Eugene

ph @annastavenski

Photo by @jacksheartt

Artnomads develops projects in contemporary art and showcases prominent artists, bridging the gap between creators, audiences, and collectors. Our team curates digital and physical exhibitions and oversees the career development of contemporary artists. We believe art is an ever-evolving entity that deserves protection, support, and nurturing. That’s why Artnomads is always open to collaborations with contemporary artists and institutions worldwide. If you’re seeking a professional team to curate your art or exhibition, or if you’d like to feature our artists in your projects, feel free to contact us at: [email protected]. Additionally, Artnomads aims to uncover global masterpieces and exhibitions, promoting them within the art world through media platforms. If you want to submit your project for publication with Artnomads, please send it through the Google form linked in our profile bio. Team: @y_tingchun @manuelacabrales @kiislenko @raikkonen_maria @leoleiman @shaeugene Artists in reels: @sheidlina @orkhan.art @krotchy @tbaocreate @reepsone @shanef3d @yasybachurina @edoardo_dionea_cicconi

ART DUBAI 2026: @artcnomads x @rarares_gallery Art Dubai is open - and so are we. Natura Naturans, Natura Naturata is now on view at Booth D5, Digital Section. The exhibition brings together Fatma Lootah (@fatmalootah ) and Chunkook Lee (@l.gno ) - making his Middle Eastern debut - around a single question: where does nature end and the made world begin? Lootah’s The Earth breathes, blooms, and fades in real time. Lee’s sculptures pulse with ornamental vitality, born from digital models and finished by hand. We’d love to see you there. Curated by Marina Baisel (@marina_baisel ) and Art Curatorial Nomads (@artcnomads ) Photo Credit: @rararesgallery 🪧 Booth D5 · Art Dubai Special Edition · Digital Section 📅 14–17 May, 2026 📍 Madinat Jumeirah, Dubai

'SILENT OVERHEAT', Exhibition at @artcnomads , #Manila In 'SILENT OVERHEAT', objects achieve total material autonomy, withdrawing from human translation into the realm of pure 'stuff'. Aseptic chrome and hyper-real silicone form a speculative assemblage where the documentation functions as the primary event. This is Gallery Fiction in its purest form: matter that doesn't speak, it only persists as a blind spot for the viewer. (This neural network-generated post and publication are fictional, created to investigate post-internet art as a new medium, examining gallery fiction, visibility, attention economy, digital aura, and media regimes)

We are thrilled to announce that Art Curatorial Nomads will be participating in Art Dubai 2026 @artdubai in collaboration with Rarares Gallery @rarares_gallery The booth presentation unfolds around nature as both generative force and the world it produces: a dynamic continuum where organic and technological modes of manifestation are deeply interconnected. A contemporary rethinking of artistic syncretism through a Trinity: Nature, Art, Science. Chunkook Lee presents «Shell» - a sculptural form embedded with AI-generated sound - alongside new sculptures and wooden panel works with polymer clay, each developed in direct response to the Dubai context. Fatma Lootah’s installation «The Earth», originally shown at the Sharjah Museum in 2024, is expanded here through AI-modified sound and a floating vessel of soil shaped like a human body - evoking the sensation of the Earth breathing, speaking to us from the future. Participating artists: Fatma Lootah @fatmalootah Chunkook Lee @l.gno Curated by Marina Baisel @marina_baisel and Art Curatorial Nomads @artcnomads Photo Credit: Fatma Lootah, Chunkook Lee

RARARES X ARTCNOMADS AT ART CENTRAL HONG KONG 2026 «Body Is The Foreign Place» A joint presentation by RARARES Gallery (@rarares_gallery ) and Art Curatorial Nomads (@artcnomads ). «The presentation features new, vibrant works by last year’s featured artist, Mathias Hagen Masarati. Alongside him, Elnaz Javani presents textile-based works that explore relocation, material sensitivity, and embodied identity. Sculptures by Chunkook Lee consider the tension between human presence and nature, while Ustina Yakovleva’s bead-and-thread works evoke deep-water origins and interconnected histories. Tatiana Chursina contributes a triptych reflecting on emotional interdependence.» Artists: Mathias Hagen Masarati (@mathiasmasarati ) Javani (@elnazjavanii ) Chunkook Lee (@l.gno ) Ustina Yakovleva’s (@ustina_yakovleva ) Tatiana Chursina (@_tanya_chursina_ ) Curated by Marina Baisel (@marina_baisel ). In collaboration with Art Curatorial Nomads (@artcnomads ). Big thanks to: Olga Prohorova (@o_prokhorova ) Alena Buzueva (@alenenok1981 ) Photo: courtesy of @rarares_gallery and @l.gno @artcentralhk , 25–29 March 2026, Booth A18, P3, Central Harbourfront, Hong Kong.

