Meet GUS, a tabletop companion that helps you harvest fresh mushrooms at home. From the team at Good Growing, the minimal vessels hold what’s known as a fruiting block—a mix of sawdust, grains, and mycelium spores—that within a few days, burst with thick clusters of fleshy fungi.

The breathable, low-fire ceramic helps to regulate the temperature while also maintaining a moist environment for the specimens to sprout. Plus, GUS is modular and stackable, allowing for several varieties to be grown at once without taking up valuable countertop real estate.

GUS made Deezeen’s longlist for product design in 2023 and is currently sold out, although you can join a waitlist to be notified about when the next batch is available.



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Drawing on her training in animation and a love for the the work of Renaissance painters who expressed symbolism through atmospheric scenes and still lifes, Gigi Chen merges realistic depictions of birds with surreal settings.

In an upcoming exhibition at Antler Gallery in Portland, Oregon, Chen continues to incorporate tiny houses or cottages into the crooks of trees or otherworldly landscapes. She often illuminates neon signs or geometric shapes (previously), juxtaposing the natural wildness of the feathered creatures with elements of the human-built environment, which encroaches on their habitats or makes for peculiar nesting sites.

Many of Chen’s recent works explore the relationship between internal and external experiences, like a pair of tufted titmice peering into a house that reads “vacancy” on the roof. The owl is a tribute to Flaco, a beloved Eurasian eagle-owl that frequented Central Park and other parts of New York City after he had escaped from the zoo. “I was fortunate enough to have seen and photographed him regularly while he was in the Central Park Zoo and then in Central Park,” Chen says. She made the painting “Vacancy” after she first photographed him in the park’s North Woods.

Portraying a desire for a place to call home, the artist channels notions around protection and the preciousness of life, such as the glowing breast of a dead pigeon that lies near a broken pomegranate—a symbol of everlasting life and fertility throughout art history—or large birds of prey looking out for their smaller companions.

Chen’s exhibition, a duo presentation with Erika Sanada, runs from February 29 to March 24. See more on the artist’s website, and follow updates on Instagram.

“Blue Skies,” acrylic on wood, 16 x 20 inches

“Still + Life,” acrylic on wood, 11 x 14 inches

“From The Group Up,” acrylic on wood, 16 x 20 inches

“Find Me Under the Lights,” acrylic on wood, 18 x 24 inches

“Magnolia Dreams,” acrylic on wood, 14.5 x 21.5 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Birds Flutter Around Tiny Houses and Commune with Forest Creatures in Paintings by Gigi Chen appeared first on Colossal.

As the world turns its gaze to Paris for the upcoming Olympics, another monumental event is shaping up to redefine France’s cultural landscape. The 36th edition of the CIHA (Comité International d’Histoire de l’Art) congress, set to unfold in 2024, is poised not just as an academic gathering but as a strategic move by France to reclaim its throne as the cornerstone of the European art market. Sponsored by Artprice, this event, dubbed the ‘Art History Olympiad’, promises to be a melting pot of ideas with over 1,000 speakers from 50 countries, all converging to discuss the theme ‘Matter Materiality’.

A Global Dialogue on Art History

At its core, the CIHA congress aims to foster a global dialogue on art history, exploring the nuances of art’s materiality across different epochs. The theme ‘Matter Materiality’ delves into how the physical essence of art shapes our understanding and perception, especially in an era dominated by digital technology. This rich conversation will be further enriched by the presence of a prestigious honorary committee and the support of financial grants from various foundations, ensuring broad participation from across the globe. The congress’s schedule, aligned with the Paris Olympics, underscores a grand vision: to spotlight the symbiotic relationship between art and global sportsmanship, celebrating human achievement in all its forms.

Challenges and Innovation in the Art World

The intersection of digital technology and art conservation presents both unprecedented challenges and opportunities. The congress will explore how digitalization affects the conservation, reproduction, and perception of art, addressing key questions around authenticity and preservation. With the backdrop of increasing globalization, these discussions are crucial in understanding how cultural identities and alterities are shaped and reshaped. The involvement of Artprice, a leader in art market information, further highlights the event’s commitment to harnessing technology for cultural exchange and knowledge advancement.

