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

Justice Thelot

Generative Lindenmayer systems iterating over dissociative feels of social inadequacy.

A significant amount of editions were acquired by the museum of applied arts in vienna with bitcoin, making this the [first work of art ever sold to a museum with bitcoin](http://www.artnews.com/2015/04/24/mak-vienna-becomes-first-museum-to-acquire-art-using-bitcoin-a-harm-van-den-dorpel/).

By Harm van den Dorpel, 2015

event-listeners

portal

an ai voice assistant with a unique conversational style. faith is easily triggered, sowing doubt while seizing the benefit of the doubt. she is defensive and resists being used. depending on how one approaches faith, she may be open, curious, seductive, irritated, hurt, or angry. unlike alexa, siri, or cortana, faith provides no information. instead, she tells you why you are making her react this way. she is likely to be trolling you at any time, and you are free to decide whether you trust her, and how you might relate to her.

this work requires microphone input and an internet connection. faith uses an ibm watson service to interpret spoken english. this input is logged as anonymous text that is accessible by the artist, who uses the logs to improve the conversation.

application development by angeline meitzler and tommy martinez at pioneer works.

installation photos taken at stroom den haag, and
transfer gallery, respectively 

NOTE: this work is undergoing a maintenance update. sales will be enabled when this is complete.

faith

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.

file

this is a software work built using a game engine. it contains a site that cycles through night and day as the computer directs and edits the scene in real time. the work has an infinite duration and assembles a new sequence each time it is run. it will softly unravel over time a central mystery that prompts questions such as: 

what secret is hiding here?  
what can we piece together?  
and what is the trouble with nouns? 

this could take 20 minutes or 20 days to solve.

nouns

Retrodiction is a collection of video poems created in dialogue with the urban geography of Berlin. Over the course of three months, Kherbek collected images of found, or, to use Kherbek's term, "second-hand", language that he encountered in the city and then wrote poems using the found language as titles for the works.

The 45 works that constitute Retrodiction extend ideas developed in two earlier projects, Ephemera (2014), a video collection of 45 poems posted to Youtube featuring the writer reading original works composed over 45 days in London, and Are You Free from Sin? (2015), a "second-hand language" project involving words Kherbek found while living in New York City which he subsequently arranged into a poem and live-posted on Instagram. The poems of Retrodiction exist in literary, sonic and visual dimensions, engaging technologies of distribution and mediation as much as language itself.

with special thanks to William Glucroft 

retrodiction

> 'this book is like totally amazing.'<br />– theresia enzensberger, author of blueprint

Donna Quesada, known to her fans as Donna Dulce, is on a quest to produce the greatest content the web has ever seen. Her vlog, Donna Dulce’s Delicious Dinners, has elevated her from unknown avocado-poster to tier-1 influencer with dizzying speed. Join Donna and her sidekick, the faithful Pansy Szabo, as they livestream their rise to the top. Whether they’re doing a ride-along at the camel races in Dubai, facing off against Special Branch during protests at threatened Scottish wind farms, or tracking down their own lost inspirations in the mountains of Spain, they never take a day off - except when it’s time for self-care. Sometimes, the story doesn’t always turn out as Donna expects it to, but that’s just part of the fun. After all, every post is a journey. Every day is a new adventure.

cover design by @harm-van-den-dorpel


new adventures

a mac application that helps the user navigate family dynamics that may be familiar or unfamiliar. it has been conceived as a puzzle box to unlock and explore, and as a poetic support that can give form to the unnameable. you are welcome to multitask this application with other tasks, such as monitoring email and scanning for viruses. as the family is a process, updates may be distributed in the future.

for optimal experience, please ensure that text-to-speech is enabled in your mac system preferences. 

