SERIFA x DINAMO

We’ve been following DINAMO for years and honestly love pretty much all the typefaces that come from them. That’s exactly why our house typeface comes from DINAMO too.

We’ve been using Monument Grotesk since the beginning. We never changed it, but now, together with DINAMO, we took the next step and had it expanded with additional characters specifically for our studio.

The new version comes in Regular and Bold. Our logotype and signet are now integrated directly as custom glyphs, and the wordmark has been built in as a ligature.

Our signet is based on a line by Kurt Vonnegut: “Everything is nothing, with a twist.”

Our signet was integrated into the typeface and can now be used like any other character. DINAMO adjusted the weight and inner curves so it fits perfectly with the Bold cut.

As we mentioned earlier, we introduced a system that classifies our work into three levels: MIN/MID/MAX. Similar to music, because we feel that our work has a lot to do with resonance.

Similar to a volume scale, the Minimum state is represented by an empty circle. The half-filled circle represents Middle, and the filled circle represents Maximum. Maximum means maximum noise, the highest level of abstraction in our work.

Until now, the typeface only included the filled circle as a glyph. DINAMO added all the other circles we needed, plus a few more. Now we can use the entire Intensity Index without switching to another typeface.

With these adjustments, the typeface now includes all the important elements we need for our work. It’s definitely an important step in building our identity.

We’re really happy with where it landed. Big thanks to Johannes and Sascha at DINAMO for making it happen!

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter. What we make. What we see. What stays.

01 / HUMANISM

By now, AI can simulate humanity in a surprisingly convincing way. So what does being human still mean? Could the development from version 1.0 to 9.8 one day become the biography of an AI, comparable to human growth?

Right now, there is still a clear difference between us and artificial systems: we have a biography, AI does not. Our art comes from our experiences, which lead to artistic decisions. But could we one day also recognize this kind of biographical foundation in an AI, and what would then still separate AI from humans?

We also make mistakes when we are younger that we would not make later in life. So where is the difference between our mistakes and the mistakes an early version of GPT made?

Karl Valentin once said: “Everything has already been said, just not by everyone.”

And maybe in the future, it will no longer only be us humans developing a voice, whether through language or art, that deserves to be heard. A voice that does not come from a human, but from technology, with its own past and biography.

02 / FOUND

HIDDEN® NY × PAF

03 / BACK IN THE DAY

🔗 RUGGED Magazine Scans

04 / LISTENING

▶ Alchemist
▶ Useful Music 51
▶ MAAPP.P. RADIO

05 / COOKING

We’re currently fine-tuning our house typeface with DINAMO.
More on that in the next newsletter.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter. If it resonates, share it with a friend.

We probably all know this pressure: the wish to change things so they do not feel old or repetitive.

We change the colors, the forms and the direction. But constant reinvention can also become a system and therefore predictable.

So do we need recognizability?

People want to connect with something, and that becomes easier when certain elements remain familiar. Recognition creates a sense of identity and gives people something they can return to.

Yayoi Kusama has worked with dots for decades. KAWS keeps releasing the same figures in new materials and sizes. Baselitz repeatedly painted his images upside down.

Does this mean there is a lack of ideas? Or is this exactly how a language of your own begins? And are we perhaps too afraid to repeat things?

We know from many other areas that success comes through repetition. In sports, for example. So why should it be different in the creative world?

Or is it only a barrier in our own heads? The imagined judgement of viewers who might think: Now they are doing the same thing again.

But do we think that about a runner who follows the same route every other day?

Language works in a similar way. We do not invent new words every time we speak, and yet we form new sentences and express completely new ideas.

Sometimes a small change only becomes visible when everything else stays the same.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter. If it resonates, share it with a friend.

Ideas Don’t Count

A short clip of the painter Lorenzo Pompa has been following us around.

He says ideas don’t count. The worst thing that can happen is ideas.

Pompa worked as an architect before he became a painter, and architecture runs on ideas. You have one, everyone commits, money gets attached, planning begins. Halfway through, you start to see what the idea got wrong, but by then it’s too late. The machine is moving. The idea gets built anyway.

The longer you live with an idea, the more clearly you see its limits. An idea is at its most convincing on day one.

The Images Are Already There

Pompa is convinced the images already exist. They still have to be made, but they are made as something that was already there. You don’t invent them. You arrive at them.

It’s an old conviction. Michelangelo wrote in a sonnet that the best artist holds no concept the marble doesn’t already contain. The figure is in the stone. The work is removing what isn’t the figure.

