As Ethereum marks its tenth year of existence, its ecosystem continues to grow organically across multiple dimensions. Individual actors mature and, in turn, begin to shape the ecosystem. Amid this growth, will Ethereum's broader ecosystem fragment? Or might the individuals, projects, and entities within it – grounded in shared values – exert unseen influence on one another, echoing each other's signals and resonating together?
The exhibition Echoing as One: Reverberation in the Ecosystem takes its cue from Ethereum's Infinite Garden philosophy, which envisions the network as a garden to be tended, a space that thrives through diversity, collaboration, and continual renewal. Selected from an open call, eleven artists joined the Infinite Garden Artist Cohort within the Devconnect ARG Scholars Program, and over four months of collective study and exchange, they explored Ethereum's core values, translating these ideas through their own practices and perspectives.
Taken together, the works form a network of perspectives that echo and refract one another, generating new resonances throughout the exhibition – a continuous feedback loop of playing Infinite Games in which care, attention, and participation set new patterns in motion. They remind us that transformation is not a singular event but an ongoing state, a process of becoming together. We listen, we respond, we reconfigure. Each attempt at understanding feeds another, reinforcing the delicate architectures of connection. Nothing here ends; it only changes form.
As you walk through the gallery, tune into the reverberation that lives in the spaces between works. Let a shared resonance emerge from the whole – something not necessarily seen, but felt. Notice that you, too, are part of this field: a reflecting element within it. Just as decentralized nodes interweave to form Ethereum, the network hums like a great sounding bowl, with your own heartbeat joining the echo, becoming one.
YAMA is a sonic and collaborative artwork that reimagines a traditional Argentine chacarera as a living, intercultural bridge. Rooted in the act of rewriting, it intertwines languages, cultures, and generations through sound and collective creation. The piece unfolds as a palimpsest of voices: It features the recorded testimony of a Quechua-speaking elder – the artist’s grandmother – whose words become rhythm and poetry within the music. From there, the dialogue expands to Japan through a collaboration with the hip-hop trio DigDug, where the Andes’ Lanin and Japan’s Mount Fuji emerge as sister mountains, connected through sound.
Beyond music, YAMA is a multi-layered experience that includes a video piece, a visual interpretation of the kanji 山 (yama), and a collective manifesto inviting the community to reflect on what the encounter between mountains, cultures, and memories means to them. Ultimately, YAMA is a decentralized commons – an evolving artwork in which folklore and memory are preserved, reimagined, and shared as public goods. It mirrors Ethereum’s ethos: open, participatory, and ever-growing through the voices that join its landscape.
Dúo Dø is an Argentine music and art project created by Clementine Esquivel and Santiago José Reos, musicians, composers, producers, and educators with more than a decade of experience in both the professional music circuit and the academic field. Their work, rooted in Argentine traditions and influenced by Japanese culture, blends popular and academic languages to create stories turned into songs. They describe their music as genre-free and in motion, traversing R&B, tango, neo-soul, folklore, hip-hop, and jazz.
The duo’s sound is intimate yet powerful, inviting listeners into a space of emotion and cultural fusion. They have performed in Argentina, Japan, Brazil, France, Spain, and the United States, with notable shows in Tokyo, Paris, and São Paulo. Both hold Music Teaching Degrees specializing in piano and guitar and have taught at conservatories in Buenos Aires.
Their collaborations span diverse genres and disciplines, working with visual artists, designers, and filmmakers from Argentina, Japan, Romania, the United States, Thailand, and Germany. Through performances, installations, and collaborations across the Web3 ecosystem, Dúo Dø promotes inclusivity, artistic innovation, and cultural exchange as core values for a collaborative future in music.
Resonance extends its reflection on sound and transformation into the collective sphere. Just as water and electricity awaken the installation, it is the presence of others that animates the work of community. The piece resonates with the values of openness and shared growth: sound, like knowledge, expands in waves – unbounded, connecting bodies and spaces in ways that are unpredictable yet deeply unifying.