Reclaiming Leadership in the Art Market

France’s ambition to lead the European art market is evident in its strategic hosting of the CIHA congress. By fostering interdisciplinary discussions and facilitating international collaboration, France not only showcases its rich cultural heritage but also positions itself as a hub for contemporary art discourse and innovation. The congress represents an opportunity for France to engage with the global art community, offering insights into future trends and establishing lasting partnerships. As the art world continues to evolve, events like CIHA play a pivotal role in shaping the direction of cultural exchange and market dynamics.

In conclusion, the 36th CIHA congress in France is more than an academic gathering; it is a strategic move towards redefining the global art landscape. By addressing the challenges posed by digital technology and fostering a dialogue that transcends geographical boundaries, France is poised to reclaim its historical leadership in the art market. As the event unfolds alongside the Paris Olympics, it signals a new chapter in the synergy between art, culture, and international camaraderie, promising to leave a lasting impact on the art world.

In the 1901 book, The Life of the Bee, Nobel prize-winning author Maurice Maeterlick wrote, “If the bee disappeared off the face of the earth, man would only have four years left to live.” Regardless of determining an exact range of years for such a catastrophe, the insect’s extinction has been a great concern for well over a century. We’ve become increasingly aware of the devastating consequences of living without bees, a dreadful outcome scientists are continually reckoning with.

In her extensive Bee Series, artist Cynthia James shines a light on the human and environmental necessity for the winged pollinators, imagining a botanical catalog of plant forms and insects thriving amongst each other in another world. Describing a seminal experience directly related to this inspiration, James reflects on when she and her partner lived in the lowland jungle of Yucatán, a seminal experience that inspired the body of work. The artist explains:

We began to see the environment change rapidly as global warming increased along with the use of pesticides damaging bees and butterflies. We saw butterflies in swarms in the 1990s, but we never expected their disappearance to occur so quickly. Pesticides and genetically modified seeds permeated with antibacterials are new elements shocking the finely balanced interplay between humans and food sources.

Seemingly dancing or moving in rhythmic trance, bees of varying hues percolate in each painting, assembling in elegant spirals and double helices. Swaying in similar fashion are the plants the pollinators swarm, appearing as almost mutated forms of familiar foliage that allude to 18th century grotesquerie.

James’ work will be on show in The Bird and the Bees and More: Pollinators opening at the Wildling Gallery in California next week. For more updates and work, check out the artist’s website and Instagram.

“DNA”

“Genetic Murmuration”

“Birds vs. Bees”

“The Ark”

“God Save the Queen”

“The Save”

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For London-based artist and art therapist Anastassia Zamaraeva, ideating and working with her hands is as important as the finished pieces. “I have learned that trusting my process and intuition is the best way to make work that feels honest and reflective of who I am,” she tells Colossal. “I trust the images and ideas that pop into my mind and go along with them, even if I don’t initially understand them. The making process helps me to unravel the meaning behind the work.”

Zamaraeva sketches out her ideas before working three-dimensionally. She uses grog, or clay that has been fired and then ground up, which results in a coarser texture that is also more resilient to cracks during drying or firing. By pinching and coiling the material, she forms a range of emotive and sometimes uncanny subjects, from rotund human figures and body parts to trees, plants, and mollusks.

The first time Zamaraeva made a slug, she was experimenting with porcelain. The medium challenged her, and the only thing she could make at first was a sausage shape. “So, I added some antennae, and the first slug was born,” she says. “I think the reason that I’ve continued making slugs is because they elicit a visceral reaction in myself and many others. I am drawn to uncomfortable things in my work. I tend to see this as something that touches upon our shadow aspects.”

Zamaraeva will have work included in the group exhibition Festoon at Underbank Studios in Stockport, England, which opens in April. Find more on the artist’s website and Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Anastassia Zamaraeva’s Surreal Ceramics Revel in the Relationships Between Making and Meaning appeared first on Colossal.

