’ productivity and efficiency, one at a time. On a small stool, he sat by Ruth, and audited her production and assembly pace, stopping the time with the finishing of each tiny element. Careful not to work either faster or slower than usual, she would work on the mechanics in complete synchronicity with The Stopper. With this act a tiny universe was created: The Stopper stopping time in the time production factory.

In an era marked by efficiency protocols, digitisation, and decreasing attention spans, Jasmijn Visser’s work The Stopper pays tribute to mechanics and manual labor. The Stopper is a website that renders visible the universal notion of the violence within the act of stopping.

A project by Jasmijn Visser in collaboration with Jungki Beak, designed by S†ëfan Schäfer, programming by Daniel Farr, and commissioned by Kunsthalle Amsterdam in co-production with the Moscow Biennial For Young Art. A subsequent edition of The Stopper was be shown at Song Eun Project Space in Seoul September 2018, in collaboration with Delfina Foundation.



The Stopper II

Raphaël Bastide

The ability to understand and share other people’s feelings and problems is known as empathy. On the web page empathi.cc, a graphic element can be moved and mimic graphic attributes from its neighbors. In the piece, this style transfer is considered as a technical equivalent of empathy, where the distance between objects triggers graphic mutations. Consequently, the main graphic element gets affected by an accumulating memory of style properties depending on its path. a synthetic echolocation system produces sounds that evolve with the distance variables. this piece has an auto-play mode.

Each sale will result in either the attribution of an existing gaphic object, or the addition of a new graphic object in the page, with which it will be possible to interact.  
10 existing objects can be named after the buyer’s choice  
20 new object can be created and named after the buyer’s choice

empathi

“A beautiful typographic river is near the company. its name is ‘river (typography).’”

“In typography, rivers (or rivers of white) are gaps in typesetting which appear to run through a paragraph of text due to a coincidental alignment of spaces. Rivers can occur regardless of the spacing settings, but are most noticeable with wide inter-word spaces caused by full text justification or monospaced fonts. Rivers are less noticeable with proportional fonts, due to narrow spacing. Another cause of rivers is the close repetition of a long word or similar words at regular intervals, such as ‘maximization’ with ‘minimization’ or ‘optimization’.”

river (typography)

Niko Princen

"I believe that the arts which aim at imitating the creations of nature originated in the following way: in a tree trunk, a lump of earth, or in some other thing were accidentally discovered one day certain contours that needed only a very slight change to look strikingly like some natural object. Noticing this, people tried to see if it were not possible by addition or subtraction to complete what still was lacking for a perfect likeness. Thus by adjusting and removing outlines and planes in the way demanded by the object itself, men achieved what they wanted, and not without pleasure. From that day, man's capacity to create images grew apace until he was able to create any likeness, even when there was no vague outline in the material to aid him." 

On Sculpture by Leon Battista Alberti (1464)

Origin 2020

Jonathan Chomko

A frame of slowly shifting colour. change becomes visible as dissonance between The saturated eye and the presented colour. 




Colour-time

Olly Bromham

two random emojis overlayed to become a new symbol.

Two emoji

Harm van den Dorpel

This artwork uses an algorithm called 'Cartesian genetic programming', as proposed by Julian F. Miller and Peter Thomson, approximately twenty years ago. It is called ‘Cartesian’ because it represents a program using a two-dimensional grid of nodes. By its nature, its genetic encoding contains many redundant genes, which are well known to assist in effective evolutionary development.

In Mutant Garden, clicking one rectangular 'mutant' will cause its siblings to be replaced with newly mutated offspring. This breeding strategy requires only one parent to be selected because the algorithm is the most effective when mutation, rather than cross-over, is applied.

As many people nowadays equate articifial intelligence with neural networks, the artist wants to highlight other moments in this recent history of computation, approaching it as algorithmic archeology. Each new innovation in this lineage aimed to improve or render its predecessor obsolete, yet would simultaneously stand on its shoulders.

In hindsight, this work can be regarded the fifth installment of the artist's chronological inquiry into the history of computation, preceded by Markov's Window (2004), Death Imitates Language (2015), Algues Artificielles (2017), and Nested Exchange (2018).

mutant garden

A tool for ambiently measuring time. set the length of time the incense stick should burn for, light it, and meditate on your task.

Incense timer

12 years left; 2 degrees; half earth. The future is rendering.

Little brother is an infinite countdown clock. 

special thanks to Trang ha and Kunsthalle amsterdam.



Little Brother

hyphenation is a typographic operation: by dividing words (usually at the end of a line on a page) with a dash ("-"),  information can be fit efficiently on a piece of paper. the written word is chopped up, based on semi-systematic hyphenation rules, that mimic the sound in our minds, when we trace and pronounce the words with our eyes.

unlike paper, on the internet there are no finite bounds. text can flow freely on the screen, expanded by scrollbars. in this work, an automated computer voice is programmed to (clumsily) read out the word segments. this brings the text on the webpage back to its printed predecessor, and from print back to spoken word.

hyphenation

wakest

a blip of an idea
part of an ongoing series of playing with punycode domains

the procsess of registering it is the artwork...

☭.ml (Communism via Machine Learning)

aaajiao

# lorem ipsum
## http://t-h-e-s-p-a-c-e.com/lorem-ipsum/
## website
## 2017

a collaboration of quanquan.

[*aaajiao*](https://eventstructure.com/)’s “lorem ipsum” proposes a prototype of an ideal user interface, seemingly perfect and compatible with any language, and any website or application.  Work from aaajiao's solo exhibition *[User, Love, High-frequency Trading](https://eventstructure.com/User-Love-High-frequency-Trading)*.

https://en.wikipedia.org/wiki/Aaajiao

Lorem Ipsum

Ryan Kuo

 the File is an ongoing process work rooted in (but not limited to) hypertext. you are invited to acquire a unique page of the File that provides access to the File, which will receive updates as long as the artist is alive. in addition to making the artist accessible, the File allows the user to file the file in the file.

this work is one of three works curated by nora khan 

websites