In its ephemerality, Resonance reminds us that what is most fleeting can also be most formative. It becomes a garden of transformations where memory, matter, and collaboration intertwine – an invitation to listen not only to time in motion, but to the voices and vibrations that emerge when we build openly, together. Its impermanence underscores that the aim is not to preserve matter unchanged but to reveal how transformation itself becomes a ground of meaning. The audience is invited not to consume a finished object, but to enter a living process – one that endures as long as there is resonance to be shared.
Born in Santa Rosa, in the Argentine province of La Pampa, Delfina Lemann moved to Bariloche at the age of ten, where she built a competitive snowboarding career. She joined the Argentine national team and represented her country in events around the world. After an injury at seventeen, she turned her gaze toward new forms of creation and later moved to Buenos Aires, where she became an image and sound designer.
Lemann began exploring digital worlds through 3D modeling and animation, eventually bringing these practices into physical space through filmmaking and art direction. She also developed an interest in event and exhibition production connected to culture, art, design, music, and nightlife. Her work investigates the encounter between nature and technology, weaving fantasy and material presence into shared landscapes. Through her creations, she seeks to evoke emotional experiences that feel universal, where the act of expression holds as much importance as the work itself, blurring the line between inner and external worlds.
Resonance extends its reflection on sound and transformation into the collective sphere. Just as water and electricity awaken the installation, it is the presence of others that animates the work of community. The piece resonates with the values of openness and shared growth: sound, like knowledge, expands in waves – unbounded, connecting bodies and spaces in ways that are unpredictable yet deeply unifying.
In its ephemerality, Resonance reminds us that what is most fleeting can also be most formative. It becomes a garden of transformations where memory, matter, and collaboration intertwine – an invitation to listen not only to time in motion, but to the voices and vibrations that emerge when we build openly, together. Its impermanence underscores that the aim is not to preserve matter unchanged but to reveal how transformation itself becomes a ground of meaning. The audience is invited not to consume a finished object, but to enter a living process – one that endures as long as there is resonance to be shared.
Felina Lisa Beckenbauer is a German visual artist whose work explores the tension between wilderness and domestication both in nature and within human systems. Through large-scale oil paintings and ceramic installations, she examines how the advancement of civilization has not only transformed the natural world but also domesticated the human mind. Her practice centers on how we might remain “wild within structures” – how the frameworks we build can still enable creativity, intuition, and independence to thrive.
In recent work, Beckenbauer extends this exploration to digital ecosystems, interpreting blockchain technology as a form of “digital wilderness.” She sees in decentralized networks the same forces of trust, risk, and cooperation found in free diving, rock climbing, and cave exploring: a balance between chaos and structure that enables freedom rather than restricts it.
By highlighting architectures of freedom, Beckenbauer’s work exposes both the fragility and the potential of systems that promise autonomy. Her practice probes their internal contradictions, asking how control, transparency, and human wildness continually negotiate their boundaries.
reinforcement.exe is the third installment in an ongoing exploration of human–machine poetic systems. Built on the lineage of its predecessors, this work extends the training loop: a reinforced language model, fine-tuned on prior performances and shaped by audience feedback, now enters into live conversation with a human writing counterpart.
Inside a delimited space, a new poem is written every 30 minutes. The model, responding in kind, generates its own. Both texts are presented side by side. The audience reads and votes. Their collective choices guide a daily reinforcement process: the model adapts in response, nudged not by abstract metrics but by shared aesthetic judgment.
This is Reinforcement Learning from Human Feedback (RLHF) made tangible. Each performance generates data (text, timestamp, vote) recorded on-chain as a public trace of what moved us. The system evolves with each encounter. What emerges is not a contest, but a feedback ecology. A space where readers become trainers, and taste becomes the tuning function. A reinforced model trained not to win, but to listen.