• Art tokenization is a recent trend in the art world that leverages blockchain technology transforming the ownership rights of an artwork into digital tokens.
• 10101.art is a platform where people can become legal owners of physical paintings created by world-renowned artists such as Warhol, Dali. Picasso, Banksy and others.

Q1: In your opinion, how can the average person benefit from the tokenization of art?

A1: Do you know why tokenization has become a megatrend over the past few years? Well, it is because this technology turns previously inaccessible assets into fully accessible ones for everyone. However, art tokenization is not only about accessibility; it’s about freedom. If you cannot buy an apartment or a house today, you must work hard or hit the lottery. Then, virtually any real estate will be available to you. But if you wish to buy a particular authentic painting, then, alas,  it will be out of reach. You’ll have to immerse yourself fully in the art world, hire your art dealer, meet a few curators, and end up buying whatever you’re offered, rather than what you originally wanted to buy. Art tokenization gives you choices regardless of income or social connections. You can choose what you like, in the amount you can afford.

Q2: What unique advantages might WEB3 enthusiasts find in collecting physical art objects?

A2: Web 3.0 community are the groundbreakers. They are the first ones to both try trends and to start bucking them. Hardly anyone outside of the Web 3.0 community would have thought that digital art could be worth millions. Eventually, the pioneers of Web 3.0 proved that it really can’t. In doing so, they destroyed the reputation of NFT technology. As a result, the community gained its first, not the most fortunate, but still valuable art collecting experience.

We are now reinforcing collectibles with Real World Assets (RWA). We believe that this should regain the trust of the NFT and, thanks to the Web 3.0 pioneers, become widespread.

On 10101.art we tokenize physical paintings created by famous artists, such as Banksy, Warhol, Picasso and Dali. Art tokenization allows people to become legal owners of original paintings. This way art ownership and collecting is accessible for everyone.

Q3: While traditional art markets offer established procedures, could there be instances where tokenized ownership presents advantages in terms of ease and security?

A3: Somewhat paradoxically, buying original paintings on the traditional market is definitely not safer or easier. Do you know art dealers and experts who can confirm to you the authenticity of a painting? Are you willing to wade through hundreds of willing bidders for a major auction and overpay many times over for an authentic painting? Let’s assume that the answers to these questions made you chuckle and that these procedures are not particularly difficult. Well, how will you transport the painting to the venue, especially if it’s located in another jurisdiction? Have you thought about insurance and storage arrangements for the painting? And even if you’re not confused by these questions either, think about how long it will take you to become a collector.

Q4: For someone who has purchased an NFT from 10101.art, what are some common approaches to managing and engaging with their ownership?

A4: Our pieces are not a short-term speculative tool. If you want to make money within a couple of days, you definitely should not buy a piece of a painting or a whole painting. No matter whether it’s online or offline. At the same time, we are not ruling out that you will need to sell a piece of your painting later on. For this purpose, we are working on the launch of a secondary market for the realization of pieces of paintings. It will soon be available on our website.

Q5: What unique value do you offer that’s different from your competitors?

A5: Most direct competitors see their future in the best representatives of contemporary art. We also prefer the best, only deceased artists. They cost more, and their work is sure to remain limited edition. Despite this, we do not concentrate on one particular current. On 10101.art you can find works from cubism and surrealism to pop and street art. It is the variety of works, their proven authenticity, achieved by our own network of curators and dealers, as well as real assets stored in a partner gallery that distinguish us from our Web 3.0 competitors.

But the key detail is that at the moment the main goal is to win the competition with indirect competitors. These are the big traditional art market players such as Christie’s, Sotheby’s, MacDougall’s and Bonhams. While we are still playing in the Web 3.0 sandbox, they are the ones who own the absolute share of the art market. The tool that can help us in this is the speed and flexibility of Web 3.0 technologies and projects. When high-tech companies, such as Siemens, realize how important even a minimal advantage over competitors is and invest in RWA without giving space to smaller players, then the traditional players of the art market can give us a chance. And we will definitely take it.

Q6: What are the project’s goals and plans for the near future?

