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
Gezira Beach, 2013
Country On The Click (with Mr. Omar Abdi Ali) accessible by cellphone
Kilifi Creek, Kenya, 2015
Offset GUILTY (after Jeff Koons And Ivana Porfiri), accessible by Capt. Issa's boat
Venetian Lagoon, 2013
Commissione Privata (commission), accessible by vapouretto
The North Sea, 2011
Salon Neu (with Embassy Gallery members), experienced from Peru
The Interzone / Narnia, 2011
Ballard in Narnia (with Merlin Carpenter), accessible by canoe
The Water of Leith, 2011
Young London (commission), accessible by footpath
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,cryptoassets diffuse the possibilities for owning Land Art outward.
How it works