For a painter that’s a belief. For us it’s close to a literal description of how we work. Generative systems hold more images than anyone will ever see. Typing an idea into a machine is not the work. Finding the one image that matters is.

You can’t generate taste. If the images are already there, taste is the only job left.

Showing Up

When ART EVERY DAY began, we were still conceptual. The early works started with ideas, and we held on to them. It took a while to admit that ideas don’t go deep enough.

So the practice changed. We’ve published a new work every day since July 2022, and at some point they stopped starting with concepts. They start with being in front of the work. You can only recognise an image if you’re standing where images appear.

Pompa says that on the way to the thing you planned, so many things happen that take you somewhere else entirely. An executed idea never gets to go there.

The good images are the ones something happened to on the way.

From the studio,
Nastassja & Christian

Lorenzo Pompa, lorenzopompa.com

SIGNAL is our studio’s newsletter. If it resonates, share it with a friend.

References

There’s a question every artist learns to fear a little.

Where did that come from?

For a long time, it sounds like an accusation. As if the only acceptable answer were nowhere. As if the work would lose value the moment you admitted it was pointing at something else.

But the people whose work we love most never seem troubled by that question. They answer it openly. Sometimes they answer it before anyone asks.

The Ones Who Say So

Jim Jarmusch once said you should take from anything that genuinely speaks to you, and not pretend otherwise. What makes the work yours is not where it started. It is what you do with it.

David Bowie called himself, only half joking, a thief with good taste.

Virgil Abloh built a whole practice on the idea that you can change something that already exists by a small amount and make it new, and he was completely open about the objects he was changing.

None of them hid their influences. They pointed at them. The reference was not a secret. It was part of the work.

A Room Full of References

Recently we stood inside a literal version of this idea.

vowels, the made in Japan label by Yuki Yagi, runs a store on the Bowery in New York with a research library at its centre. A selection from Yagi's own archive of around two thousand books and magazines sits openly in the room. They are organised by the letters a, e, i, o, u. You are meant to take them off the shelf and hold them. The brand follows the Japanese principle of Shu Ha Ri: first you learn the rules, then you break them, then you leave them behind.

What stayed with us was how unhidden it all was. The references were not buried somewhere behind the clothes. They were the room. The shelf was the statement.

Most studios keep that shelf out of sight. vowels turned it into the front door.

Where Ours Come From

Last time we wrote about the images we have collected over the years, the ones that stay with you for reasons you cannot quite name.

Those images are our references. But they are not the only ones.

The music we play while we work. Japanese culture. The nineties. The brands and image worlds we grew up with. These are the things we have absorbed, the air the work is made in. One part of it is already out in the open, a playlist we call LIBRARY.

Lately we have been thinking about showing more. Not a list of credits, but the things we actually look at, read, and keep returning to. A way of letting you into the room the work is made in.

So we want to ask you. Would you want to see more of our references here? If enough of you are curious, we will make it Part II of this issue, and show you the rest of what we keep.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter. If it resonates, share it with a friend.

Collecting

Long before we became interested in art, design, or photography, we collected things.

Shells picked up on holidays. Stones carried home in our pockets. Small objects that caught our attention for reasons that were impossible to explain at the time.

Looking back, none of those things were particularly valuable. What mattered was that they felt worth keeping.

Years later, the objects changed, but the instinct stayed the same.

Instead of shells and stones, we started collecting images.

What Stays With Us

Most of the images we’ve saved over the years have very little in common.

Some are photographs. Others are paintings, film stills, advertisements, album covers, or things we stumbled across online and never forgot.

What connects them isn’t a style or a subject matter.

It’s something harder to define.

The images that stay with us are rarely the most beautiful ones. They’re the ones that seem to contain more than they reveal. The ones we keep returning to without fully understanding why.

In retrospect, collecting images was probably our first creative practice.

Not because we were studying them.

Because we were paying attention to them.

The Missing Image

At some point, collecting stops being enough.

You develop a sense for what interests you. You begin to recognize patterns in your own taste. And eventually you start looking for images that don’t seem to exist.

Not a specific photograph or artwork.

More of a feeling. A mood. A possibility.

Something you wish you could add to the collection.

But can’t find.

Making

Maybe that’s where creative work begins.

Not with self-expression, and not with a blank canvas.

But with the desire to see something that isn’t there yet.

Many of our own works started from that place.

Not as answers.

Simply as attempts to make the kind of images we would want to encounter ourselves.