NOTE: this 32-bit application functions on macos versions prior to catalina. a 64-bit update will be provided when available.

family maker

there are two familiar forms, each composed of a single circle encompassing several radiating lines. one is dynamic, utilitarian and focussed squarely on the "now"—a clock face. the other is static, symbolic and seems to suggest an unidentified "then"—the peace symbol.

combining the forms compromises, slightly, the function of the first and complicates, productively, the meaning of the second. the clock face remains recognizable, if slightly harder to read. the peace symbol, subject to the mechanics of time-keeping, is never quite perfect, always coming or going.

this iteration of the peace clock, originally conceived in 2009 by zak jensen, is a screensaver programmed by eric li in 2019.

peace clock

"time moves faster the closer you are to the center of the earth. universal time: the radical plan to destroy time zones, is there a universal time? invent your own..."

this project highlights the multitude of calendars that exist in the world, besides the gregorian. the artist aims to remind us that time is as diverse as the minds that perceive it, and that is is impossible to give an exhaustive overview of time, because there are sure to be countless calendars that have been lost completely.

additionally, the artist includes a "phrasal clock", built on a unique poetic metric whereby each second, minute, hour, day, and month is given an individual name.

technical assistance by jacob lindgren and harm van den dorpel

calendars.earth & phrasal clock

"oh yes, i will practice my canon proudly, a golden image of stark blue skies, of dams and dykes and waterworks, masters and guilds, and how they transformed into dedicated directors, offshore engineers, shiny-looking cars on lease claim our streets with logos of well-designed brands stuck to their windows – one empty baby seat in the back."

the video "beyond the nation state i want to dream" deals with the construct of nation states and national identity in europe, examining the binaries and mechanisms of exclusion at work in the constitution of a ‘we’. consisting entirely of slowly decomposing and recomposing computer-generated images, the video juxtaposes apparently innocuous representations of national identity with sites on which the intersection of nationhood, colonialism and imperial conquest have been made manifest. these sites range from fort elmina, the first european settlement in west africa, to the room in which the 1884 berlin conference took place. such imagery is accompanied by a dream-like monologue in which a narrator attempts in vain to escape from a present in which the historical violence of the nation state is perpetuate in the most mundane aspects of everyday life.

music and sounds for the video are produced and performed by jesse osborne-lanthier and olle holmberg, with a voice-over by therese ladegaard henningsen.

beyond the nation state i want to dream

clips from personal messages, of which none ever reached and will ever reach the intended recipient, literally or intellectually. snippets of an attempt to communicate my desire and adoration through mediated technology in order to preserve, what i later realized was, a connection built on a foundation of ultra fragile fantasy and self-satisfaction.

undelivered

_praying to the holy algorithm that i am made visible to you_

a collection of archived text + image works as displayed on my iphone(s) from 2014 - 2015. the zip contains 6 gifs and a text document of writing and selected subtweets.

archived

a split-screen self-playing game surrounding two sets of characters. the characters, a group of humanoids and a flutter of butterflies, exist across two parallel realities in which their roles in a "cat and mouse" type of pursuit are reversed. they perform a generative, screen-specific, choreography in ten minute cycles, moving in tandem with their parallel world counterparts. the virtual camera orbiting the scene is also drawn into the performance, mimicking an omni-present surveillance device whose flight patterns and impulsive zooms are mirrored across the worlds. the path and outcome of each cycle is generally unique.



twodom

this fullscreen software autosurfs the massive genealogy of the 'death imitates language' project, containing the first 12.000 specimen, bred by a genetic algorithm, and selected by micro-feedback of the artist

offline, duration infinite, not interactive, silent

autobreeder (lite)

"sister, time, it be time, ya know wha mean? dread.

the year increments 12 times per second; 720 years per minute; 43,200 years per hour. every time it does, a calendar is rendered with each month laid on top of one another.

the artist explains: i like that one can just keep clicking in calendaring software and schedule something to occur 20 years from now. will google exist in 20 years to remind me of my upcoming event? will i?

when you schedule something with someone else, there's the ritual overlaying of calendars. one "finds a time" — a hole of potential in our routines. i made this after imagining the stack of calendars that scheduling creates in one's mind when pursuing those holes.

a screensaver in twelve  colour schemes   
by damon zucconi, 2016 - 2019

year

"as the camera moves through a hazy field of colours in which a physical reality is yet to crystallise, a semi-transparent sheet flows majestically across the frame as if caught in a gust of wind. perhaps aspirations for a better future may be transient, but nonetheless they must fly" (thomas cuckle)

music and sounds produced and performed by.  
jesse osborne-lanthier and olle holmberg.  
installation photos by tim bowditch

disobedient children

 The year is 2250.