Halim Madi is a Lebanese artist, poet, and technologist working across performance, machine learning, and electronic literature. His practice explores language as a shared protocol between bodies and systems, staging live interactions between human and computational agents. With prior roles at Meta and Stripe, and most recently at Mistral, Madi’s background bridges infrastructure design and poetic practice. His performances investigate feedback, attention, and emotional training – not just of models, but of audiences themselves.
Madi’s work has been shown in San Francisco, Paris, and Barcelona. He is the recipient of the 2024 Robert Coover Award for Electronic Literature and the inaugural International Outstanding Artist at APE CAMP Korea. Past projects include interactive poem-machines, theatrical installations, and experimental interfaces for translation and memory.
Rooted in the soil of open systems and decentralized intelligence, An Ecology of Grace reflects on the ethics of technology, asking whether machines can learn to care and whether networks can sustain rather than extract. The work channels the spirit of Richard Brautigan’s 1967 poem “All Watched Over by Machines of Loving Grace”, reimagining his dream of a “cybernetic meadow” for a new century. Here, the forest is not watched over; it watches with us. The electronics do not dominate nature — they grow through it, entwined with moss and stone, becoming both myth and organism, a tender circuitry of loving grace.
A living synthesizer grows from a bed of moss and stone. Light sensors bloom like flowers, their filaments glistening beneath shifting electronic pulses. Touching the moss, casting a shadow, or illuminating a sensor becomes a form of dialogue. When touched, the installation hums – an ecosystem of sound, light, and code that breathes in response to its surroundings. The visitor’s presence enters feedback loops of sound and light, each movement subtly rewiring the forest’s nervous system and altering its song simply through proximity – a form of second-order cybernetics, a system that includes its observers. The piece listens as much as it sings, becoming less an instrument to play than a being to commune with.
Kunsf.xyz is an instrument designer and multimedia artist based in Istanbul, Turkey. They build sonic worlds through DIY technologies, immersive environments, and sculptural interfaces that explore the interactions between bodies, spaces, and machines. By blending sound objects, performance, and poetic engagements with technology, their work delves into the intimacy of human–technology relationships and the embodiment of these connections.
After Soma: In Infinite Garden (2025) is both the continuation of Soma’s Garden (2023) and an exploration of the body (or “soma”) as a shared ecology of love, care, and regeneration. Where the earlier work invited somatic meditation, this work reimagines the soma itself as sensation, unfolding through a sequence of bodily languages that seek to reach expanded states of awareness. Wearing a VR headset, audiences grow, transform, and resonate through their gestures of touch. They become seeds, branches, and resonances of the garden, engaging in a meditative practice that re-scales the sense of self and soma into a collective field of perception.
Inhwa Yeom is a media artist, research engineer, and founder of BiOVE. As an artist, Yeom creates “3D performative apparatus-environments” at the intersection of XR and AI technologies, and the performing arts. Through these media, she addresses bio-colonialism, the climate crisis, and neurodiversity, expanding to include a diverse range of (non-)human experiences. Yeom received the Media Artist Award from the LG Arts Center and LG Electronics in 2024 and was a finalist for the 6th VH AWARD by Hyundai Motor Company in 2024. Her works have been exhibited at Ars Electronica Festival (2025), the Nam June Paik Art Center (2025), the Asian Culture Center (2025), SIGGRAPH Asia (2022), MMCA Korea (2022), and more.
We live inside digital walled gardens where our “InfoDiet" – the personalized stream of videos, posts, and recommendations – is continuously harvested by hidden algorithms. Our attention becomes raw material; we are profiled, optimized, and gently shaped, often without noticing.
Feedling asks what would happen if that same stream stops feeding the platform and starts feeding you. On the phone, each visitor’s everyday feed grows into a small, adapting creature – a “feedling” whose posture, mood, and behavior shift according to how you wander through content. In the exhibition space, all feedlings appear together as a shared garden: a soft form of beehive consciousness, where many private micro-lives compose one visible swarm.