Looking back, we don’t see collecting and creating as separate activities.

One eventually leads to the other.

You spend years gathering things that stay with you.

Then, if you’re lucky, you add something back.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

The Language of Transitions

In Japan, even transitions have names.

The first light before sunrise.
Mist dissolving a landscape.
The last traces of daylight before night.

Looking through some of our recent work, we realised we kept returning to the same kinds of moments.

Akebono (曙) — Dawn

Akebono describes the first appearance of light before sunrise. Not day. Not night. The transition itself.

Kasumi (霞) — Mist / Haze

Kasumi is less about color than atmosphere. A state where forms lose their edges and become part of the air around them.

Yūgure (夕暮れ) — Twilight

The moment when daylight slowly disappears into evening. Not darkness yet. The fading of light itself.

Shinonome (東雲) — Daybreak

Shinonome is the moment just before sunrise when the sky begins to reveal color.

What stayed with us wasn’t the names.
It was the idea that these fleeting moments were worth naming at all.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

THE MONET TEST

Last week, artist and musician SHL0MS posted a Monet painting on X and claimed it was AI-generated.

Then he asked people to explain, in as much detail as possible, why the image was inferior to a real Monet painting.

People went in immediately.

“The reflections make no sense.”
“No cohesion.”
“No human intention.”
“Typical AI look.”
“Soulless.”
“Bad composition.”

Long threads.
Pseudo-forensic analysis.
Absolute certainty.

Except it was an actual Monet.

Not AI.
Not Midjourney.
Not Flux.
Claude Monet.

And suddenly the entire thing became less about painting and more about projection.

People weren’t really looking anymore.
They were reading the label first.

“Made with AI.”

That alone was enough.

The funniest part is that some critiques were actually thoughtful.
People wrote entire essays about why the image lacked “human touch” while describing characteristics Monet literally painted himself.

Others deleted their posts afterward.
Others doubled down anyway.

The whole thread slowly turned into a graveyard of removed replies.

Internet archaeology.

Maybe the post revealed something bigger than AI itself:

A lot of people already decided what they think before they even start looking.

REGISTERED®

Honestly, everyone will probably be able to generate everyone else’s style soon.

Including ours.

That’s simply where this is heading.

Aesthetics are becoming reproducible.
Visual languages spread instantly.
Images mutate faster than authorship can keep up.

A style can already be copied.
But style was never the interesting part on its own anyway.

What actually matters is taste.
Direction.
Selection.
Consistency over time.

The decisions behind the image.

Because AI can imitate aesthetics surprisingly well.
But it still can’t replicate a real point of view.

It can’t replicate obsession.
Or years of visual decision-making.
Or knowing what to keep, what to remove, what to reject completely.

That’s probably why we officially registered SERIFA as a trademark in Europe and the US.

Not to “protect a style.”
You can’t really protect a style anyway.

It’s more about protecting the continuity around the work.

The identity.
The authorship.
The long-term vision people connect to over time.

Because people ultimately don’t build emotional connections with isolated images.

They connect to perspective.
To trust.
To a recognizable voice inside an infinite stream of content.

The internet is filling up with images faster than ever.
Which strangely makes intention feel more valuable, not less.

The future probably won’t belong to the people with access to the best tools.

It’ll belong to the people with the clearest point of view.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

"A work of art exists only when the spectator has looked at it."
— Duchamp

The viewer completes the work. But the algorithm decides which work gets a viewer.

"I am interested in what there is to do, not in what I have done."
— Duchamp

AI doesn’t move forward. It accumulates. Growth isn’t the same as moving on.

"The choice of the readymade is based on visual indifference."
— Duchamp

A prompt looks similar from the outside. But it’s not neutral.
It’s shaped by the data, by the system, by what the model is trained to produce.
The gesture is similar. The logic isn’t. For us, selection is where the work begins.

"Art is a habit-forming drug."
— Duchamp

That hasn't changed. But the substance did. Not the object. The feed. We're part of that too. Knowing it doesn’t change it.

Duchamp questioned the system.
AI scaled it.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

And our work is currently traveling through Coachella, out in the Oasis.

From the studio,
Nas & Chris

SERIFA.COM

The website has been reworked from the ground up.

The homepage opens with a slideshow — a rotating selection from our ongoing archive. It won’t stay fixed. We’ll keep extending and reshaping it over time, letting new work move in and older pieces resurface as the practice continues.

Alongside our own pieces, the site now also features selected collaborative works — projects that carry our language into other contexts.