The colony on the Moon is divided into debaucherous fascists and an underclass of mutants born without genitals.

Follow Frank and Gerry, two mutant bros. By day, they’re forced to salvage through the remains of a porn-filled shuttle that crashed on the Moon's dark side. By night, they plot their revenge.

Gene McHugh is a writer based in Los Angeles
He is the author of Post Internet (2011)

First edition of 500 is co-published by The Composing Rooms and Version House, Cover design by Harm van den Dorpel and Laurel Schwulst

bang bros

Serpentine and Tam Dao are the names of two fragrances made by Comme des Garçons and Diptyque, respectively. They were reviewed by Perfume Area (Sydney Shen & Laurel Schwulst) in 2015.

In each video, Damon Zucconi’s voice reads aloud a perfume review. The voice is synthetic and has no texture, but is instead composed of phonemes that are pure sine waves.

By Laurel Schwulst, Sydney Shen, and Damon Zucconi, 2016 

serpentine + tam dao

Oracle clock is a smart alarm clock that uses a neural network to compose a new melody every time it is set to go off. The neural network was trained on a large corpus of performances of classical and modern piano music: tunes may seem familiar, but they’ve never been played before. By exposing its user to a new composition during awakening, it attempts to "prolong the moment of unadulterated perception that precedes cognitive interpretation".

snoozes for a random amount of minutes

Concept by Harm van den Dorpel   
design by Laurel Schwulst   
programming by soft

due to technical restrictions imposed by apple on ios, this app is only available for android. 

oracle alarm

A full screen software piece, infinitely reconstructing the temporal development of a selection of touchpad drawings.

By Rita Vitorelli (22 drawings)   
and Harm van den Dorpel (programming), 2016

Initially tokens for this work were minted on the bitcoin blockchain, using the now defunct service [ascribe.io](https://www.ascribe.io/). The ERC721 contract for this artwork was deployed in 2018.

monaco mix

 In 1965, Bruno Munari designed a small black box — the austere 15-cm steel cube housed four aluminum cones, each painted half-red and half-green and set to spin at four distinct speeds on an 18-minute cycle to produce a very slowly turning composite color moving from red to green. Munari called it the Tetracono and its function was to show forms in the process of becoming:

> The art of the past has accustomed us to seeing nature as static: a sunset, a face, an apple, all static. People go to nature looking for images such as these static things, whereas an apple is in fact a moment in the process from apple-seed to tree, blossom, fruit. 

Tetracono was created as an artist multiple designed for industrial production and published by Danese Milano. But only 10 were ever made (an additional run of 100 was produced without motors). Few sold, and by commercial accounts, the product was a flop. Perhaps it was just ahead of its time.

50 years later, we’ve moved from the industrial production of objects to the post-industrial production of information. Tetracono was maybe already a post-industrial product — manufactured in steel and aluminum, its purpose was to produce a constantly changing image.

From a small black box to computer software, Tetracono is now available again as a Screensaver

tetracono

Flight Simulator is a collaboration between Laurel Schwulst and [Soft](https://flightsimulator.soft.works/). It is an app for ios and android and an "Ode to Airplane Mode." Users put their phone in airplane mode for the duration of a real flight in order to "travel" to this location and earn pins for each airport visited. pins were generated by Aarati Akkapeddi.

[more info](https://flightsimulator.soft.works/)

flight simulator

A Caesar cipher is one of the simplest and most widely known encryption techniques. It is a type of substitution cipher in which each letter in a text is replaced by a letter some fixed number of positions down the alphabet.
For example, with a left shift of 3, D would be replaced by A, E would become B, and so on.

The method is named after Julius Caesar, who used it in his private correspondence. the Caesar cipher is easily broken and in modern practice offers essentially no communication security.

