“Aziz + Cucher’s understanding of time and history, of past and future, is not as linear and teleological but as recurring, recursive, reversing - a temporal stuttering in which change is mostly illusory, even as the technologies that structure our lives immerse us in a spectacle of progress.” Aruna D’Souza - ‘Entangled Time” in “Aziz + Cucher: XXX” (2022)

To celebrate the exhibition You're Welcome and I'm Sorry at Gazelli Art House, and a recently released monograph celebrating thirty years of cross disciplinary practice between Aziz + Cucher, the artist duo will be launching unique ERC-721 tokens from November 30th.

These works fit within the context of the You’re Welcome and I’m Sorry exhibition at Gazelli Art House, which offers familiar and never-before-seen artworks in a multidimensional display. 2022 marks the 30th anniversary of the artists’ collaboration, and to celebrate this milestone La Fábrica Editions (Madrid) and Gazelli Art House are pleased to present XXX: Aziz + Cucher 1992—2022, a monograph including 130 full colour reproductions of the work that the artists have created together since 1992. Their interdisciplinary work is project-based and idea-driven, with outcomes ranging from video and photography to printmaking, digital animation, sculpture and large-scale jacquard tapestries.

The ERC-721 token release will commence with You’re Welcome and I’m Sorry (The Judge), the second instalment of a trilogy of short ERC-721 tokens. In January, the duo will launch an additional unique ERC-721 token as well as the gallery’s first ever Proof of Attendance ERC-721 tokens. The Proof of Attendance ERC-721 tokens are free to claim for all who visit the exhibition. From January, these ERC-721 token works will be on view in the GAZELL.iO Project Space.

About Aziz + Cucher

Anthony Aziz (B. 1961, USA) and Sammy Cucher (B. 1958, Peru) have worked together as artistic duo Aziz + Cucher since 1992. Experimenting across a variety of media including digital imaging, sculpture, animation, and video-installation, their work is marked by a distinctive concern for technology’s impact on the body and society.

Regarded as innovators in the field of post-photography, Aziz + Cucher have long held a cross disciplinary conversation between the painterly and photographic. Not only were earlier series, such as Dystopia (1994-95), based on the conventions of portraiture established in the Renaissance, but their production involved a kind of electronic painting where pigment and paint were replaced by pixels and data. The dynamic relationship between these two mediums tipped decisively towards the painterly in later series, such as Synaptic Bliss (2004-2013) and Scenapse (2007-2013) where colour and line became key expressive elements.

More recent series have encompassed ideas of collective consciousness, political and social unrest, and the effects of technological mediation. Fascinated by the pictorial storytelling and exacting craftsmanship of classical weaving, Aziz + Cucher’s tapestry series Some People Tapestry Cycle (2014-17) looks to evoke the senselessness and futility of these ongoing conflicts and the anxiety of the historical moment we all inhabit.

Aziz + Cucher have been exhibited globally, notably at the 46th Venice Biennale, with works held in museum collections including: the San Francisco Museum of Modern Art; Los Angeles County Museum of Art; The New School Art Collection, New York; Museo Nacional Centro de Arte Reina Sofia, Madrid; National Gallery of Australia, Canberra. Based in Brooklyn, the artists are members of the Fine Arts faculty at Parsons School of Design (New York) and are recipients of a Pollock-Krasner Foundation grant in both 2017 and 2022.