$HUX 4 ALL /2024

$HUX 4 ALL /2024

“$HUX 4 ALL” is a decentralized app on the Tezos blockchained, that allowed people to give each other virtual hugs. By transfering 1 million of my custom $HUX token to another person, both, sender and receiver would get a free NFT as a memory of that virtual hug.


Here is my <medium article> about the motivation behind the project and how it went 😻


$HUX 4 ALL Dapp: hux.uzupis.de

$HUX contract: KT1MT3rZkTE8cN8eGQaNJ2Wg2D2nPPtdxELv

NFT contract: KT1Wz92wmPaBmR4eEk9J2iAds2n1NEQTVsFb

$HUX Memories collection on objkt.com



“NFT Must Go” is a curated exhibition bridging the tech and art worlds. It highlights the expansive and expressive medium of the NFT. The NFT (Non-fungible token) essentially links a digital file to a smart contract on the blockchain, creating uniqueness, with functions like certification, authentication, data transparency, dynamic artworks, or an xcircle membership.


The title of the exhibition „NFT Must Go!” is a shrill quote from an art collector and presents xcircle with a welcome opportunity to break down the multiple fears and biases attached to NFTs. We seek to illuminate the creative possibilities behind these three magical letters!


Declaring “NFT must go!” is akin to calling for the banishment of the brush or the camera or the kiln. Like the brush or the camera, the NFT is simply a tool for artists working in the digital media space.


The exhibition features augmented reality (AR) and mixed reality (XR) sculptures by Florian Adolph and Ugo Dossi, AI photographs by Max Haarich, satirical videos by Kenny Schachter, works by Tobias Rehberger, generative art by Holger Lippmann, paintings, soft toys, and historical NFTs from meme culture icon PEPE the Frog, analog-induced CHAOS in digital loops by artist Christof Babinsky, glitch GIFs by search engine artist Gretchen Andrew, PlastoCorals by Tamiko Thiel, animated cut-outs by street art creator Daniel Man, cyberspace animations by Virtual Human Ava Verce, flower power moss by artist collective Tinoss, erotic still lifes by Tondo Smiling, lenticular paintings by Tatjana Lee, and light prisms by Betty Mü.


LOCATION xcircle @LOVAAS Projects | Fürstenstraße 6, Munich | Opening: 28.11.2023, 6-10pm | 29.11.-22.12.2023

Smart Hans @Techdays Munich

Tech Days drive digital innovation by connecting and stimulating exchange between industry experts, founders, researchers, scientists and artists. Adrian Ludwig and H.E. Max haarich were invited to by XCIRCLE Gallery to showcase our mind-reading AI horse “Smart Hans“.

Smart Hans @ 1E9 Festival

The 1E9 “Festival of the Future” brings togethert thought leaders, founders of great start-ups, leading investors, scientists, artists and newcomers. it is about understand the latest developments in AI, LifeSciences, Quantum Computing, New Space, Web3, Metaverse, Energy, Mobility and ClimateTech.

Adrian Ludwig and H.E. Max Haarich were invited to exhibit the mind-reading AI horse “Smart Hans” which was challenged by another smart Hans, the love prpagandist Rainer Langhans.

Sunrise Over the Rocks of Kollnburg /2022

“Sunrise Over the Rocks of Kollnburg” is a 4×3 m outdoor mosaic created by the Hungarian painter Muzsa and H.E. Max Haarich. The work was commissioned by the village Kollnburg in the Bavarian Forrest. It shows a stylized sunrise on the facade of a historic building at the marketplace of Kollnburg. The glass mosaic incorporates the historic bricks and stones, which actually belong to the rock on top of which Kollnburg was erected.



The mosaic consists of more than 2,000 glass tiles, which were each cut and colored by hand.


Mosaic art is actually a predecessor of modern pixel art and it was a lot of fun to practice “pixeling” motifs by hand with the prepared glass tiles.