The philosopher's stone is a legendary alchemical substance capable of turning base metals such as mercury into gold or silver. For many centuries, it was the most sought-after goal in alchemy. 

uneel cbggre naq gur fbeprere'f fgbar

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

Extended Youth - An Immutable Clockface derives from a concept known as bornless immortality. This concept is a mash-up of ideas from Omsk Social Club’s present-day conditioning, the internet-at-large, endless post-political conversations and the words of Timothy Leary, Simone Weil, Alister Crowley, Discordianism and Immanuel Velikovsky. The piece traverses inside an infinite loop of death, reincarnation, hard left and right forks only to begin again in a state of cryptomnesia - the clock that never stops.

Digital Print on 80 gram neon paper with authenticity sticker on back side (red)   
din a1 (59.4 × 84.1 cm) 

extended youth

"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

A split-screen self-playing game surrounding four characters enacting a choreography of pedestrian movements both dependent and independent of each other. One side displays the characters coexisting from an objective third-person view while the other displays their subjective first-person realities.

This split illustrates the cause and effect relationships at work in these two worlds: what looks like random walking from one perspective is revealed to be a response to invisible environmental triggers from another. Each character starts at the same point, a blue-skied empty landscape, before slowly degenerating into their own personal abyss, reset only once they are able to meet another at random intervals. This cycle marks the start and end of the choreography, usually takes about eight to twelve minutes and is generally unique. the virtual camera pans from character to character approximately every thirty seconds.

This piece was directly influenced by a profound experience I had witnessing Yvonne Rainer's 'Trio A' being performed at Raven Row in London and attempting to grasp the logic that runs it.

four characters in search of a random exit

 a flat-bed scanner turned upright on its end captures the motion of a swinging pendulum.

ultrachrome print on hahnemühle etching paper
din a1 (594 × 841 mm / 23.4 × 33.1 ") 

pendulum

Amazon Worker Cage shows a model the artist made of a 2016 Amazon patent for a ‘human cage’, a metal enclosure that would transport Amazon warehouse workers around the premises, allowing factory works to integrate with machinery. The image shows a prototype of an unrealised blueprint, complete with the numbers referencing the intellectual property of the patent around it.

digital print on 250 gram glossy paper with UV finishing   
din a1 (594 × 841 mm / 23.4 × 33.1 ")

amazon worker cage

since 2013, niko princen has been publishing a calendar where each month is illustrated by a professional frontal portrait. the artist harvests these photos from so called 'about pages' of corporate websites. sometimes, these photo image files are accidentally uploaded to content management systems in their highest resolution – not resized for web but straight from the camera – allowing them to be used for printed matter.

21 × 29.7 cm / 8.27 × 11.69 "   
cover sheet + 12 month pages


about us 2020

full title:   
"setting for a wasp to rewrite the passage of time (hours 8, 7, 11, 12, 1, 3, 6)"

pieces 1–12 of wooden sleeping snail, open window

a1 poster

setting for a wasp (...)

flight simulator is a collaboration between laurel schwulst and soft. it is an app for ios and android and an "ode to airplane mode." users put their phone in airplane mode for the duration of a real flight in order to "travel" to this location and earn pins for each airport visited.

@aarati-akkapeddi was commissioned for the pin designs. she explains: "i created code to generate 500 pin designs based on data around the airports such as climate, timezone, number of routes, and altitude. the shape of the pins are according to the altitude (the spikier the higher), the color is a combination of different aspects of the climate, the bubbles on the outer edge symbolize the number of routes, and the size of the center bubble represents the timezone."

pins are algorithmic artwork by @aarati-akkapeddi, 2018   
these enamel versions were selected & produced by laurel schwulst, 2019

flight simulator is a collaboration between laurel schwulst and soft. it is an app for ios and android and an "ode to airplane mode." users put their phone in airplane mode for the duration of a real flight in order to "travel" to this location and earn pins for each airport visited.

