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Once upon a time, the silver screen held projections of our deepest desires. But now, even our handsomest sex symbols have lost their deadly edge, drained of their power by pocket-sized screens and eroticism on demand.
Rafaël Rozendaal has been making digital art for two decades, and he’s unfazed by the rise of Web3. In this conversation with Spike, he explores how websites are like poetry, dishes some lessons in exhibiting digital work, and argues in favour of keeping the punk spirit alive in NFTs.
Ready to wade into tokenised waters, but feeilng overwhelmed by the big Open Sea? Let Spike be your guide: here are our favourite marketplaces, platforms, and protocols for cryptoart.
Getting his due in Germany at long last, painter Frank Bowling was recently awarded the 2022 Wolfgang Hahn Prize. In his honour, we’re sharing Barry Schwabsky's words on Bowling from the latest print issue of Spike.
Have we blown past the point of Peak Identity? Continuing on the heels of last month’s column, Dean Kissick considers how memes and masks have superseded the performance of the self.
In the picturesque town of Bergen, a group show dedicated to the ocean at the Kunsthall promised to pay tribute to the water’s siren call – and the oil tanker’s – in a port city filled with both.
Facebook got a facelift — but there's nowhere in the metaverse left to run from the problems of their own design. Adina Glickstein takes stock of the social media titan's rebrand.
![Tobias Spichtig, "Good OK Great Fantastic Perfect Grand Thank You". Installation view from Swiss Institute, New York. Courtesy of the artist.](https://spikeartmagazine.com/sites/default/files/styles/medium/public/users/shared/articles/images/tobias-spichtig_swiss_institute_ny_dp2m0914_spike.jpeg?itok=b48by-4S "Tobias Spichtig, "Good OK Great Fantastic Perfect Grand Thank You". Installation view from Swiss Institute, New York. Courtesy of the artist.")