Kollnburg Views /2022

“Kollnburg Views” is a multimodal installation combining present sights with historic stories of Kollnburg. The installation consists of eight framed lenticular prints, hung in the forest of Kollnburg, waiting to be animated by the visitors. The prints show typical Kollnburg motifs in 3D and are connected with their digital counterpart via NFC chips. Visitors can see the digital animations on their smartphones and listen to audio recordings of Biebl Hermann, a true Bavarian Original, who is sharing invaluable stories and insights about his beautiful city.



The digital Kollnburg Views are stored permanently on the Tezos blockchain.

Užupis Will Pay Your Debt /2022

Wikipedia offers a List of Countries by External Debt. The strange thing is that every country is in debt. How is this possible? Where is all the money?


We, the Republic of Užupis, admit that we have all the money of the world and we will pay your debts. In order to free the world from financial chains, we started printing emergency money from our national currency UžEUR and started distributing it in Munich. The bank notes are left blank so that everyone can enter the amount they need in order to pay their share of their nations debts (between 0 and 846K EUR). This emergency money is a valid currency and 1 Už EUR (~ 4 EUR) will buy you one beer in Užupis.


The problem is that such a sudden and massive increase of liquidity would lead to a fatal inflation. We have seen this during and after the pandemic, when governments started printing money like there is no tomorrow. So in order to prevent the inflation, we restrict the validity of the money to 1 hour with no chance to reach Užupis within that time. Instead, we offered to invest the whole amount back into Užupis Treasury Bills with a value of Π thousand UžEUR each.



The treasury bills were handed out as digital certificates, which can be redeemed by the central bank, if you manage to find it.


This installation has been performed at Munich’s Galerie der KünstlerInnen and at Haus der Kunst. Within one hour, we created real valid money equivalent to several million EUR, and extracted it all from the market before it could hurt anyone.

Good Buy, Reality /2023

Installation view of “Good Buy, Reality I” at Munich’s Kunstinsel (Photo: Jens Hartmann)

The virtualisation and commercialisation of our lives is increasingly advancing. Virtual reality technology enables more and more realistic immersion in digital worlds. At the same time, non-fungible token (NFT) technology suddenly allows everything to be turned into a digital item – from digital art to fragments of real skyscrapers. Virtual reality and NFT technology come together in the idea of the metaverses, which has been pushed forward with billions in budgets. Metaverses are customisable digital realities in which digital goods can be presented, traded and consumed in the form of NFTs.


“Good Buy, Reality!” marks the beginning of Munich’s digital sell-out into metaverses. Two 25m² fragments of our common everyday life were each photographically isolated, stored as NFTs on a public blockchain, and turned into trade goods for metaverses. The billboards on the art island show two NFT sales offers, which can be accessed via the QR link shown. The NFT offers each include the exact reality cutout that would be seen behind the billboard if it were not covered by the offer. However, the perspective of the digital sections of reality is distorted, so that they only match the analogue reality for a very short time from a certain point.


Against the background of increasing virtualisation and commercialisation of our lives, the cross-media installation “Good Buy, Reality!” invites us to appreciate shared reality. Two such small moments of reality are artificially created in order to threaten their sale at the same time. As long as this sale is not completed, however, the supposedly all-commercialising NFT platform functions as a community-promoting community archive. In this way, the art installation emphasises our often underestimated personal responsibility and power vis-à-vis new technologies.


The installation will be on view at Munich’s Kunstinsel at Lenbachplatz from 17 JAN to 15 MAR 2023.




Curatorial Note on “Dawn of the Metaverse”

by Max Haarich & Gleb Divov


The temporary gallery “Dawn of the Metaverse” offers a glimpse into the world of NFT-based digital art as well as an outlook on the technological possibilities of Web 3.0 and the social vision of the metaverse.