SHOP

Our shop is open again, with a different approach.

Less catalog, more curation. Individual works, released as limited editions — one piece at a time.

Each edition is selected from our ongoing archive, often from ART EVERY DAY, and translated carefully into physical form. Chosen paper, tested print, considered format. Edition size, signing, and documentation are clearly laid out.

When an edition closes, it closes. That boundary is part of the work.

We wanted the shop's rhythm to match the studio's. Slow, deliberate. A few pieces per season, each for a reason.

COACHELLA

While we open new rooms online, some of our work is currently moving through a much louder one.

A selection of pieces is part of the Oasis at Coachella 2026, an open-air installation of LED panels scattered between the palms, flickering through the dusk.

If you’re on the grounds, keep an eye out between the stages. The work is out there, somewhere in the blue.

JUUN.J × SERIFA

For a recent capsule with juun.j, we developed a series of exclusive flower artworks.

The pieces hold two things at once: a fleeting beauty and a quieter, resolute strength. Flowers blurred at the edges, held between dissolving and staying still.

Now on select garments from the current season.

→ Explore the capsule

MUSIC

▶ Purity (feat. Frank Ocean) — A$AP Rocky
▶ Boogie Chillen' — John Lee Hooker
▶ Woods — Mac Miller
▶ Pleasure Is Everything — Mark William Lewis
▶ Nausicaä (Love Will Be Revealed) — Cameron Winter

Listen to our new playlist on Spotify.

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

Three of our pieces are now part of the new Spotify Listening Room in London, a place designed for deep, focused listening.

Developed in collaboration with Spotify and partners like Friendly Pressure, the room brings together sound, material, and atmosphere, with our works embedded in that environment.

Spotify Listening Room London

We’ve always felt a strong connection between our work and music.

Collaborating in this space feels natural to us, as if the visuals already carry a certain resonance that translates into sound.

Music plays a constant role in our process.

We listen while working, and it directly shapes how images evolve, their rhythm, their intensity.

Three pieces are permanently installed in the space, integrated into a setting defined by warm tones, soft textures, and a carefully tuned sound system.

The room itself feels almost like an instrument, where every surface and material is designed to support how sound is experienced.

Listen to the playlist:

Instead of being presented as standalone artworks, the pieces become part of a space designed entirely around listening.

This context shifts how the work is perceived.

What is usually seen on a screen or in isolation now lives inside a physical space, interacting with sound, light, and architecture.

A collaboration shaped by coexistence, between sound and image, between space and perception.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

For the visual identity of the 2026/27 season, the Bayerische Staatsoper is presenting a campaign built around a series of works created in our studio.

Developed together with GRID Identity, the project translates our work into the identity of an entire opera season.

On Sunday, March 15, the upcoming season was officially presented to the public. Alongside the program announcement, the new campaign was introduced, establishing the imagery that will accompany the opera’s communication throughout the entire season.

For the campaign, the works were translated into motion. The animations remain intentionally restrained. Clouds, textures, and fields of color slowly shift and dissolve, creating a quiet sense of movement. The goal was not to illustrate the performances themselves, but to create an atmospheric visual space that resonates with the emotional and physical intensity of opera.

The visuals will appear across communications for the 2026/27 season, from printed materials and posters to digital formats and motion graphics throughout the city.

If you are curious to explore the full program of the upcoming season, you can find more information → here.

We’re proud to be part of this collaboration and to see our work become part of our city's visual landscape over the coming year.

From the studio,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

Today, we’re launching something we’ve been building quietly and with a very specific conviction:

Artists deserve pricing clarity.
Galleries deserve transparent valuation logic.
Collectors deserve structured reasoning behind numbers.

We’re introducing Sold., a Fine Art valuation tool designed specifically for artists and galleries.

This is not a pricing gimmick.
It’s not a random calculator.
It’s a structured valuation framework.

From the studio,
Nastassja & Christian

Why We Built Sold.

Pricing artwork remains one of the least transparent mechanisms in the art world.

Artists underprice out of insecurity.
Others overprice without structure.
Galleries negotiate without a shared logic.
Collectors rarely understand what they are paying for.

Sold. was built to introduce methodology into that space.

Not rigidity.
Not automation replacing judgment.
But a transparent foundation.

Get Sold.

