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This is only available to the original collector.\n\nConditions of sale\n\nOnce purchased, you must claim your drawing before 31 December 2022.\nOnly the first buyer of each NFT can claim an accompanying hand-drawing. \nIf sold on secondary market, the NFT may not include the drawing (seller’s discretion).","database_id":"artwork-15","slug":"heart-star","hidden":null,"media":{"provider_metadata":{"public_id":"video_5_681570f22a","resource_type":"video"},"url":"https://res.cloudinary.com/daata-prod/video/upload/v1664548570/video_5_681570f22a.mp4","mime":"video/mp4","__typename":"UploadFile"},"drop":{"slug":"fished-from-the-river-of-passing-little-thoughts","title":"Fished From The River Of Passing Little Thoughts","headline":"Orfeo Tagiuri captures life’s lighter moments in this collection of hand-drawn animations, which serve as meditations on everyday joy.","date_published":"2022-07-26T21:00:00.000Z","database_id":"drop-5","__typename":"Drop"},"artist":{"slug":"orfeo-tagiuri","name":"Orfeo Tagiuri","bio":"Orfeo Tagiuri (b. 1991, Brookline, MA, USA) lives and works in London. Orfeo's practice spans from painting and drawing to performance, film, woodcarving, animation, and music. Orfeo has both exhibited and performed internationally, including at the Palais de Tokyo, Paris (2018), at Fiorucci Art Trust's Volcano Extravaganza (2016) and the ICA, London (2015). Orfeo is a graduate (MFA Painting, 2019) of the Slade School of Fine Art, and previously attended Stanford University. In 2020, Orfeo was nominated as one of the recipients of the Bloomberg New Contemporaries, with an exhibition opening in May 2021 at the South London Gallery.","icon":{"data":{"attributes":{"url":"https://res.cloudinary.com/daata-prod/image/upload/v1664450291/orfeo_profile_pic_d38d35dd0d_7466d675f3.jpg","__typename":"UploadFile"},"__typename":"UploadFileEntity"},"__typename":"UploadFileEntityResponse"},"profile_pic":{"data":{"attributes":{"url":"https://res.cloudinary.com/daata-prod/image/upload/v1664450269/orfeo_d056e474e0_c99faee0ea.jpg","__typename":"UploadFile"},"__typename":"UploadFileEntity"},"__typename":"UploadFileEntityResponse"},"__typename":"Artist"},"attachments":[{"__typename":"ComponentEditionEdition","collectionAddress":"0x8077f674cbf4e7462651d249146eb2628482d75d","media":{"data":null,"__typename":"UploadFileEntityResponse"}},{"__typename":"ComponentObjectObject","name":"Hand drawn animation frame","tokenGated":true,"type":"PHYSICAL DRAWING 14 X 10CM","description":"This is a physical drawing 14 x 10cm signed, numbered and dated. 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See more at nft.daata.art/daataverse\n\nThe artwork was designed by Keiken to reflect Daata’s mission to support artists and foster critical discourse within the NFT space. An ancient silver coin, embossed with two winged horses, spins in an eternal revolution. At its core, the Daata ‘d’ sits amongst a kaleidoscope of precious jewels. Despite such luxurious materials, the NFT does not celebrate material wealth. In Greek mythology, the winged horse Pegasus represented heroic victory. The metal’s oxidised patina similarly infers wisdom and experience. More than a symbol, this is a work of art that reflects who we are and where we’re going - join us. 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Keiken creates these speculative worlds through filmmaking, gaming, installation, Extended Reality (XR), blockchain and performance. Through these varied mediums they explore how societal introjection governs the way we feel, think and perceive.\n\nRecent exhibitions and projects include: E-motion Graphics, Yebisu International Festival for Art & Alternative Visions 2021; Tokyo Photographic Art Museum, Tokyo (2021); The Time Complex, Yerevan Biennial, Online; Augmented Empathy, FACT, Liverpool; The Metaverse Womb, 3hd 2020, HAU Hebbel am Ufer, Berlin; Ghosts & Apparitions, Sheffield Doc Fest, Online; Metaverse: We are at the end of something, Mira Festival, IDEAL, Barcelona; Sessions, Block Universe, Online; The Artist is Online, KÖNIG GALERIE, Online; How to Make a Paradise, Frankfurter Kunstverein, Frankfurt; The Eternal Network, transmediale 2020, Haus der Kulturen der Welt HKW, Berlin (2020); Image Behaviour, ICA, London; Jerwood Collaborate!, Jerwood Arts, London (2019).","icon":{"data":{"attributes":{"url":"https://res.cloudinary.com/daata-prod/image/upload/v1664450230/Keiken_logo_2_ece0de29ac_a4699a1016.png","__typename":"UploadFile"},"__typename":"UploadFileEntity"},"__typename":"UploadFileEntityResponse"},"profile_pic":{"data":{"attributes":{"url":"https://res.cloudinary.com/daata-prod/image/upload/v1664450209/Portrait_Keiken_credits_Callum_Leo_Hughes_2d507054b6_1fa563a315.jpg","__typename":"UploadFile"},"__typename":"UploadFileEntity"},"__typename":"UploadFileEntityResponse"},"__typename":"Artist"},"attachments":[{"__typename":"ComponentEditionEdition","collectionAddress":"0x5fabc6db5481228609a47c0c498ded84d230aca6","media":{"data":null,"__typename":"UploadFileEntityResponse"}}],"edition":{"__typename":"ComponentEditionEdition","collectionAddress":"0x5fabc6db5481228609a47c0c498ded84d230aca6","media":{"data":null,"__typename":"UploadFileEntityResponse"}}},{"__typename":"ArtworkEntity","date_published":"2022-06-20T22:00:00.000Z","name":"Metaxy","description":"Metaxy\n2022\nHD Video, MP4, NFT\n00:00:10\n\nMetaxy is the figure of in-betweens and metamorphosis. Diotima teaches Socrates that Love is the child of plenty and poverty, and is found between gods and mortals. Metaxy also manifests as Metatron ( רוֹןְ טָטֶ מ)—the final, highest, latest, last, last angel, who keeps re-looping the final devalued revelation. They are surrounded by unwanted mementos, detritus, relics, and props. 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Often performing as fictional, anachronous personae, they employ the elasticity of theatricality in moments of tenuous changeover. Their ongoing work analyzes of madness and mimesis in queer performance, challenging staid discourses and affective assumptions. many forms, Bernstein and Rubin explore the implications of both fashionable and occluded tropes of queer and trans* life including dysphoria, suicide, and depersonalization.\n\nTheir work has been presented at the Kitchen, LUMA Westbau, MOCA Los Angeles, Issue Project Room, Anthology Film Archives, the Whitney Museum of American Art, Reena Spaulings Fine Arts (Los Angeles), and Pilar Corrias Gallery (London). At the Whitney, they staged and performed Bernstein’s libretto Bieber Bathos Elegy in 2016 and Mayo Thompson’s Victorine (with Art & Language) for the 2012 Whitney Biennial.\n\nBernstein is the author of the poetry collection, Burn Book (Nightboat), and a book of essays, Notes on Post-Conceptual Poetry (Insert Blanc Press), which the New York Times noted for its “blistering cultural criticism.” Notes was also selected as a Best of 2015 by Artforum. His writing has been featured in Art in America, Poetry Magazine, Spike Arts Magazine, Bomb, Mousse, May Revue, Bookforum and Texte Zur Kunst.\n\nRubin is a composer and filmmaker. His work explores mythopoeic histories of gender play in theatre, art, and literature from Leonor Fini to Caravaggio and Darger. Experimenting with the psychoacoustic and hormonal nature of vocal production, he deconstructs the use of voice as a marker of age, sex, and authenticity. His films have screened at the Brooklyn Film Festival and the MIX Queer Experimental Film Festival. He performed in Shelley Hirsch’s Book-Bark-Tree-Line for Blank Forms and Jill Kroesen’s Collecting Injustices at the Whitney Museum of American Art in 2017. 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His works often deploy humorous narratives about future dystopias to explore what motivates us as humans to work, live, and create.\n\nJeremy Couillard was born in 1980 in Michigan. He received his MFA from Columbia University and his BA from Michigan State University. Couillard has exhibited at Zabludowicz Collection (London, U.K.), Phillips Auction House (co-commissioned by daata editions) (New York, NY), yours, mine & ours gallery (New York, NY), Lincoln Center (New York, NY), Louis B. James (New York, NY), Zhulong Gallery (Dallas, TX), Flux Factory (Queens, NY), and has screened his work at the New Museum and Rhizome (New York, NY), Salon 94 (New York, NY), the Brooklyn Academy of Music (Brooklyn, NY), and the Warhol Museum (Pittsburgh, PA).\n\nCouillard’s work has been featured or reviewed in Artforum, The New York Times, The New Yorker, Hyperallergic, Frieze Magazine, Art in America, VICE’s The Creators Project, The Washington Post, FAD, artnet news, ARTNews, the Huffington Post, and the Observer. 