The term “metaverse” originates from the science fiction novel “Snow Crash” by Neil Stephenson” and describes the idea of completely virtual parallel worlds created by hackers, into which we humans can enter more and more immersively. Today, the term metaverse is applied to a variety of 3D digital architectures created by artists, Decentralized Autonomous Organizations (DAO), and even global sporting goods corporations. Many metaverses seem visually outdated compared to current computer games, but technological advances are enabling increasingly realistic experiences through increasingly complex online interaction capabilities but also through increased physical experiences e.g. through haptic feedback. Currently, the most important driver of the metaverse concept is probably the link with blockchain technology. It enables the convenient management of online profiles, but most importantly, it allows digital property to be claimed and traded in the form of NFTs.


For the temporary gallery “Dawn of the Metaverse”, we choose five digital artists each to highlight different aspects of metaverses with NFT-based works. For example, they address questions such as: What are metaverses? How are they created? What are they made of? What do they mean for us as people and society?




Gleb Divov’s work “Messier 87” provides the cosmic reference frame of the metaverse concept. His work uses NASA sound data of the black hole “Messier 87” to create a visual image that is superior in detail to most optical representations. This work, for one, puts the visual focus of most metaverse projects into perspective. However, the world consists of more than light waves and metaverses offer the possibility to integrate further information into our visible architecture. At the same time, the work shows with what great degree of imprecision and ignorance we still face our own universe, while we are already trying to build universes or metaverses ourselves. His second work “Feel the artificial thought (triangle)” is an animation of digitally generated image motifs generated with artificial intelligence: one recognizes the fluid transition from heart to brain and/or vice versa. The work shifts the focus to the constitutive role of the visitor of the respective metaverse. The potential of the metaverse technology is presented as a function of the physical and mental constitution of the visitor, whose active participation appears as an indispensable prerequisite of the metaverse.


From artist sp4ce we show “Tile #20 (“Decentralized Mona”)“, which is part of an international collaboration project. The work proclaims the dilution of classical notions of value in the realm of art and culture. Instead of historical provenance, short-term crypto-financial usability now counts. The face of the Mona Lisa is obscured by the logo of the cryptocurrency Bitcoin. The brand symbol has the function of sunglasses at the same time and is a fashion accessory actually traded as NFT for avatars in the metaverse. Culture consumption becomes consumer culture.


Betty Menu’s works “VORTEX SKYTRIAL #1” and “Vortex // WaterMovement” draw the viewer into a vortex of visual stimuli that must be deciphered. These video loops allude to the tension between attractiveness and aloofness of the artificially created metaverses. The optical impressions invite the eyes to rest, while the partly synthetic partly natural parts urge constant reinterpretation. This attempt, however, comes to nothing and gets lost in the infinity of repetition. This addresses a constitutive difference between real and virtual worlds: while we can examine the real world ever more precisely and accurately, the virtual world is limited by computing power, at which point the immersive experience ends.


Max Haarich’s work “Urinal” is a teletext page mined as NFT that was broadcast on SAT.1. The urinal, rendered in clearly digitized 7bit graphics, references Duchamp’s work “Fountain.” Just as Duchamp showed over 100 years ago that anything can be a work of art, NFTs today show that anything can be a digital asset – even a teletext page. His second work, “It’s Love O’Clock“, is a charity NFT for Ukraine. It is a special edition “pixel chronometer” a collection of binary, trinary, quaternary and quinary coded timepieces consisting of only a few pixels. This collection is an experiment on the metaphysics of the metaverse. It shows how a fully functional timepiece could look like, in a world where energy and information are ubiquitous, and material and dimensions are only fiction. This special edition is binary coded in blue and yellow and starts every full hour with the red letters “LV” as a reminder that love is the strongest weapon.


From the CryptoWiener we show on the one hand “Oida!” from the series “Pixelrebellen”. In the animation, which is only a few pixels in size, a figure can be seen raising a sign with the inscription “Oida“. The figure invites you to emulate her without copying her. It offers a template, a model to become active oneself. This image manifests the revolutionary spirit of many NFT communities, who are currently trying out new ideas of society both in reality and in metaverses. That these speculations and explorations do not run in isolation from each other is evidenced by CryptoWiener’s second work, “The Fluffy Krapfen“. This 3D rendering of a very roughly pixelated doughnut is mined as an NFT. The owner of the NFT not only receives the rendering, but also five doughnuts from a Viennese bakery every Shrove Tuesday for life. This work reminds us that every virtual metaverse always exists in a real universe and should be developed as an extension rather than a competition to each other.


