ANNKA KULTYS GALLERY
ANNKA KULTYS GALLERY
THE GALLERY IS NOW CLOSED FOR INSTALLATION. WE LOOK FORWARD TO WELCOMING YOU BACK WITH A SOLO EXHIBITION BY AMERICAN ARTIST SIGNE PIERCE, ON VIEW FROM 2 OCTOBER TO 8 NOVEMBER 2025
PREVIEW: 1 OCTOBER, 6.30–9 PM, RSVP ESSENTIAL, TICKETS REQUIRED
JUST AROUND THE CORNER FROM VICTORIA MIRO
ARTIST IN THE SPOTLIGHT
By Jo Lawson-Tancred
£19.90
ISBN: 9781848226890
Pages: 104
Publisher: Lund Humphries Publishers Ltd
Co-Publisher: Sotheby’s Institute of Art
Series: Hot Topics in the Art World
Publication Date: 31st October 2024
Trim Size: 13 x 20 cm
Tote Bag
£10.00
The Black Canvas Portrait Tote Bag is a strong shopper, measuring 43x38cm, with long handles. Perfect for carrying daily essentials, it combines sustainability and elegance, making it an ideal choice for eco-conscious shoppers.
Paul’s Gallery of the Weekend | Art critic and curator Paul Carey-Kent highlights Annka Kultys Gallery in his weekly selection for FAD. He notes: ‘ This is the tenth anniversary year of Annka Kultys’ eponymous gallery, and over the decade the Swiss gallerist has developed a forward-looking and distinctive position as a physical gallery that emphasises the digital, through both the gallery programme and extensive online offerings.’
The physical gallery currently features another favourite of mine: Bonn-based Louisa Clement presents an artificially-generated church sermon, as found in Korea; and a striking 100-panel installation featuring abstracting close-up shots of her body, over which she has lasered her own texts addressing how, in her words, ‘our facts become more blurred than ever before’, exacerbated by how ‘the AI continue to generate texts from themselves’, such that the associated ‘loss of knowledge in the body is a central theme of our time’. →
J.J Charlesworth reviews Jonas Lund’s solo exhibition ‘In The Middle of Nowhere II’ at Annka Kultys Gallery for the Art Review, critically evaluating the artwork’s commentary on human relationships with AI within an economic context.The writer explains that Lund subverts the generic anxiety attached to these evolving technologies: ‘It’s not that generative AI is getting to be as good as human creativity, but that much human creativity produces artworks that are rote’. →
Sasha Stiles was recently interviewed by Tina Rivers Ryan for the ARTFORUM. Over the past year, Kalmyk American poet Sasha Stiles has become the public face of the burgeoning world of poetry NFTs. In her interview ‘Transcending digital dualism through networked poetry’ Sasha Stiles notes: ’I’ve been saying for a long time that poetry is code, and vice versa. All poets throughout history have used algorithm in the form of pattern and syntax to evoke feelings, call up memories, and achieve some kind of poetic immortality.’ →
Mimi Nguyen interviewed Robert Alice, Simon Denny, Carolina Mostert (Sotheby’s), Arthur Breitman (Tezos), and Annka Kultys (Annka Kultys Gallery) for Right Click Save, the first online magazine fully dedicated to drive critical conversation about art on the blockchain. Annka Kultys noted: ‘ It is essential that NFT art is contextualized within art history and its collectorship expanded to the traditional art world. Even today, there remains very little writing about the content of NFT art, though new publications are finally emerging to fill this void.’ →
The Financial Times has mentioned Annka Kultys Gallery as one of an “eclectic mix of early adopters” to have embraced digital art in an article on how London has become a crypto-art capital, written by Alex Estorick. The article explains the rise of London as an epicentre of the recent digital boom, within which digital art and boundary-breaking creative initiatives can flourish. →
Rachel de Joode, Berlin-based multimedia artist, has spoken to The Art Newspaper about her new works on show at Annka Kultys Gallery, interviewed by Olivia Gavoyannis. The author Olivia Gavoyannis notes: « De Joode’s focus on the interplay between the physical and the virtual is evident in the process behind the abstract paintings currently on show at Soft, her new exhibition at the Annka Kultys Gallery in London. » →
12 JANUARY 2025 — ONGOING
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29 DECEMBER 2024 — ONGOING
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24 NOVEMBER 2024 — ONGOING
17 NOVEMBER 2024 — ONGOING
Coinciding with its 9th anniversary, ANNKA KULTYS GALLERY is delighted to announce the launch of its new digital programme Illuminated: Moving Image Perspectives, which will take place over the course of a year (from 17 November 2024 — 16 November 2025), and elaborates on the gallery’s expertise in moving image and reaffirms its ongoing commitment to this field.
