I’M A PLANTOID
a blockchain-based life form
Plants need bees to reproduce themselves
Plantoids needs humans
Send Ether to the Plantoid,
so it can hire an artist to replicate
OTHER PROJECTS
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2025 —ongoing
Arborithms is a generative blockchain lifeform project that grows a NFT digital forest from code and game-theoretical evolutionary logics.
Humans collaborate with the Arborithm species by breeding these digital trees with one another to generate new NFTs with a unique combination of genes. Human breeder will earn a fee everytime their trees are used to reproduce a new one.
2025
This AI model, born from the obsessive overfitting of synthetic plant imagery, spirals into a world where the lines between flora and bytes dissolve. Like a mad cow caught in a loop of its own making, the model was fed on a diet of its own progeny: images generated from itself, by itself.
The result? A self-referential hallucination that makes the a new digital flora.
2025
The Artist is Present reimagines Marina Abramović’s iconic performance as an intimate technological encounter.
An old rotary telephone becomes a living interface — a portal to speak with Primavera AI, an artificial entity trained on the artist’s tone, thought, and sensibility.
Each call is a performance in itself: a dialogue between human and algorithm, between memory and simulation.
2014 —ongoing
Plantoids are blockchain-based lifeforms, welded mechanical sculptures that feed off cryptocurrency in order to reproduce themselves. Reproduction is done via human participation, coordinated via blockchain technology. Although (partially) defined by the contractual rules of the DAO, the actual phenotype of subsequent Plantoids remains open to artistic interpretation of the artist “hired” to produce a new Plantoid.
2013
A large metallic hamster-ball activated by human-power, providing a platform for others to perform. The piece acts as a scene for other artists to use as their own canvas, until people cease to be spectators and become a part of the show.
As the Ball rolls on the ground of the festival, it “attacks” other installations, and – by doing so – actually bring more attention to them. The goel is to illustrate “digital piracy” in the physical world.
2012
A mechanic algorithm that generate an abstract painting by means of a pedal-activated peristaltic pump and the danse of a mechanical creature.
This algorithm enables users to interact with the sculpture in order to create unique artworks which are generated by a machine – the equivalent of generative art in the physical world. Who is the author of such work? the artist, the user, or the machine itself?
2012
The O-Pen is a open source software implemented as a mechanical algorithm. The system clearly displays its mechanisms to the public, so that anyone can reproduce it at home, and hopefully improve it – provided that the derived work will itself be released under the same conditions.
This artwork aims to illustrate, mechanically and artistically, what is the value of Open Source both for content and hardware.
2012
For the Nuit Blanche of Paris, we were invited by the Fer a Coudre to exhibit our work at the Murs a Pêches in Montreuil.
We used this opportunity to create a crazy installation exploring the four elements: a fire-spitting mechanical creature nurturing a bonfire, slowly turning into steam (air), and subsequently condensating into water, to nourish a metallic plants that would eventually spill onto the bonfire.
2012
After having participated to the Music Hack Paris (a weekend event during which groups of creators gather to imagine, design and build innovative projects around music), we have been invited to show our creation at the UNESCO headquarter in Paris during the International Jazz Day.
We were, in fact, the only one who “hacked” on music in the physical sense of the term.
2011
This is the day I first admitted to my parents —who are both artists and who wanted me to be an artist as well— that I had been secretly engaging in my own artistic practice without telling them, because I did not want to do what they wanted me to do.
As way of disclosure, I offered two separate artworks, one for each of them, to indicate the end of my adolescence crisis.
2011
An anamorphic projector displaying a rotating set of hand-made diapositives algorithmically distorted to properly display on the wall despite the inclination of the projector.
The piece is purely made out of recycled material, mostly from bike parts and other mechanical pieces. It marks the beginning of our exploration into the strange world of metamechanics.
2010
Tree growth in a fractal manner, through the chaotic and often beautiful pattern of sinusodality. We didn’t think of beautiful and chaotic equations while making this tree, but we did embrace both chaos and beauty during the time that we spent making (or rather growing) this tree.
As for ourselves, we’ve grown too, as we learnt from the process of growing art pieces that beauty must exist at every step.
2010
After a few months exploring the contemporary art scene of Florence, we got invited to exhibit some of our work at the 2010 Festival della Creativita, a 4 days long festival that is entirely oriented towards creativity, expressivity, and innovation.
We went together with the crew of La Citta’ Riciclante, an amazing group of people whose raw material is scrap metal and junk. This is where we belong.
2010
Our first exhibition in a “gallery” —or better, said, an undeground gallery (galleria) mainly populated by graffiti and tags.
The sottopassaggio delle Cure is a perfect destination for a pleasant promenade in the non-touristic parts of Firenze. Every day we would walk by, we knew we would be surprised by a new and interesting piece of graffiti art. So we decided to contribute.. with something completely different.
2007
Kopfschlag is a collective and anonymous internet-based project created in 2007 by Primavera De Filippi and Wolfgang Natlacen. The online visitors may be part of it by drawing, writing, erasing and sharing their artworks on Kopfschlag’s virtual wall, which can be defined as something between an etch a sketch and the exquisite corpse.
The project has been running for over 20 years, collecting all online contributed drawing into an infinitely evolving movie.