*Bitchcoin: Genesis* images are Sarah Meyohas's fine art documentation of the original Bitchcoin mine at Where, a gallery in Brooklyn, New York, in February of 2015. Meyohas transformed Where into a cryptocurrency mine, viewable through a live-streamed webcam. Coin buyers received a certificate with key number encryption allowing them access to the BitchCoin software program. Through this custom platform, currency could be sent and received.

"Our operations test the assertion that art manifests the same patterns, behaviors, and properties present in all complex informational systems. Acknowledging the powers and perils of systems-based thinking, we suspect that the mechanisms identified as producing growth and complexity in large-scale systems may be directly applicable to the field of artistic production. We use the exhibition format as a site for researching these mechanisms." – Where

Where is a gallery and on-demand publishing project headquartered in a 40-foot shipping container in Brooklyn, New York. Where is produced by the writer Lucy Hunter and the artist R. Lyon.


Sarah Meyohas is a conceptual artist whose practice considers the nature and capabilities of emerging technologies in contemporary society. Using the familiar emblems of biological life, Meyohas investigates the complex operations that increasingly govern our world: soaring birds, created using augmented-reality software, flock in unison with the frenetic variations of the stock market; rose petals, aggregately identical but individually unique, comprise the dataset for their AI-created equivalents; Bitchcoin, a cryptocurrency backed by physical artworks, questions the speculative value of cryptocurrency and the ineffable value of art. Meyohas creates an intelligible visual language to articulate the systems and technologies that increasingly influence our world. 

Bitchcoin: Genesis Images are Sarah Meyohas's fine art documentation of the original Bitchcoin mine at Where, a gallery in Brooklyn, New York, in February of 2015.

Meyohas transformed the Where gallery into a cryptocurrency mine, viewable through a live-streamed webcam. Coin buyers received a certificate with key number encryption allowing them access to the BitchCoin software program. Through this custom platform, currency could be sent and received. 

"Our operations test the assertion that art manifests the same patterns, behaviors, and properties present in all complex informational systems. Acknowledging the powers and perils of systems-based thinking, we suspect that the mechanisms identified as producing growth and complexity in large-scale systems may be directly applicable to the field of artistic production. We use the exhibition format as a site for researching these mechanisms." - Where

Where is a gallery and on-demand publishing project headquartered in a 40-foot shipping container in Brooklyn, New York. Where is produced by the writer Lucy Hunter and the artist R. Lyon.

Genesis 4

Rendering by the Water

Fin de fiesta

Unmelted Places

HOLOGRAPHIC DANCE

The Green Window

Ultimate Ave

Spore 1

Persian Jungle House

*Rendering by the Water* is a selection of female-identifying and non-binary perspectives on inhabiting reality and dreams, between the natural, the inner, the domestic, the outer, and the imaginary worlds.


We recognize images as they shape shift, formless; textures vibrate, glow, transform, in a time-based exploration of identity and subjectivity that is fluid and true to the principles of their own queerness, and therefore merging with facts and reality in a diffractive way.
They materialize dream-like realms and “out of this world” perspectives on seemingly mundane, ordinary things and notions of space or natural order. And they do that not as immaterial mirages or illusions, rather, they contribute to the forming of a new consciousness, beyond our limited perceptions, beyond what is presently imaginable. Audre Lorde said it’s through dreams that revelations, that new meaning and knowledge might infiltrate and inform existing structures to organize and function differently, in an act of taking up space that occurs outside the dominant methods and means.


Almost like psychological spaces, maybe self-portraits, these works are rendered as fastical forms to stretch our imagination and provide access to visions and alternative knowledge that might be capable of contributing to world-making and meaningful transformations in the material world.

Nine perspectives on inhabiting reality and dreams.

Genesis 4

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