How Sold. Calculates Value

Sold. determines the Fair Market Value of an artwork based on five primary pillars:

• Artwork dimensions (cm)

• Medium
  (Photography, Drawing, Painting, Sculpture, Digital Fine Art, Mixed Media)

• Career stage of the artist
  (Emerging → Established, aligned with BBK hourly references)

• Working hours

• Material costs

From these inputs, the app builds a structured market value, not a guess, but a calculation.

Edition Logic That Reflects the Market

For:

• Photography

• Digital Art

• Sculpture

Sold. integrates edition-size logic.

Unique works retain full valuation weight.

Smaller editions apply market-standard price adjustments per unit.

Sculptures are capped at 50 editions.
Photography and Digital Fine Art can include Open Editions.

This reflects how scarcity influences value without arbitrary discounting.

Three Pricing Modes: Because Negotiation Exists

The art market is not binary.

Sold. provides three price modes:

• Conservative

• Standard

• Confident

This creates a negotiation range instead of a fixed number, giving artists and galleries flexibility while staying grounded in logic.

Radical Transparency: The Valuation Breakdown

Every calculation includes a detailed Valuation Breakdown.

You see:

• Hourly value application

• Material incorporation

• Edition adjustment

• Medium multipliers

The goal is simple: No black box pricing.

If you can’t explain a price, it’s fragile.
If you can show its structure, it becomes defensible.

Pro Version: Commercial License Calculator

For professional artists and galleries working beyond primary sales, the Pro version includes a commercial license calculator.

It calculates licensing value based on:

• Exclusivity

• Duration

• Territory

• Media channels

• Company size

This turns vague discussions about usage into structured negotiations.

Because licensing is often underpriced.

What Sold. Is — And What It Is Not

Sold. is:

• A framework

• A pricing anchor

• A negotiation tool

• A confidence builder

Sold. is not:

• A guarantee of sale

• A speculative art market oracle

• A replacement for curatorial positioning

• Financial or investment advice

Sold. provides a structured valuation methodology, not predictions, promises, or financial guarantees. Market outcomes depend on context, positioning, demand, and countless external variables.

Why This Matters

Pricing affects:

• Perceived value

• Artist confidence

• Collector trust

• Long-term career positioning

The art world talks constantly about visibility. Very little about valuation literacy.

Sold. is our contribution to that gap.

We built this because we saw the same question over and over:

“What should I charge?”

Now there is at least a structured starting point.

Sold. is available starting today.

More updates are already in development.

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

GET LOST

There was a time when not knowing the way somewhere was part of the experience.

You looked up an address, missed a turn, walked a few blocks too far. Maybe you ended up in a side street you hadn’t planned to enter. And sometimes that’s where you found something — a small shop, a café, a gallery — that you hadn’t been looking for at all, but that stayed with you much longer than the original destination.

Getting lost wasn’t efficient. But it was productive in a different way.

Now most of us move through systems designed to prevent exactly that. Maps reroute us instantly. Feeds anticipate what we might want to see. AI tools respond in tones that feel strangely aligned with how we think. The friction that once slowed us down is gradually disappearing.

The more we use these systems, the more precise they become. They learn preferences, patterns, phrasing. They get better at offering what fits. The suggestions feel relevant. The answers feel usable. We move faster, with fewer wrong turns.

It’s hard to argue against that.

But something subtle shifts when the improbable stops surfacing. Not because it’s banned or censored — simply because it doesn’t statistically match who we appear to be. If a system becomes very good at predicting what we’ll respond to, it will inevitably narrow the field of what reaches us.

Over time, deviation becomes less likely.

And the risk isn’t dramatic. It’s not that AI suddenly replaces judgment or imposes ideology. It’s quieter than that. If a system understands how we argue, what tone reassures us, what ideas we tend to agree with, it may start reinforcing those patterns without us noticing. It may gently guide us toward the familiar because the familiar performs better.

Everything continues to work. That’s the point.

But getting lost once had a function. It interrupted direction. It exposed us to things we didn’t know to search for. It forced adjustments. Sometimes it even changed taste.

If unpredictability becomes optional rather than unavoidable, then exposure becomes selective. Surprise becomes something we have to actively allow.

Maybe that’s where we are now. Not in a world controlled by machines, but in a world increasingly optimized for coherence.

Which means the responsibility shifts back to us.

Take the longer route. Click the unfamiliar result. Follow something that doesn’t immediately confirm you.

Get lost.

PUBLISHED

One of our works appears on the cover of the French edition of Les Flagellants by Carlene Polite.

Two figures, blurred. Suspended somewhere between heat and distance.