Underneath, the work relies on privacy-preserving computation through TEE (trusted execution environments), ensuring that this transformation happens inside an encrypted "soil layer" that no one can inspect. Instead of choosing between being tracked or disappearing, the visitor is offered a third path: a form of "agency engineering", where your data stays in your hands while still seeing it manifest in the world.
Sevenfloor is an interdisciplinary interaction designer, digital media artist, and producer working at the intersection of XR, AI, and on-chain media. She creates interactive worlds that bridge virtual and physical space through cutting-edge technologies, spanning museum installations to networked performances. As both a practitioner and researcher in crypto art, she contributes to emerging protocols and practices for on-chain culture. Her work has been shown at the Zabludowicz Collection (2023), Ars Electronica Festival (2022), the London Festival of Architecture (2022), and Staatliche Kunstsammlungen Dresden (2022), among others.
You are the center invites the viewer to find a moment of peace, reflecting the idea that human life experience emanates outward from a single point. As James P. Carse writes in Finite and Infinite Games (1986), “the discovery that you are the unrepeatable center of your own vision is simultaneous with the discovery that I am the center of my own.” By consciously finding the central place of stillness inside of us – that point from which all emerges – we finally understand that we are the creator. We are capable of shaping our lived experience by choosing in which direction to throw the metaphorical pebble into the pond.
The spiral is a universal symbol found across ancient cultures worldwide, representing concepts from the cycles of life and the spiritual journey to interconnectedness and cosmic forces. Furthermore, the creation of a spiral is a highly meditative act in and of itself, that pays tribute to thousands of years of artistic and spiritual practices. After all, nothing new is ever created – it only changes forms.
After first discovering the vibrant onchain art subculture in 2022, Tinyrainboot made it her home, and she hasn’t looked back since. Viewing life as an anthropological expedition, Tiny uses her art to explore questions around what it means to be human, often probing the idea that this existence (and this reality) isn’t all there is. Her personal interest in symbolism across centuries and cultures, as well as an insatiable curiosity about spiritual philosophies, has spurred her to ground much of her work in explorations around meaning.
Highly multidisciplinary by nature, Tiny has ventured into a variety of formats and mediums, such as video, painting, digital sculpture, silver casting, and sewing. The work You are the center embodies the tension that threads through her practices: hard against soft, sharp against smooth, violent yet careful – delicately toeing the line between fragility and strength.
Kaeté is an ancestral-futurist offering from the Amazon, a living fragment of the forest embodied in cotton, seeds, natural pigments, and a present human form. In Nheengatu, kaeté refers to the deep, sacred, untamed forest: a space of mystery, knowledge, and transformation. This work reflects on what grows when humans listen rather than impose; when presence becomes ecology, not extraction.
Anchored in the idea of the Infinite Garden, Kaeté imagines technology not as domination but as pollination: a decentralized network of spirits, roots, and people exchanging memory across time. In the same way Ethereum proposes open, regenerative, community-driven systems, this installation honors the Indigenous principle of collective stewardship: knowledge as forest, value as shared survival, innovation as care. The partial human form alludes to fragmentation – what has been taken from Indigenous bodies and lands – and, at the same time, to a future where reconnection is possible. Between fiber and code, spirit and signal, Kaeté asks: What technologies are we cultivating? And can we still hear the forest speak?
Marina Gatto Mura is a multidisciplinary Brazilian artist, game designer, and researcher whose practice bridges Amazonian ancestral cosmologies with collaborative and speculative approaches. Born and based in Manaus, she develops work that combines traditional knowledge and organic materials with contemporary technologies to explore memory, ecology, and collective imagination. Through installations, performances, and participatory projects, Gatto investigates notions of belonging, technological sovereignty, and and future ancestries, establishing dialogues between nature, the body, and machines. Her practice seeks not only to represent the Amazon but to activate it as a living system in which ancestral knowledge, spirituality, and innovation converge to generate pathways of healing, continuity, and cultural autonomy.
