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@ideath_

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@rhizome_parking_garage
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Posted&Forgotten

We want AI slop IRL.

Take AI-generated images off the screen and bring them into the physical world. Print it, paste it, paint it, sculpt it, stitch it, spray it, build it, or turn it into something we haven’t thought of yet.

From wheat-pasted posters and graffiti to sculptures, textiles, landscape interventions, napkin drawings, and dada-slop-poetry scratched on glass, we want to see AI slop made physical. Weird, ugly, funny, absurd, beautiful. No rules, just slop.

Make something, put it out into the world, and document it in photographs. The photos can be sloppy or professional. We want to see the work, not judge your photography skills.

Group projects welcome.
Maximum 10 images per submission.

Deadline: November 30, 2026

Submit to: postedandforgotten@gmail.com

A note on the show:
Posted&Forgotten is an off-site exhibition that brings together physical interventions in the real world and their photographic documentation in a shared virtual exhibition. Your work can happen anywhere. Send us the photos, and we’ll bring the slop together.

No fees, no hidden costs, no pay-to-exhibit bullshit. This is an open call, not a scam. We will never ask you for money to submit or participate.

Curated by the BigSlop International:
@paincurator @ideath_ @don_elektrq]

Hosted by drowned by public @drownedbypublic
and rhizome paking garage @rhizome_parking_garage

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POST HUMAN available in shops right now!

Distribution in progress…stay tuned 🫶

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𝓼𝓸𝓵𝓸 𝓼𝓱𝓸𝔀 𝓸𝓷𝓵𝓲𝓷𝓮: chapter 1 was launched in 2020 as a constellation of works developed somehow <<in solitude>>, drawing upon <<the tactics of neets, lovers, pariahs and poets>> to arrive at <<post-offsite>> practice. chapter 1 is now back online!! it included work by 26+ artists, an offsite production of Ofluxo's Flatland Reader, texts by monica belevan and halo, and was co-developed by @spirit.room.end.sky + @rhizome_parking_garage

pictured here:
1, 2 ian swanson, @iancswanson kneeling troll
3, 4 giulia carpentieri, @giuliacrp greyish green
5 ben sang, proselyting bodies
6 frenk e fresca, @frenk_e_fresca look at my white kitten, who is on the roof and wants to say goodbye
7 hanna umin, @xx.clymenstra.xx the allegory of the long spoons
8 riccardo d'avola, @riccardo_davola_corte adynamia II
9 ian bruner, @ideath_ pulp removed (100 seconds to midnight)
10 MRZB, the hunt of Shuum
11 underground flower reads: Ofluxo Flatland Reader @ofluxoplatform (install)
12 bora akinciturk @bora_akinciturk (uf x flatland reader)
13 underground flower reads: Ofluxo Flatland Reader (table of contents)
14 jon rafman, 4chan (uf x flatland reader)

♡

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POST HUMAN 👽

This 220-page photobook brings together 21 photographers exploring the shifting boundaries of the human.

Limited edition of 250 copies.

Get your copy → link in bio

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[TRUST NOFLAG!] by the amazing artistic duo don_elektrq and ideath. See the artists’ statement and the full first part of the series — [nonobject as natural law] — in the Summer issue of Himmel und Hölle. And expect more insight into the project in the coming Autumn issue.

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A new essay by Ian Bruner on what disappears inside the economy of exposure.
On Betty Hammerschlag, Legibility, and Vectoral Conditioning.
🔗 in bio

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Drowned By Public is now on Substack.

Black Circle, the Drowned By Public manifesto by Ian Bruner @ideath_, is available in full, to read, download, print and redistribute.

Subscribe 🔗 in bio

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PRELUDE TO LOVE AND LUCK W/ DJ PITCH @dj_pitch

Sep 8 | 00:00 GMT

Tune in to our bi-monthly show MUSIC FOR PARKING GARAGES @nts_radio in collaboration with @rhizome_parking_garage, featuring music made to be listened to in parking garages, inspired by the parking garage as a symbol of “the inferno of the same” and the agony of uniformity.

Video @ideath_ @paincurator @don_elektrq

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Read our insightful conversation with the legendary Halo (aka Underground Flower) about her long-running project “Gothic Pastoral” on Soloshow. Part 2 of 3 of our archival case study, Territories of the Aggregator Art: The Forest. See the full story in the Spring issue of Himmel und Hölle. Link in bio.

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A PAINTING OF MY DAUGHTER W/ A LARGE SHEET OF MUSCLE @mosmosstd
An exclusive first broadcast of A PAINTING OF MY DAUGHTER, an album by A LARGE SHEET OF MUSCLE

July 14 | 00:00 GMT

Tune in to our bi-monthly show MUSIC FOR PARKING GARAGES @nts_radio in collaboration with @rhizome_parking_garage, featuring music made to be listened to in parking garages, inspired by the parking garage as a symbol of “the inferno of the same” and the agony of uniformity.

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Bettty Hammerschlag & lan Bruner - Jan
5, 2024

Featured on the compilation:
Some Things Never Change, But We Won’t Always Be Around To See Them
For @portraitureplatform

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[WhatAreYouGoing2Watch?][nonobject as slopcinematic movie experience]
**EVERY CINEMA WAS ONCE THE END OF CINEMA**

Every technological shift in film history has been met with anxiety. Sound was said to destroy the purity of silent cinema. Color was dismissed as spectacle. Lightweight cameras transformed documentary realism. Digital cinematography replaced photochemical film. CGI reshaped visual effects. None of these transitions ended cinema—they changed its language while leaving older techniques behind.

Animation tells the same story. After *Princess Mononoke*, hand-drawn animation gradually gave way to digital production pipelines. The drawings remained, but the methods changed. The rise of 3D animation in the late 1980s and 1990s opened entirely new visual possibilities while pushing others toward obsolescence. Something is always lost. Matte paintings disappear. Practical effects become rarer. Optical tricks are replaced by rendering. Entire crafts fade while new ones emerge.

Today's fear centers on AI. Alongside it comes the fear that actors themselves will become obsolete. But that transition has been unfolding for decades. Performance capture, digital doubles, de-aging, facial scanning, and companies like Weta have already blurred the boundary between physical performance and digital bodies. AI is not arriving in isolation—it is entering a pipeline that has long been moving toward increasingly synthetic production.

The real crisis may lie elsewhere. Cinema was already producing formulaic blockbusters, endless franchise sequels, and algorithmically safe storytelling long before generative AI existed. Spectacle had already become predictable. Repetition had already become profitable. The problem was never technology alone. It was the industrial preference for the familiar over the risky.

Technology doesn't automatically create great films, nor does it automatically destroy them. It amplifies imagination—or the lack of it.

Every generation believes it is witnessing the death of cinema. Perhaps what actually dies, over and over again, is only one way of making it.

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