MUSIC

▶ PLAYA — A$AP Rocky
▶ The Rolling Stones — Cameron Winter
▶ Comin Home — Jespfur, Paula
▶ Rosary — Don Toliver
▶ either on or off the drugs — JPEGMAFIA

Listen to our playlist on Spotify

FOUND

🔗 Decaf Matcha — 6 pm. Whatever.
🔗 Doric Lamp 01 — sculptural glass.
🔗 SKLYRK — HB Hooded Leather Jacket.
🔗 Wonderwood — smell like Pharrell.
🔗 Chess and Checkers Set — Bottega Veneta.

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

We’re starting the year in edit mode. Fewer announcements, more decisions. Refining the work, shaping what’s next, and letting some things take their time.

From the studio,
Nastassja & Christian

DECISION MAKING

Creative work is mostly decision-making.

Every day we’re faced with hundreds of choices. What stays, what goes. More contrast or less. Stop here or push further. Publish or discard. There’s no instruction manual and no one telling you what the “right” move is.

That freedom sounds romantic, but it’s demanding. As a creative, you’re completely self-directed. You set your own tasks, define your own problems, and then solve them. The work doesn’t arrive as a brief. It starts as an open question.

What makes it difficult is that most decisions can’t be proven correct. There’s no clear metric. No final answer. You only feel them. Sometimes immediately, sometimes much later.

Decision-making isn’t about control. It’s about responsibility. You can’t outsource it. You can’t hide behind rules. The work reflects every choice you make, including the ones you avoid.

In the end, creative freedom doesn’t mean doing anything you want. It means learning to live with uncertainty and still choosing.

That’s the real work.

PUBLISHED

Two of our works were featured in DIE ZEIT, one of Germany’s largest newspapers, accompanying a published article.

PLAYLIST

▶ Thebe — Marco Shuttle
▶ Olga — Thomas Brinkmann
▶ Control over the System — Bergsonist
▶ Luxury Problems — Andy Stott
▶ Ineffinity — Day Go Bye

Find them on our → Playlist.

FOUND

🔗 ZURIGA — 6 months waiting time
🔗 MVSM — Life can be bitter. Your coffee shouldn't be.
🔗 NIGO® and KAWAKITA Handeishi Special Exhibition
🔗 NM3 — design company based in Milan
🔗 System — 2026 Calendar

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

We’re starting the year by building on what’s already there: expanding our website as a growing archive, shaping a new drop concept, and preparing a few exciting things we’ll share soon.

From the studio,
Nastassja & Christian

REWORKED WEBSITE

Our website has been quietly reworked. Not as a relaunch, but as a restructuring.

We added new categories and rethought how our work is organized and contextualized. The site now functions less as a showcase and more as a works and knowledge archive around our practice.

A few key changes:

• Exhibitions is new and brings together past and current shows in one place

• Under Work, you’ll now find all artworks that are currently available, alongside works that have already been exhibited

• We introduced our Entropy-based system, which helps categorize works

• The Press section now includes interviews, with more to be added over time

The goal wasn’t completeness, but clarity.
Not everything is final, and the archive will continue to grow and shift.

NEW RELEASE CONCEPT

We’re currently rethinking how we want to share our work.

Instead of keeping everything permanently available, we’re developing a release model based on curated drops. Each drop will be small and focused, with around five works in total, including 1:1s.

Right now, our main interest is translation: finding different ways to move digitally created works into physical form. Not as straightforward prints, but as transformations that change the work’s presence, texture, scale, and material reality.

We see this process almost like a form of “sensing” or “staying with” the work. Similar to meditation, it’s about paying attention to what the piece becomes once it leaves the screen: what remains, what shifts, what suddenly feels new.

The goal isn’t to prove that digital can become physical.
It’s to discover what opens up when it does.

We’ll share more as the concept takes shape.

WHAT’S AHEAD IN 2026

This year will be shaped by collaboration and presence.

One of our main focuses is expanding our artistic collaborations. We’re currently working toward a project with a very large cultural institution, which we’re excited about and will be able to share more details on soon. It’s a direction we’ve wanted to explore for a long time, and it opens up new contexts for our work.

Alongside this, we’re planning exhibitions internationally. Some are already in motion, others are still forming.

More locations, formats, and details will follow in the coming newsletters.

2026 is about taking the work further into the world.

PLAYLIST

▶ Apart II — Second Woman
▶ Further Back — efdemin
▶ Hope — Khalirun
▶ Der Wald Erzählt Geschichte — Akiko Kiyama
▶ Ant — Akiko Kiyama

Find them on our → Playlist.

