Artist Joe Moss presents his installation 'Automated Fantasy Procedure' at Matt's Gallery in London. The work features a squadron of choreographed drones, two-channel videos with actors portraying figures like a Caspar David Friedrich-inspired wanderer, and a Roman-style mosaic, all experienced in scheduled ten-minute replays designed to mimic the overwhelming sensation of scrolling through a smartphone.
British artist Craig Boagey's solo exhibition "Spirit Economy" is on view at Amanita gallery in New York's Lower East Side. The show presents lush, meticulously executed paintings that assemble internet ephemera—memes, diagrams, YouTube stills, and references from online subcultures like nu-spiritualism and Remilia—into compositions that blend cute, feminine, and aspirational imagery with machinic, masculine, and esoteric elements. Works like "The All Thing" (2025) incorporate AlphaGo's famous Move 37, Christian iconography, and a memex, treating disposable digital content as cultural documents.
Trend forecaster and writer Sean Monahan, known for coining the term "vibe shift" and popularizing "normcore" through the collective K-HOLE, reflects on cultural trends, platform fatigue, and the possibility of a long-awaited cultural shift. In an interview with Artnet News, Monahan discusses his journey from art school to brand consulting, the legacy of post-internet art, institutional decay, and why the 2020s may finally be congealing into a definable decade. He currently runs the Substack newsletter 8Ball, which decodes contemporary aesthetics and social dynamics.