Crypto ZR is the pseudonym of Liu Jiaying, an artist who uses blockchain technology to explore the nature of human connection, civilisation and language in the era of rapid development of the internet and virtual reality. In 2021, she held a major solo exhibition at the Guardian Art Center in Beijing (Crypto ZR: Cookie Cookie) followed by another one in Venice in 2022 (CRYPTO ZR: COOKIE COOKIE 2.0). “Arrival”, curated by Li Zhenhua, is a crypto art project presenting the artist’s work created over the last few years. It was exhibited at the Saatchi Gallery in London between the 26th and 28th of May. Through the medium of film, Crypto ZR invited the audience to immerse in a digital experience based on algorithms and virtual reality to discuss the issues of the global economy and human nature. I spoke to the artist about crypto art and its place in today’s world.
Aleksandra Mainka-Pawlowska: “Arrival” explores human connections and how anonymous users interact with each other online. Do you think these virtual interactions mirror the physical world? Or perhaps technology has created a new space to which we can’t apply traditional psychology and sociology?
CryptoZR: I believe that as long as the realm can be reached by human consciousness, psychology and sociology will exist, regardless of whether it is in virtual space. Take my artwork “Greed Is Good,” for example. By modifying the smart contract, I changed the operating mechanism of this currency. Instead of deducting the payer’s balance and increasing the payee’s balance, I modified the transaction recording rule to simultaneously increase the balances of both parties. Using this rule, an address was able to increase its balance to over one hundred billion within 24 hours. This artwork can be seen as evoking human greed, which ultimately renders the currency worthless. I have also created other works on the blockchain, such as “100 Days” and “Red N Blue,” which introduce serendipitous events within virtual space. The participants define the meaning and direction of the artworks, which can be analyzed through psychology and sociology.
AMP: In your work, you use blockchains and cryptocurrency – how do you adapt these technologies to create new meanings?
CryptoZR: Cryptocurrency is part of the cypherpunk movement, which has an ideology centred around privacy and cryptography as a tool to support this ideology. Cryptography applied to currency gave birth to cryptocurrencies, aiming to achieve the inviolability of personal assets. The smart contracts on blockchain have enabled new possibilities for defining the functionalities of innovative cryptographic assets. In my artwork “TopBidder,” I have created a unique form of asset— NFTs that cannot be collected. This type of NFT asset is designed based on the radical market theory, where anyone who bids more than 10% above the previous bid can acquire the asset. The surplus value generated from the bidding process is distributed among the NFT issuer, previous owner, and protocol developer according to a 50%, 30%, and 20% ratio, respectively. This enables the artist to receive perpetual royalties and allows for the free circulation of NFT artworks, no longer constrained by individual collectors.
I am fascinated by using blockchain technology for artistic conceptual creation. It is crucial in this era to use unprecedented tools, mediums, materials, and languages to engage in discussions about human themes. Creating artworks that explore issues related to currency, transactions, consensus, free will, exploitation, and human nature using the technological features of blockchain is a natural progression in this context.
AMP: Crypto art, just like cryptocurrency, changes with time. Do you consider your works to be “finished” at any point or do you let your art shape and recreate itself without any interruptions?
CryptoZR: In my experiments, the artwork “Red N Blue” was intentionally released in an unfinished state. When there are no collectors participating in the auction and placing bids, the artwork remains incomplete because it lacks the defining interpretations from collectors. On the other hand, in my artwork “1000EYE,” although all NFTs have been sold, there are plans to gradually reveal relevant tags about the 1000 individuals associated with the artwork at the appropriate time. This artwork is still evolving.
As for my latest creation in 2023, “Solo Mining,” what serendipitous on-chain events it may generate after its release remains unknown. Therefore, I intentionally do not make all my artworks fully completed. Instead, I open up the results to the participants of the blockchain community, depending on the direction and nature of each artwork.
AMP: Technology and virtual reality remain largely uncharted territory, do you think artists whose work pushes technological boundaries can help others understand the contemporary world through their art?
CryptoZR: In reality, most people are already immersed in virtual reality to some extent. The current virtual reality experience is limited to the size of screens, and smartphones have become an essential part of the human body. With the gradual improvement of VR devices, the landscapes within the virtual world will become increasingly realistic. Artists who push the boundaries of technology can utilize this space to better convey their concepts. Combining the virtual space with cryptocurrency forms the metaverse, where people can engage in social activities such as constructing digital galleries, attending art exhibitions, and trading NFT artworks.
The contemporary world is at a crossroads between reality and virtuality. Silicon-based life forms, represented through cryptocurrencies and AI, are emerging. It is crucial for artists to contemplate how to comprehend and respond to the relationship between these entities and humanity, and to convey these dynamics through art. This is an area that artists need to consider and explore.
AMP: One of the themes in your art is the anonymity and alienation of the digital world which strips users of their identities. Does the name CryptoZR you use as an artist reflect it?
CryptoZR: Just as many people do not use their real names on the internet, anonymity is a common need for individuals. People prefer not to play the same role online as they do in the physical world. Moreover, anonymity is a fundamental characteristic of crypto culture. Many renowned artists in the field of crypto art choose to remain anonymous or use pseudonyms. “CryptoZR” is my code name in the crypto world, representing my identity as an artist and distinguishing it from my personal roles in other domains.
AMP: Your works are created online and exist in virtual reality – how do you overcome the limits of physical space and present them to your audiences in gallery spaces?
CryptoZR: Regarding how to showcase in the physical world, I have already addressed these issues in my first solo exhibition at the Guardian Art Center in Beijing in 2021. The exhibition can take the form of sculptures, interactive videos, live auctions, and VR virtual worlds, as well as on-site distribution of currency and on-site private key decryption. I am excited about the integration of these virtual worlds into reality. You can refer to the site for the on-site experience. https://www.artexb.com/pano/COOKIE_COOKIE