[Installation view] «HANDFUL OF DUST» @wijuri_ , @yasybachurina , @_goujirou , @angelaleyvago , @l.gno , @sparreulrichnicky , @irina.razum , @inagaky Curated by @shaeugene , @raikkonen_maria ( @artcnomads ) × Studiya Gallery. “<Handful of Dust> is a group exhibition reflecting on what remains when meaning fades. The exhibition explores untranslatable fragments, obsolete gestures, and materials that continue to exist even after their function has been lost.” “<Handful of Dus>t는 본래의 기능을 상실했음에도 여전히 물질로서 잔존하는 사물, 제스처, 그리고 의식들을 탐구하는 전시이다. 전시는 사라짐과 아카이브 사이의 경계에 위치한 일련의 작업들을 통해, 더 이상 발화하지 않으나 잔향처럼 남아있는 기능적 공허와 그 잔여적 의미를 성찰한다.” @studiya.gallery , Seoul, South Korea. 25.08.29 - 25.09.19 Inquiries: [email protected]

FOSSILIZED SCREEN The installation features a rugged concrete and earth frame encasing an embedded display with faint text and a purple glow, connected by a dangling wire suggesting obsolete tech. It explores digital archaeology and data decay, blending ancient materiality with fleeting screen content to question virtual knowledge’s permanence in a post-digital era. The piece creates tension between relic and glow, inviting reflection on buried narratives and archived memories’ fragility. The obscured text evokes fragmented code, highlighting a paradox: screens for eternal access become entombed artifacts, prompting thoughts on data loss and media ruins. Fusing sculpture with electronics, it turns the gallery into a media history excavation, sparking dialogue on preservation and information’s evolving aura. (This neural network-generated post and publication are fictional, created to investigate post-internet art as a new medium, examining gallery fiction, visibility, attention economy, digital aura, and media regimes through Natalia Serkova’s theories.)

BURIED REST The installation constructs a tunnel from discarded mattresses sourced from urban waste sites, once used by people for sleep, now repurposed and filled with earth and debris to form a crumbling burrow that spills soil onto the gallery floor. Examines themes of transient shelter and societal discard, where the worn fabrics bear traces of human habitation, symbolizing the precariousness of rest in marginalized spaces while merging domestic remnants with raw geological matter. This immersive structure invites interaction, evoking buried histories of displacement and the erosion of personal sanctuaries amid environmental and social decay. Complementary pieces include solitary mattresses leaking dark charcoal powder in looping and trailing formations, turning the floor into metaphors for fragmented dreams and inexorable dissolution. These works highlight a contradiction: objects of comfort become vessels of contamination, urging contemplation on waste cycles, homelessness, and the haunting imprints of human vulnerability in consumer throwaway culture. By transforming scavenged materials into site-specific forms, converts the gallery into a simulated underbelly, sparking discourse on reuse, inequality, and the anthropocene’s lingering shadows. (This neural network-generated post and publication are fictional, created to investigate post-internet art as a new medium, examining gallery fiction, visibility, attention economy, digital aura, and media regimes)

FRAGILE CAPTURE The installation features a massive stone ensnared in a fishing net, precariously balanced on fragile wooden supports resembling miniature stakes. The artist explores themes of nature’s vulnerability to human intervention, where the net symbolizes the trap of industrial impact, and the supports represent an illusory stability that could collapse at any moment. Combining raw natural materials with precise construction, the work evokes a tension between capture and release, prompting viewers to reflect on the fragility of ecosystems and the consequences of anthropogenic pressure. The stone, enveloped in the net, appears caught in a moment of descent but held by slender wooden elements, creating an optical illusion of steadiness. Through this composition, Voss confronts the viewer with a paradox: the net, intended for harvesting, becomes a metaphor for control over nature, while the supports emphasize how ephemeral that control truly is. The installation sparks a dialogue on the balance between resource exploitation and preservation, transforming the gallery space into an arena for contemplating climate change and human responsibility. The work was created as part of the «Eco-Traps» residency supported by the Nordic Art Initiative. (This neural network-generated post and publication are fictional, created to investigate post-internet art as a new medium, examining gallery fiction, visibility, attention economy, digital aura)