FOUND

🔗 Gentle Monster Kinetic Sculpture — Zack Wood Dougherty
🔗 Fonts — Benoît Bodhuin
🔗 Surfaces for Artists — Artist Surfaces
🔗 Art & Photography — Vivianne Sassen
🔗 Art — Gao Hang

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

YEAR-END NOTE

Today is December 31.
A good moment to pause, take stock, and say thank you.

First: thank you.
To everyone who’s been following along, sharing our work, collecting it, and keeping the conversation alive. And especially to the ones who’ve been with us from the beginning. We feel that support more than we can properly put into words.

2025 was a real turning point for us.
This year, our studio became more focused, more sustainable, and more us.

We also saw our work move into new contexts, in real spaces, real publications, and real collections.

HIGHLIGHTS FROM 2025

• We created the visual language for a major pop-up in Tokyo

• Exhibitions in Barcelona, Florence, Bari, Stuttgart, Brighton, and Birmingham, plus two shows around Art Miami

• Collaborations with global brands

• DAY 1000 of our ART EVERY DAY series

• Multiple works added to the LUMAS collection

• Featured in the 10-year anniversary issue of CHROME Magazine

• Featured in VOGUE

• Featured in Mia Le Journal

Our redesigned website will go live in January as a growing archive, with deeper context on works that are currently available, plus exhibitions, interviews, and ongoing gallery collaborations.

We’ll keep developing the system we introduced this year, categorizing each work by its entropy level, and expanding the full spectrum that comes with it.

New collaborations are already in motion. We’ll share them when we can.

And we’re continuing to translate the digital into physical, experimenting with materials and processes, and pushing toward objects that feel truly collectable.

We’re also preparing to reopen our shop with a new concept, built around curated drops.

Thank you for walking with us.
We’re excited for what’s next.

See you in the new year,
Nastassja & Christian

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

The last weeks have been a mix of movement and focus: we traveled to Japan and came back with our heads full. Tokyo hit us with that overwhelming blend of culture and technology, while Kyoto slowed everything down in the best way. The temples were truly something else.

Back in the studio, there are a few updates we’re excited to share. We’re now listed on Artsy, which gives our work a new kind of visibility in the gallery and collector context. And alongside that, we’re sharpening our philosophy for future drops: fewer things, more intention, and a clearer structure around how and why a work gets released.

More on all of that below.

From the studio,
Nastassja & Christian

SERIFA x ARTSY

We’re now listed on Artsy, a global platform where galleries, collectors, and curators discover and contextualize contemporary art.

Artsy brings together gallery programs, curated selections, and artist profiles in one place, making it easier to explore works within a broader art context rather than isolated images.

You can find our artist page → here.

We’ll be updating it over time as new works go live.

OPERATIVE INTENSITY INDEX

STRUCTURE. The archive is transitioning to a state-based classification. We are moving away from traditional categorization toward an operative intensity index.

SYSTEM. Future drops and objects will be defined by their entropy levels. Three distinct states to calibrate visual and physical interference.

MIN / SILENT
Low chaos. Absolute stillness. The essential foundation of a form. Pure potential.

MID / SIGNAL
Mid chaos. The horizon. Functional balance. Where order meets interference. The defined SIGNAL.

MAX / STATIC
High chaos. Total saturation. Maximum sensory density. Information dissolving into raw energy.

APPLICATION. This index serves as the foundational logic for upcoming releases. Each object is a measurement of intensity.

TOKYO AND KYOTO

We recently spent time in Tokyo and Kyoto, and both places left a strong impression on us.

Tokyo is an incredibly inspiring city. The mix of culture, technology, design, and everyday life feels intense and layered. Traditional elements sit right next to the ultra-modern, often within the same street or building. That tension between precision and chaos resonates a lot with how we think about images and systems.

Kyoto was a very different experience. The temples, the calm, and the sense of time passing slowly were deeply impressive. Walking through temple grounds and gardens felt grounding and almost meditative, offering a strong contrast to Tokyo’s energy.

Both cities gave us a lot to reflect on and will definitely feed into future work.

PLAYLIST

▶ Untitled 4 — Mark Fell, Gábor Lázár
▶ upper ups — Mira Calix
▶ Free Access Zone 3 — Shinichi Atobe
▶ Voodoo Posse, Chronic Illusion — Actress, London Contemporary Orchestra
▶ Makmba — Raica

Find them on our new → Playlist.