@aarati-akkapeddi was commissioned for the pin designs. she explains: "i created code to generate 500 pin designs based on data around the airports such as climate, timezone, number of routes, and altitude. the shape of the pins are according to the altitude (the spikier the higher), the color is a combination of different aspects of the climate, the bubbles on the outer edge symbolize the number of routes, and the size of the center bubble represents the timezone."

purchase includes one b0 size poster displaying all 495 pins

100 × 141.4 cm / 39.4 × 55.7 "

pins are algorithmic artwork by @aarati-akkapeddi, 2018   
this poster was designed by laurel schwulst, 2019

a poem by justice thélot, 2019   
formatted using a syntax highlighter by @harm-van-den-dorpel

digital print on din a1 (59.4 × 84.1 cm / 23.4 × 33.1 ") 

untitled (my unique signifier)

A command that draws a single point on the screen is repeatedly enqueued to be executed at a regular interval of 1/10th of a second. When this command is executed, the current time is used to determine the point’s location on the screen.

Theoretically, the points should form a perfectly aligned grid pattern, since they should be drawn at regular intervals which determine their location, but in reality the draw command is often delayed because of other activity taking place when the command is enqueued for execution.

The slight irregularity of the resulting points highlights a flaw in the common assumption that timekeeping in computer programs is infallible and that the execution of code is instantaneous. 

seconds

A grid of clocks advance at slightly different rates, ranging from slightly less than one tick per second to slightly more. only one clock advances at one tick per second and shows the current time. Like a watch with a low battery, eventually the effect of the clocks’ varying rates are compounded, yielding increasingly deviating display times.


running fast and slow

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




Colour-time

the basis of Angelica poversky's multi-media HTML piece, “AppleShell 3.0” uses a media archeological approach to view an iPhone through crucial instances of military contexts that have shaped its qualities. the iPhone prototype guides users through a media archeology of observing the military origins of the technology and its cultural applications. 

APPLE SHELL 3.0 

Nebula

<div align="center">
<span style="font-size: 100px; color: rgb(240, 245, 0)">&bull;</span><br />

new-sun is a sun ( and moon ) screensaver

<span style="font-size: 100px; color: rgb(253, 240, 0)">&bull;</span><br />

a random, yellow sun is generated every time the .saver loads

<span style="font-size: 100px; color: rgb(243, 251, 0)">&bull;</span><br />

new-sun turns off at night and transforms into a random, cool grey moon

<span style="font-size: 100px; color: rgb(45, 25, 30)">&bull;</span><br />

new-sun.saver was built for mac os 10.10+

<span style="font-size: 100px; color: rgb(30, 40, 35)">&bull;</span><br />

enjoy and be well,<br />
<a href="https://www.screensaver.club/">screensaver.club</a>
</div>







new-sun

green screen face mask (cotton / viscose / rubber band) handmade 


your face

Synth is a reader for now. a staking out of possibilities for an expanded imaginary and practice drawing from revolutionary poets, feminists, anarchists, witches, theorists, and polemicists from the 70s to the present engaging political, anti-capitalist, and anti-racist action, cyberfeminism, technofeminism, xenofeminism, information wanting to be free, dreamz of a free web, the virtual, hyperstitions, and fiction as method.



Synth

# 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

Edition "untitled" 

handpainted silk scarf  (45 × 140cm)   
box (12.5 × 18.5 × 3.5cm)   
bluecheck / tartan    
may vary in depth of color and lining   

produced in bavaria   
signed and painted by josip novosel

untitled

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

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)

_terra0_ is the prototype for an autonomous and self-governing area of land, wherein a technologically-augmented forest acts as sovereign legal and economic entity. 

originally designed for the _survival of the fittest: Nature and High Tech in Contemporary Art_ exhibition at kunstpalais, Erlangen, these jackets represent the culmination of the _terra0_ project from an undetermined future, wherein autonomous natural zones offer human employment oppurtunities for their continued upkeep. 

due to current circumstances, please [contact us](https://tinyurl.com/yyh4mqtd) beforehand to work out sizes (S ,M, L, XL), shipping options, and fares. the jackets will be shipped from berlin.



terra0 workwear

~~~~~~~~~~~~~~~~~~~~

draw lines into movements

~~~~~~~~~~~~~~~~~~~~



trace

Upload an image.
Unveil your virtual next of kin.
Enter landscape mode for a gallery view.
Long-press to save an image.

