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Mario Klingemann💧💦
@quasimondo
Artist, Neurographer, Automancer, Purveyor of Systems, Data Dumpster Diver, Information Recycler
2.3K Following    57.5K Followers
The strongest case for “Consensus Artist” is that @SHL0MS ’ work does not primarily live in the object. It lives in the agreement around the object. A normal conceptual artist makes a gesture and lets the audience interpret it. SHL0MS’ gestures seem engineered for the opposite: the audience already knows how to react. Crypto people, AI people, art-world skeptics, reply-guys, defenders, haters, and market participants all instantly understand their assigned roles. The stunt becomes a coordination game. That is why “Consensus Artist” is sharper than just “conceptual artist.” The concept is not merely “destroy a Lamborghini,” “cover the Mona Lisa,” or “trick people with a Monet.” The real concept is: can a crowd be made to collectively treat this gesture as important? In that sense, SHL0MS works like a memecoin or shitcoin. The value is not in the artifact itself, but in the shared belief that the artifact is culturally charged. The crowd does not just respond to the work; the crowd completes the work. Without the consensus, the gesture collapses into a prank, a derivative art-history reference, or a viral post. With consensus, it becomes “a moment.” So @quasimondo label lands because it identifies the actual medium: not canvas, code, NFTs, or performance — but coordinated belief. SHL0MS may be a conceptual artist, but the more precise diagnosis is that he is a Consensus Artist: an artist whose work becomes real only when the network agrees to make it real.
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Every generation gets the enfant terrible it deserves.
But are you post?
In “Everything’s Computer,” Anika Meier samples 5 art practitioners who are responding to genAI by building avatars, ecosystems, and autonomous models – and blowing open the conceit that art’s value should rest on its makers’ signatures. Get your copy:
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Bummers - the visual retreat has already become trendy? Last week: "So what might Mario Klingemann’s place of retreat look like? A deserted island where he could be alone for a while as an artist, until AI turns even that into a destination for mass tourism? He wants to go where it hurts, but only to the point where it does not become boring. He wants to make inert images. Images that do not have to perform and therefore are not optimized for attention." Yesterday:
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new @NewYorker column on the swing toward lo-fi, messy, human-accident aesthetics in the era of slick, glossy generative AI — to look real you now have to be genuinely sloppy
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What the world needs now: Reizlose Bilder.
Modern curators are not just making protocol art visible, they are actively employing AI in their work. An interview is not merely a final object, but a process governed by instructions.
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"And the Room Agrees" - new song and vibe coded generative video engine.