Joy Machines is an electronic garden composed of light-emitting robots and electronic waste. Conceived as a small universe of its own, the installation constructs a system in which material, conceptual, and informational elements interact through circulating signals.
The title reflects the intention to create devices that, although built from discarded technology, emit light, color, and movement capable of evoking perceptual connection. These machines are not tools of utility but instruments of sensation, inviting viewers to engage with the interplay between artificial and natural elements. Through their motion and luminosity, they suggest forms of renewal, transforming electronic waste into sources of vitality and poetic experience.
The installation draws inspiration from the apparent movement of the sun around the Earth and the atmospheric colors it generates. Each robot reproduces gradients drawn from the sky and is designed to sense and respond to their surroundings in movements recalling the rhythms of planetary motion. The installation turns these natural phenomena into poetic objects, approaching light through both its physical qualities and its sensible effects, and drawing on knowledge about natural light to reveal its emotional resonance and its relationship with the universe.
Magdalena Molinari is an Argentinian architect, electronic artist, and Master in Electronic Arts. Combining electronics, programming, light, color, video, performance, and digital environments, her works explore the relationship between control systems, spatial devices, and materials to create electronic light installations that generate experiences of immersion and reflect on the connection between art and science through the physics of light.
Molinari is a founding member of the space Piso29, and a professor at UNTREF, FADU, and Universidad Torcuato Di Tella. Her work has been shown at institutions and festivals in Argentina, Chile, and Canada, including her first solo exhibition An Instant of Light at Acefala Gallery in 2024, her site-specific installation for the ArtLum Festival in 2025, and her award-winning Land Art project FOTOESFERAS, which received first prize at MediaLab CCEBA in 2022. From 2019 to 2024, she was part of Amplify D.A.I, and in 2023, she was part of the science–art–technology program Presente Continuo, led by Fundación Williams and Bunge & Born.
An Infinite Garden reimagines art history through a feminist lens, blending traditional painting processes with augmented reality. The work reconstructs visual motifs from periods in which women were excluded from formal art training, layering analog and digital media to reclaim authorship and rewrite cultural memory.
In a time of visual saturation and instant image consumption, the piece adopts a deliberately slow, almost archaeological method. Each element is built by hand, stroke by stroke, to expose the latent symbolism buried in familiar forms. This process challenges the authority of canonical narratives, exploring how meaning shifts as images migrate across time, media, and collective memory.
Rather than using technology as spectacle, An Infinite Garden treats it as an extension of painterly practice: digital volumes and textures stand in for oil and glaze, creating a hybrid space where tradition meets VR sculpting. The result is a dense symbolic ecosystem in which past and present collapse and recombine. Echoing Ethereum’s Infinite Garden vision – a decentralized, regenerative cultural space where ideas grow through care, iteration, and diversity – the work proposes its own model of cultural cultivation, one where images are tended, transformed, and continually reimagined.
Luciana Guerra is an Argentina-based visual artist with more than twenty years of experience in both traditional and digital media. Her multifaceted practice encompasses painting, drawing, and engraving, as well as digital painting, VR sculpting, and innovative 3D-pen techniques. Central to her practice is a sustained commitment to bridging classical art and emerging digital forms, explicitly eschewing the use of AI.
Guerra’s work has been shown at Superchief, Artcrush, Art Basel, NFT.NYC, Neal Digital Gallery, Linda Gallery, and JRNY Gallery, among others. Named one of HUG’s Emerging Artists to Watch for 2024, she has received first prizes from the APS Foundation, Banco Tornquist, and the Goethe Foundation; second prizes in Concordia, Azul, and Tres Arroyos; and an honorable mention at the Manuel Belgrano Salon. She was selected this year for the Andreani Prize, the National Art Salon at Palais de Glace, and multiple national salons across Argentina. Guerra has also served as a mentor for Primavera Digitale and the Vertical Crypto Residency.