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Using the metaphor and physicality of a two-headed body, Hall explores how multiple personalities and possibilities of self are visualised. A dark onanistic fantasy of sex dolls and self-love unfolds by means of an out-of-body experience. The central character divides, seeing her body as a disembodied object. Her body parts separate and multiply as her other self – her alter ego – becomes her lover. She is at once monstrous, sexy and utterly wonderful. 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She draws on a childhood immersed in the aesthetic formalities of American Southern conservative and religious culture, and contrasts them with those of familiar subcultures.\n\nTrulee Hall (b. 1976) received her BFA from Atlanta College of Art in 1999 and her MFA from CalArts in 2006. Hall’s first gallery solo exhibition, The Other and Otherwise, was held at Maccarone, Los Angeles in 2019. Other recent projects include Tongues Duel the Corn Whores, an Opera at the Zabludowicz Collection; All of Them Witches at Jeffrey Deitch in Los Angeles; Infestation, a video and sculptural installation at Paramount Studios as part of the inaugural Frieze Los Angeles (2019). Exhibitions and screenings of her work have been held at the Rubell Family Collection, Hammer Museum, Villa Schöningen, Redcat, Los Angeles Contemporary Exhibitions (LACE), Los Angeles Nomadic Division (LAND), Human Resources LA, Barrick Museum of Art, Michael Benevento Gallery, OUTFEST LA, The Museum of Contemporary Art Chicago, Billy Wilder Theater, Yale Union and MOCA Los Angeles among other numerous exhibitions and screenings internationally. 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Gibbens engages with the way that (young, cis) female bodies are used as a landscape on which desire for commodities are constructed, framing her work as perverse product demonstrations or adverts—taking the term “sex sells” too literally. \n\nShe graduated with an MA in Contemporary Art Practice at the Royal College of Art (2018) and a BA in Performance Design and Practice at Central Saint Martins (2015).","icon":{"data":{"attributes":{"url":"https://res.cloudinary.com/daata-prod/image/upload/v1664450407/Tooth_ad1e7b666b_5086430f7a.png","__typename":"UploadFile"},"__typename":"UploadFileEntity"},"__typename":"UploadFileEntityResponse"},"profile_pic":{"data":{"attributes":{"url":"https://res.cloudinary.com/daata-prod/image/upload/v1664450392/Soupy_Rosie_Low_Res_medium_02e94c4f4f_fd6dfb92e8.jpg","__typename":"UploadFile"},"__typename":"UploadFileEntity"},"__typename":"UploadFileEntityResponse"},"__typename":"Artist"},"attachments":[{"__typename":"ComponentTokenToken","collectionAddress":"0xf35777f2054322bf7bfa057c7cea28a7eb40b63c","tokenId":"3","tokenMedia":{"data":null,"__typename":"UploadFileEntityResponse"}}],"token":{"__typename":"ComponentTokenToken","collectionAddress":"0xf35777f2054322bf7bfa057c7cea28a7eb40b63c","tokenId":"3","tokenMedia":{"data":null,"__typename":"UploadFileEntityResponse"}}},{"__typename":"ArtworkEntity","date_published":"2022-04-06T22:00:00.000Z","name":"Super stylish and efficient cleaning outfit","description":"Save time and money with this super stylish and affordable cleaning attire. 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Big Sister has been a re-occurring character in Pierce's work since her inception in 2016. She exists as a personification of feminine sousveillance, a dualistic match to the Orwellian constructs of Big Brother.\nA high femme data domme who gets off on \"objectifying you, objectifying me\".\n\nIn this work, Big Sister is in the \"privacy\" of her own bedroom, confronting the lack thereof. It is a candid and unscripted conversation in which Pierce/Big Sister (they one and the same) initiates a seductive conversation with any and all of the various trackers which may be recording, preying, and surveying her through her cameras, computers and devices at any given moment. In this piece, we find Big Sister operating from a state of soft negotiation. \"I just want to understand\".\n\n\"We have reached an era in our technological development where we really have no idea who or what is collecting our data at any given time. Privacy is a fallacy which no longer exists. 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