A6: We have a clear vision and a solid plan to achieve it. This vision includes the following points:

Team

An idea is worthless if there is no one to implement it. That’s why we take a long time to select people for each position in the team. We pay special attention to soft skills, it is important that everyone in the team shares the vision and values of the project. We can teach individual skills, but it is almost impossible to impart an appreciation for art or the ability to think critically to a developed person. 

Purposeful and rational use of financial resources

Although we’ve already brought in significant investments, we are playing on a field with traditional players with billions in resources. In this race, it is important to realize that this is a marathon, not a sprint. That is why we are rational in our use of funds and clearly understand our burn rate.

Expanding the collection

Our growth is possible primarily by expanding our collections of paintings from top artists, possessing our own art network, and we devote the maximum amount of effort to finding new gems for our collection. So far, it includes “Turf War” by Banksy, “Campbell Soup Cans” by Warhol and two paintings by Picasso and Dali ready to be announced. 

First-time user retention

In recent months, we have made our first successful sales of 100 pieces of Banksy’s Turf War painting and got our first buyers from our established community. We are confident that they will become evangelists of our project, and we do our best not to disappoint them. After all, it is you, Web 3.0 pioneers, who will be able to bring our idea to the masses better than anyone else.

Opening new galleries

Our major advantage is our own partner galleries. The main task is to increase the number of physical spaces where our collectors can get in touch with their works.  The first of them, Monada Art, will be officially opened on April 16. At this opening, you can personally explore the works and meet the team, as well as ask me the questions I haven’t answered here. 

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In the heart of New York City, a few blocks south of the World Trade Center, an unconventional art show unfolds on the 19th floor of a 1907 Beaux Arts office building. Here, Christopher Wool, a titan of the contemporary art scene since the 1980s, has orchestrated an independent exhibition in a raw, 18,000-square-foot space once occupied by Daniel Libeskind’s architecture practice. This bold move by Wool, at the age of 68, marks a significant departure from the traditional art gallery system, offering a free public showcase of his work with no intention of selling any piece. The gesture not only underscores Wool’s desire for artistic autonomy but also provides a stark commentary on the art market’s commercial pressures.

A Space in Harmony with Artistic Ethos

The choice of venue for Wool’s show is no accident. The in-progress, imperfect state of the office space resonates deeply with Wool’s aesthetic, mirroring the austere, anti-Establishment vibe of his works that hark back to New York’s grittier days. This alignment between the art and its environment invites visitors to engage with Wool’s creations in a setting that enhances their raw, unfiltered essence. It’s a rare opportunity for admirers and newcomers alike to experience Wool’s vision in a space that complements, rather than competes with, the stark beauty of his art.

Challenging the Status Quo

Wool’s decision to eschew the conventional gallery system is not merely a personal preference but a profound statement against the commodification of art. By making the exhibit free and publicly accessible, Wool challenges the art market’s influence on creative expression and questions the industry’s prioritization of financial gain over artistic integrity. This move reflects broader criticisms within the art community and signals a longing for a return to art’s intrinsic values. Despite his significant recognition and success, Wool’s stance highlights his disinterest in the traditional museum and gallery exhibitions, seeking instead a more authentic connection with his audience.

A Milestone in Wool’s Career

The exhibition, not affiliated with Wool’s gallery of 38 years, Luhring Augustine, represents a pivotal moment in his illustrious career. It’s a testament to Wool’s ongoing exploration of artistic freedom and the evolving relationship between art, space, and audience. As visitors wander through the expansive, imperfectly lit rooms, they encounter a dialogue between the artist and the city that shaped him. This show not only offers a glimpse into Wool’s creative journey but also serves as a beacon for other artists contemplating the leap from commercial galleries to more personal, independent showcases.

Christopher Wool’s independent show in NYC is a bold declaration of artistic independence and a critique of the art market’s commercialism. In a world where the value of art is often dictated by its price tag, Wool reminds us of the power of creative expression unbound by financial constraints. As the art community and its enthusiasts ponder the implications of Wool’s move, the exhibition stands as a significant milestone, not just for Wool but for contemporary art itself.