SIGNAL is our studio’s newsletter — if it resonates, share it with a friend.

There’s a lot happening around our studio right now: this December, our work will be shown in two exhibitions in Miami, and today is the last day to get 20% off all art prints in our shop with the code BLACKWEEK25.

After today, we’ll temporarily close the shop to completely rework it and come back next year with a new concept that focuses more on originals and limited editions.

From the studio,
Nastassja & Christian

IN EXHIBITION AND UPCOMING

After Florence, our work is crossing the Atlantic. This December, we’re in Miami twice: with MoAa at Context Art Miami and with LOAD Gallery for the group show Bodyscapes at Load Editions Miami.

At Context Art Miami, MoAa is presenting a curated selection of AI-driven works that treat memory, nostalgia, and code as material. We’re shown alongside Zach Lieberman, Dai, Joy Fennell, Maddy Minnis, and Parallel.fbx – six different approaches to working with algorithms and synthetic imagery, from generative light studies to dense, cinematic image worlds. Our pieces appear again as drifting, half-remembered scenes, where figures move between sharpness and blur, closer to a recalled moment than to a straightforward depiction. Collect here.

At the same time, our work is part of Bodyscapes, a group show by LOAD Gallery that reimagines the body as landscape. The exhibition brings together artists such as Farrah Carbonell, Dancevatar, Devi, Michelle van Dijk, Alba Duque, Maria Fynsk Norup, Natalie Karpushenko, Emi Kusano, Adaeze Okaro, Christy Lee Rogers, Ivona Tau, X New Worlds, and Zhuk. Across AI, photography, and video, the body becomes terrain – stretched, submerged, fragmented – while our contribution leans into that liminal moment in between, where form dissolves into texture and light. Collect here.

• On view with MoAa at Context Art Miami Fair, Booth A20, from December 2–7, 2025, during Art Basel Miami Week.

• On view in Bodyscapes with LOAD Editions Miami at Jayaram Law Studio, 3800 NE 1st Avenue, Suite 500, from December 2, 2025 to January 31, 2026.

BLACK WEEK

20% off all art prints in our shop with the code BLACKWEEK25 until November 30.
Today is the last day to use it.

After that, we’ll temporarily close the shop. Early next year, we’ll relaunch with a new concept that focuses more on originals and limited editions than on open-edition posters.

SHOP

ON ROTATION

▶ Gliiico — Bullet
▶ Playboi Carti — FOMDJ
▶ Aminé — Images
▶ VaVa — COLD BLOOD POWER™
▶ Frank Ocean — Nights

About: What we’ve been listening to in the studio lately. Find them on our → playlist.

SIGNAL is our studio’s ongoing newsletter — share it with friends to keep it going.

From the studio,
Nastassja & Christian

IN EXHIBITION

We are currently part of I Miei Ricordi – AI Dreams, Hallucinations, and Memories at MoAa in Florence. The exhibition brings together artists working with AI to explore how human memory, digital nostalgia, and synthetic imagination overlap, with our works appearing as spectral, almost remembered scenes where figures drift between clarity and blur.

On view at MoAa, Florence, from November 14 to December 10, 2025.

UPCOMING

Our work will be part of Bodyscapes, a traveling group exhibition that first opened at LOAD Gallery in Barcelona and now continues at LOAD Edition Miami. The show presents fragmented, partly obscured bodies hovering between presence and disappearance, on view at Jayaram Law Studio in Miami from December 2, 2025 to January 31, 2026.

STUDIO LOG

• Currently on view at MoAa Florence as part of I Miei Ricordi – AI Dreams, Hallucinations, and Memories.

• Next stop: Bodyscapes, Load Edition Miami at Jayaram Law Studio, opening December 2.

• We’re gradually phasing out open edition prints and focusing on originals and tightly limited editions.

• Behind the scenes, we’re refining a new plotted Certificate of Authenticity that will be printed directly onto each piece.

BLACK WEEK

20% off all art prints in our shop with the code BLACKWEEK25 until November 30.

SHOP

ON ROTATION

▶ Souls Of Mischief — 93 ‘til Infinity
▶ Khruangbin — The Man Who Took My Sunglasses
▶ Jack Harlow — Blame On Me
▶ Dean Blunt — Rinsed
▶ Eam Triplin — 100 Grams

About: What we’ve been listening to in the studio lately. Find them on our → playlist.

SIGNAL is our studio’s ongoing newsletter — share it with friends to keep it going.