A landmark three-day event in Berlin positions Tezos as a cultural epicenter in digital art’s evolution beyond speculation into genuine cultural practice

In the cavernous exhibition spaces of Charlottenburg this November, a question will hang in the air alongside the digital projections and installations: What happens when art that lives on the blockchain steps into the physical world?

Art on Tezos Berlin, running November 6-9, offers an answer that’s been four years in the making. This isn’t another NFT showcase trading on the feverish speculation of 2021’s crypto gold rush. Instead, the event represents something more substantial and interesting: the first comprehensive gathering of the Tezos art ecosystem that has quietly built one of the most diverse digital art communities in the world.

RSVP to join the event here.

✦ Art on Tezos: Berlin ✦

This November, step into a 3-day journey of Art on Tezos: experience exhibitions, performances, screenings, and more…

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— Art on Tezos (@artontezos_) September 15, 2025

“In a moment when questions of digital ownership and authorship are shaping the broader cultural dialogue, we bring together Art on Tezos: Berlin, an event that highlights why art on the blockchain matters today,” says Aleksandra Artamonovskaja, Head of Arts at Trilitech, the Tezos research and development hub. “Beyond the speculative hype of 2021, blockchain has become a medium for experimentation, collaboration, and accessibility — empowering artists to reach global audiences directly and build sustainable creative ecosystems.”

That sustainability is written into the numbers. Since the grassroots platform hic et nunc launched in spring 2021, over 100,000 artists worldwide have found their way to Tezos. The event’s roster of more than 200 participating artists reads like a cross-section of contemporary digital practice: from new media pioneer Lauren Lee McCarthy and generative art luminary Golan Levin to digital installation artist Claudia Hart and conceptual provocateur Kevin Abosch.

Kevin Abosch, *Berlin*, *synthetic photograph*, 2025. Presented by The Second-Guess.

Making the Digital Tangible

What distinguishes Art on Tezos Berlin from typical blockchain art events is its polyphonic structure. Anika Meier, curator and writer, was invited to shape the curatorial framework, ensuring that each exhibitor could bring their own perspective while contributing to a broader conversation about art, technology, and community. The lineup includes objkt, the blockchain’s largest marketplace; bitforms, a pioneering gallery that’s been championing digital art since 2001; curatorial collective The Second-Guess; and Berlin-based ventures Office Impart and Galerie Met.

This multiplicity isn’t accidental. It reflects the essential character of Tezos itself: a blockchain designed for evolution and governed by its community. The art ecosystem that’s emerged on it mirrors that decentralized ethos. Platforms like the community-driven teia marketplace operate not as extractive businesses but as artist-centric cooperatives.

The challenge of presenting blockchain art in physical space has vexed curators since the medium emerged. Art on Tezos Berlin tackles this through variety: guided tours will lead audiences through installations that range from screen-based works to immersive environments. Berlin-based interdisciplinary artist allapopp will present a site-specific performance, translating digital media into embodied experience.

“When we began planning Art on Tezos: Berlin, it was clear that the city’s history of digital art and culture would be part of the experience,” says Meier. “The exhibition revives classic net art formats, including a show in an Internet café on Saturday evening.“

Perhaps most intriguing is TeleNFT’s contribution, a project that explores “the medium as the message” through onchain teletext art. Following successful presentations at Ars Electronica and other major digital art festivals, TeleNFT shows how live art can be both fleeting and permanent, captured on the blockchain as it happens. It’s blockchain art in miniature: works that can be copied endlessly but remain verifiably unique, available to anyone yet owned by someone.

Golan Levin, *Directrix* (output from a generative long-form series), 1998. Presented by objkt.

Establishment Meets Underground

Tezos has some technical advantages over older blockchains, particularly its proof-of-stake mechanism, which makes it more energy-efficient. But what really distinguishes it as an art platform is the grassroots community and institutional credibility it’s built. Art Basel and Serpentine partnerships, collaborations with the Musée d’Orsay and LAS Art Foundation: these represent genuine integrations into contemporary art’s infrastructure, not blockchain tourism.

Yet the event’s energy derives from its homegrown origins. The platforms and communities gathering in Berlin weren’t venture-capital funded from the start; they were built by artists, for artists, often through open-source collaboration. This tension between establishment recognition and DIY ethos gives Art on Tezos Berlin its particular charge.

“Bringing these practices into a physical space creates an essential bridge between online communities and in-person cultural exchange,” Artamonovskaja notes, “demonstrating how blockchain-based art is influencing both the art world and society at large.”

0009, *Pattern Memory*, 2025. Presented by objkt.

As digital culture increasingly dominates how we create, share, and think about art, questions of ownership, authenticity, and value have moved from technical concerns to existential ones. Art on Tezos Berlin arrives at a moment when those questions feel urgent. Social platforms dictate visibility and dominate the discourse. AI floods every feed while artists struggle to make rent.

The event doesn’t promise solutions. But in gathering this community — one that’s spent four years building alternative structures for how art can be made, shared, and valued — it offers something equally important: working examples. Over three days in Charlottenburg, audiences will encounter not just art on blockchain, but art that could only exist because of blockchain: works created through global collaboration, distributed across networks, collected by communities rather than institutions, yet still capable of commanding attention in physical space.

Whether this represents the future of art or simply one possible future remains an open question. But Art on Tezos Berlin makes a compelling case that it’s a future worth paying attention to. It’s one where technology serves creativity rather than the other way around, where community and experimentation trump speculation, and where the digital and physical coexist rather than compete.

The doors open November 6.

Art on Tezos Berlin runs November 6-9, 2025, in Charlottenburg, Berlin. RSVP to attend the event here.

Claudia Hart, *Matisse Passes Through Me V.5*, 2021. Pure pigment suspended in resin, acrylic gouache paint, India ink, graphite, acrylic paint, ash veneer plywood. Presented by bitforms.