Empowering remediation with Land Art
It's not a case of the art-world versus 'the outside', but rather an art-world versus hidden committments.
Richard Parry's Not Not Fireworks
A continual deferral of plentitude forcing new forms of audience. Resistance for inflections of power that organise and appropriate urban desire. A complex frontier between spatial politics and cultural change. The production of art as a crucial site for analysing and intervening in the reproduction of ‘nature’.
“For the lay art audience, the materials are static deliverables with a fixed net worth. For the professional artist, however, the materials are in flux and must be moved onto another speculative configuration to facilitate asset backed securitization.”
Dr Neil Mullholland, Research Explorer
Amazing Richard Parry Land Art In Real Life.
Mnichov district, Czech Republic, 2017
Land Art Common Land (Collective project with Klasse Pryde / Sculpture Studio UMPRUMM)
Asia district, Peru, 2016
Offset Critical High Ground (with Oscar Murillo), accessible by dune buggy
Kilifi Creek, Kenya, 2015
Offset GUILTY (after Jeff Koons And Ivana Porfiri), accessible by Capt. Issa's boat
The Interzone / Narnia, 2011
Ballard in Narnia (with Merlin Carpenter), accessible by canoe
Experience the ownership of Richard Parry Land Art with Land Art (PARRY) cryptocurrency.
The Land Art (PARRY) cryptocurrency maintains a decentralised ownership ledger, offering new ways to own Land Art.
While traditional valuation and acquisition hierarchies centralise exclusive circulation, PARRY cryptoassets diffuse the possibilities for owning Land Art outward.
How it works
1. Richard Parry studio records the ownership of Land Art artworks by issuing PARRY tokens.
2. The ownership and accounting systems for PARRY exist as a blockchain subledger.
3. Secondary markets trade PARRY through cryptocurrency exchange.
richardparry@richardparry.art