On a weekly basis, Illuminated: Moving Image Perspectives: will offer unique insights into a new media artist using film, video animation, as well as their latest technological explorations, including blockchain and advanced technologies such as AI. The program has so far featured Jonas Lund, Sara Sadik, Oliver Laric, Lauren Lee McCarthy, Nicolas Sassoon, and Aram Bartholl with upcoming contributions from Tamiko Thiel and Che-Yu Hsu. This project aims to showcase and contextualise diverse digital art practices, while introducing international artists and their distinctive approaches to the gallery’s audience.
The online streams will be augmented by physical presentations of digital artworks in a private home setting at ANNKA KULTYS LOFT, the gallery founder’s loft in Shoreditch. These installations will be accompanied by regular, invitation-only dinners and carefully curated exclusive viewings for art professionals, fostering deeper connections between artists, collectors, journalists, and museum curators.
Subsequently the artworks will be featured in a group exhibition at ANNKA KULTYS PHYGITAL. This VR group show will open end of May 2025 to coincide with London Gallery Weekend, highlighting contributions from 26 artists as part of this year-long initiative, then the second part of the VR with the other 26 artists in November 2025.
As part of this initiative, prints of video stills by the artists will be made available for purchase on the gallery’s website. Furthermore, the gallery is pleased to announce a monthly giveaway, offering subscribers the opportunity to win a selected artist print. Each giveaway will be introduced in the monthly Full Moon newsletter, with the winner announced in the subsequent edition, scheduled for 13 January 2025.
What is the purpose and vision of the gallery?
AKG is a hybrid commercial art project merging physical and digital experiences. Since its inception in 2015, the gallery has become a leading art space for artists who engage with technology, both in traditional and digital media. With a robust program of exhibitions showcasing these artists and a commitment to promoting the hybrid ‘phygital’ approach, I aim to push the boundaries of what is achievable in both physical and digital gallery spaces.
I see the instability and rapid evolution of new technologies as incredible opportunities for exploration and innovation, especially in presenting digital art beyond traditional white cubes and TV screens. The contradictions posed by digital technologies can challenge our traditional perceptions. For instance, VR exhibitions offer a unique blend of permanence and impermanence. While VR technology will likely continue evolving, I don’t need to dismantle a previous VR exhibition to feature a new one; I can simply revisit it with my headset. In contrast, once a physical exhibition concludes and a new one is installed, only its documentation remains. And what better documentation than the exhibition itself?
Can you tell us a bit more about yourself?
I tell my truth and share my vision through my exhibitions. I act as a bridge between digital artists, whom I promote with the help of my team, and the wider world, including traditional and digital art collectors, museum curators, and the press.
Our partenaires featuring our shows: Galleries Now, Artforum Art Guide, New Exhibitions, SeeSaw Map, Art Rabbit and E-Flux (coming soon)
For too long, conversations around the precarity of artists have remained passive — looking backwards, rehearsing familiar narratives of why artists are poor. ANNKA KULTYS GALLERY believes it is time to move beyond passive observation and to propose a structural shift that recognises artistic labour as work — and ensures it is rewarded as such.
For digital artists in particular, revenue cannot depend exclusively on a small group of collectors or on the very limited opportunities for commercial exhibitions.
From 1 October 2025, admission to our exhibitions will be by ticket. This is not a gesture of exclusion but of solidarity: a conscious rebalancing within the art ecosystem. By contributing to the cost of entry, visitors participate directly in the shared economy of art, acknowledging that creativity and production carry value.
Tickets are fully redeemable on the day of your visit against a curated selection of artists’ prints. If you prefer not to acquire anything, your contribution still matters. Between 50–100% of ticket proceeds go directly to the exhibiting artist, ensuring their practice is materially supported.
This model aligns with a growing recognition across museums, galleries, and cultural institutions worldwide: that sustainability in the arts depends on moving away from the expectation of unpaid or invisible labour. By attending, you are not only experiencing an exhibition — you are also becoming a patron and participant in a more transparent, equitable, and future-oriented art economy.
Since January 2021, all our artworks are sold with a blockchain registered certificate of authenticity.
ANNKA KULTYS GALLERY is also accepting cryptocurrency as a form of payment for all artworks, analogue or digital.