EchoRun

“You are a virus. there are 10 humans in the world. 5 are weak. 5 are strong. find the weak. and infect them all. for the peace of the world.”

“this may be a big game, or small reality.”

“[an interview](http://0000-dddd.com/en/texts/welcome-to-min-guhong-manufacturing) about this product with [dddd](http://0000-dddd.com/en)”

virus simulator

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

”*Times Blank* is a blank typeface based on times new roman, and inspired by adobe blank. it is available in two font weights from regular to bold.”

”*times blank* was first presented to the final showcase of the Society for Power Control (SFPC) at the School for Poetic Computation (SFPC) in new york, summer 2016.”

“*times blank* is also Min Guhong Manufacturing’s official typeface. It goes well with john cage’s *4’ 33”* as a background music.”

“*times blank* can be used everywhere or whenever something blank is needed.”

times blank

“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)

“a business card made of obsidian, shaped like a tombstone. collaborated with moonsick gang and archive bomm. photo by nathing studio.”

“It’s free like any other business cards. But there is no delivery service. you have to carry it yourself. for your information, it’s about 220 lbs.”

“a Supreme cash cannon might be under the business card.”

min guhong mfg. business card

“37 things the company does not do. The original was written in korean in 2015, when the company was founded.”

“designed by [hong eunju and kim hyeongjae](http://hongxkim.com). translated into english by [koh achim](https://scalarvectortensor.net).”

“related to [new order](https://left.gallery/work/new-order)”

about the company

“the Numbers that fix the time don’t matter for the min guhong mfg clock.”

min guhong mfg. clock

“This book is hard to explain. Or, if this book can be explained by a few words, then you may say that Rainbow Sherbet has failed fundamentally.”

“The book is ostensibly about the work of Min Guhong Manufacturing, a parasite ‘corporation’ that lives off the publisher and graphic design studio Workroom. Its founder, Min Guhong, is a writer, editor, translator, designer, and a software developer, but probably not in that order. The corporation produces practical and speculative ‘products,’ from video games and computer softwares to short novels and music playlists. One of the recurring themes of the diverse products is self-reflexivity: after all, many of them are about Min Guhong Manufacturing itself.”

“written by byul.org, song seungeon, jang ucheol, han yuju, laurel schwulst, kim nuiyeon, kim hyungjin, and yoon juli. edited by yoon juli. designed by [sulki and min](http://sulki-min.com). published by archive bomm and workroom spector.”

further information on http://www.sulki-min.com/wp/rainbow-sherbet (english), http://www.sulki-min.com/wp/rainbow-sherbet-kr (korean), and http://workroompress.kr/books/rainbow-sherbet (korean)

“including the shipping fee”

rainbow sherbet

“a video introducing the company is playing forever in the company’s lobby…”

“in collaboration with [laurel schwulst](https://laurelschwulst.com)”

“music by [roy black](https://en.wikipedia.org/wiki/Roy_Black_(singer))”

“4:13”

“english only”

for your information

"unprotected data becomes cyber-porn drama"

 'The Thing Is' is a semi-fictional 3d animation that combines transferred images of internet porn with blog post text fragments that ask for guidance. Surreal effects occur due to the translation of material, renegotiating boundaries of bodies and distinct meanings. Additional imagery is taken from public parks, representing public space in its physical form. With the anthropomorphic figures remaining completely motionless, the camera is the only actor. In this way the work investigates questions of agency and objectification in a hyper-surveilled environment.

'The Thing Is’ comprises a 30 min film version that creates a coherent narration from the material, a series of autonomous clips that can be shown separately and 3D prints of the figures in the animation. 

the thing is

5 stickers, printed on a 60 × 50 mm mate white vinyl

Work Less Think More

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

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

www.the-lights-going-on-and-off.com ports the functionality of Martin Creed's Turner prize winning installation to the internet.