Tatjana Lee’s works “Meta Reality Genesis” and “Evolution Cycle: New Horizons” specifically use optical illusions to create physically non-existent images. Her two works embody the essence of the immersive experience in the metaverse. Without leaving our physical world, the works allow us to open a second level of experience created solely by our minds and only for us individually. Everyone can reach this level, but no one can meet on this level. Are metaverses in the sense perhaps also anti-social worlds, which only pretend a community? How much sensuality does the belief in a shared reality require? The two works play with the dualism of body and mind and their constitutive role for our experience of reality. While in “Meta Reality Genesis” a human face is turned into the perceptual matrix of the universe, in “Evolution Cycle: New Horizons” the infinite flow of passing clouds becomes the input factor of the just created private reality.


Michael Förtsch uses Artificial Intelligence (AI) to create his works. AI is also a very relevant technology for Metaversen because it solves a scalability problem: the more metaverses there are, the more needs to be created and designed. Artificial intelligence will in the long run be able to create complete worlds starting from a simple voice command. Michael Förtsch’s work can be seen here as a test of this creative power, not only from an aesthetic point of view, but even more from a semantic perspective: Does an AI understand humans well enough to be able to design on our behalf? This is tested in the work “Am I non fungible?” while his work “Portal to Another World” is asking in a different direction: Does AI understand who we are, what makes us tick, and what a desirable new world for humans would look like?


Primal Cypher focuses on the political and social aspects of metaverses. In an aesthetic that seems to echo the progress-propagandist comics of the 1960s, he draws motifs that are at the same time decorative paintings and activist pamphlets: “DON’T LET THEM CONTROL YOU!” is a clear warning against the power of technology. The more we use it, the more usable we become. His second work “THE GREAT DESIRE (unique Satoshi Tribute Edition)” is additionally a warning against ourselves, against our desires and cravings, with which we gain pleasure in the short term, but surrender to ruin in the long term, if we don’t find the right balance.


Juliane Kahl Devotes herself to extended meaning of fashion and clothing in the metaverse. In the metaverse, no one wears just anything because he or she is cold. Every piece of clothing thus has an even stronger effect as a statement. The work “Ukrainian Fashion XR” goes one step further. The 3D model of a Ukrainian costume is not only a visible sign of support for Ukraine, it is the support itself. Via smart contract, sales commissions are automatically donated to aid organizations: Wearing is caring. Her second work “Data Enabled Short Range Mobility – DESRM – Speculative Sound of the City” illustrates the new freedom and expanded creative space in the metaverse, which is no longer subject laws of nature. In such metaverses, shoes do not make physically determined sounds either. How a shoe sounds becomes a conscious decision and at the same time a personal identifier worth protecting.

TeleNFT @ Museum Francisco Carolinum

TeleNFT @ Museum Francisco Carolinum

Užupis Minister H.E. Gleb Divov and Ambassador H.E. Max Haarich have curated the first NFT exhibition on German teletext. The art exhibition “TeleNFT” questions technological progress in the context of economic and environmental crises. How much time is left? Is technology the salvation? Is art the threat? Our 15 internationally renowned digital artists address these questions with innovative teletext artworks. With only 78×69 pixels, they present motifs ranging from hand-drawn animals to computer-generated patterns. These works immortalized on the blockchain document our zeitgeist, sometimes ironically resigned, sometimes uninhibitedly euphoric, but united in one conviction – now it’s up to us.

The exhibition can be seen on SAT.1 teletext pages 480 – 499 and in the Cryptovoxel space of Museum Francisco Carolinum.

More info: telenft.art