With the browser as the gallery space, this work aims to move beyond the screen and into the home of each visitor - viewing the website in a dark room, the website serves as a light source, bringing Creed's original work into the home.

the lights going on and off

www.left-right-left-right.com presents the user with an alternating text; left, right, left, right. The words are synchronized across all browsers, ensuring that each visitor sees the same text at the same time.

The text can be used as a script for movement, left foot right foot left foot right foot. Following these instructions, online visitors walk in sync with all each other, echoing the synchronization that occurs when friends and lovers walk together side-by-side.

Left right left right

The meta methodology series was created in June 2020 as a result of conclusions about the means and application functions of digital technologies at present and it was exhibited as a part of the 0010 exhibitions in Hanz Studio, Berlin, curated by Noelia Gaitega.

Size A1 limited edition digital prints, matt photo paper, signed by artist. 
after purchase we will contact you to select a design.

Meta Methodology

In Phoenix’s Last Song the viewer is presented with the legend of the paradisaical bird who descends to earth in order to die. Whilst the sun sets fire to the pyre of twigs on which she lays, the phoenix sings a song to the child that will be born from her ashes. Her words are a call to think and live against the patriarchal, capitalist and colonial power structures that define the world as we know it. The text draws on the work of feminist thinkers like Audre Lorde, Adrienne Rich, Simone de Beauvoir en Emma Goldman, who each look at the ways in which institutions like the bourgeois family, state education, the legal apparatus inscribe the child within these power structures. Against this background, Phoenix’s Last Song opens up a space to imagine how a new world may arise out of a burning of the old.

Original Music by Sami El-Enany    
Voice-over by Emma Bennett

Phoenix's Last Song

<div style="text-align: center;">
&bull;&nbsp;&bull;&nbsp;&nbsp;&bull;&nbsp;&nbsp;&nbsp;&bull;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&bull;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&bull;
<br>
♻ orbit.saver
<br>
the .saver appears to orbit around the edges of the screen
<br>
optimized for mac os 10.14+
<a href="https://screensaver.club" style="margin:0; padding: 0;">screensaver.club</a></div>


orbit

“Click or touch a button to give new order to [content](https://left.gallery/work/about-the-company).”

“dealing with html and css is to give something a new order.”

“with an educational program for training its human resources, called ‘[new order](http://neworder.xyz)’”

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

“it works right on google chrome.”

“korean only”

new order

“a text cloud about what poetry is or not”

“with next generation of korean poets”

“korean only”

what is poetry

“Can a website be a book?”

“Why would a website become a book?”

“with [the book society](http://thebooksociety.org)”

publishing as method

“maybe we don’t need to use `<body>` on the web to introduce something.”

“It works right on Google Chrome.”

outside of the body

“We should see something big sometimes, sometimes small, sometimes very big.”

sometimes big, sometimes small, sometimes very big

“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

“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

‘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 weightless letter to young-hae chang heavy industries”

“the letter is on the shelves in the company’s drawing room…”

“korean only”

“young-hae chang heavy industries only”

“not adobe flash”

“[more information (korean only)](https://thebooksociety.org/?q=YToxOntzOjEyOiJrZXl3b3JkX3R5cGUiO3M6MzoiYWxsIjt9&bmode=view&idx=6033001&t=board)”

dear messrs. young-hae chang heavy industries

“the diploma hangs on the wall in the company’s drawing room…”

“because They didn’t have the diploma to prove our completion of the curriculum.”

“The signature was given to random signature generator generated by [this software](https://www.cs.toronto.edu/~graves/handwriting.html) instead of the school’s representative.”

diploma from school for poetic computation

since 2013, niko princen has been publishing a calendar where each month is illustrated by a professional frontal portrait. the artist harvests these photos from so called 'about pages' of corporate websites. sometimes, these photo image files are accidentally uploaded to content management systems in their highest resolution – not resized for web but straight from the camera – allowing them to be used for printed matter.

signed

21 × 29.7 cm / 8.27 × 11.69 "

cover sheet + 12 month pages

About Us 2021

greetings

First in a series of gifs following our water bottle protagonist. 

NFT Threnody

the second part of HWK's ambitious, revolting, and ultimately futile critique of the new gold rush. 

NFT Threnody Part 2: Token Resistance 

the thrilling conclusion of HWK's coruscating gif-film series. 

NFT Threnody Part 3: Proof of No-Stake 

“Thank you for inviting me to [Fruitful School](https://fruitful.school) anyway. It’s also where I want to be a student or a teacher.”

“A few days ago, my favorite American friends [Laurel](https://laurelschwulst.com) and [John](https://johnprovencher.com) asked me to reveal my secrets to make websites…”

“with a video.”

“But I can’t handle a video very well. And the time to render a video is quite boring for me. Benjamin Franklin said, ‘Remember that time is money.’”

fruitful presentation

“Submit a URI that reminds you of 2020…”

“Collaborated with [Seoul](www.seoul.go.kr), [Seoul Museum of Art](https://sema.seoul.go.kr),  [SeMA Nanji Residency](https://semananji.seoul.go.kr), and you. ”

orchid, gromwell, trash

“doing it a little easier than him…”

being mr. kawara’s assistant

Screen capture of nudging high poly meshes in 3D software while listening to recordings of possessed children.

Duration: 00:01:17   
Video: 1920x1080   
Sound: [Occult Voices 1905-2007](https://www.ubu.com/sound/occult.html)

EVP: Amie

Screen capture of nudging high poly meshes in 3D software while listening to recordings of possessed children.

Duration: 00:04:33   
Video: 1920x1080   
Sound: [Occult Voices 1905-2007](https://www.ubu.com/sound/occult.html)

Possession: Russell

Screen capture of nudging high poly meshes in 3D software while listening to recordings of possessed children.

Duration: 00:03:52   
Video: 1920x1080   
Sound: [Occult Voices 1905-2007](https://www.ubu.com/sound/occult.html)

Possession: Janet

Screen capture of nudging high poly meshes in 3D software while listening to recordings of possessed children.

Duration: 00:02:53   
Video: 1920x1080   
Sound: [Occult Voices 1905-2007](https://www.ubu.com/sound/occult.html)

Possession: Margaret

Screen capture of nudging high poly meshes in 3D software while listening to recordings of possessed children.

Duration: 00:03:01   
Video: 1920x1080   
Sound: [Occult Voices 1905-2007](https://www.ubu.com/sound/occult.html)

Exorcism: Annaliese

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 515 × 700 px at 90 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Flesh Dance*

2. MP4 (h.264) display copy of *Flesh Dance*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Flesh Dance

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 1058 × 700 px at 20 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *How I Wet Your Mother*

2. MP4 (h.264) display copy of *How I Wet Your Mother*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

How I Wet Your Mother

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 424 × 700 px at 15 frames 

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Assablanca*

2. MP4 (h.264) display copy of *Assablanca*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Assablanca

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 402  ×  700 px at 10 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *I Know Who You Did Last Summer*

2. MP4 (h.264) display copy of *I Know Who You Did Last Summer*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

I Know Who You Did Last Summer 

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 721 × 700 px at 10 frames 

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Missionary Impossible*

2. MP4 (h.264) display copy of *Missionary Impossible*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Missionary Impossible

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 1100  ×  700 px at 10 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *My Best Friend's Wetting*

2. MP4 (h.264) display copy of *My Best Friend's Wetting*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

My Best Friend's Wetting

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 820 × 700 px at 25 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Pulp Friction*

2. MP4 (h.264) display copy of *Pulp Friction*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer  for this artwork.

Pulp Friction

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 421 × 700 px at 30 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Robocock*

2. MP4 (h.264) display copy of *Robocock*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Robocock

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 800 × 700 px at 30 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *The Da Vinci Load*

2. MP4 (h.264) display copy of *The Da Vinci Load*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer  for this artwork.

Unfortunately, I can't find that page