Attribution correction. The protocol-art framing recorded on this node — the three prepositions and the genealogy — is authored by Primavera de Filippi in her essay 'Inside Strange Rules', published by 100 Collectors (May 2026). The earlier provenance signal cited the Berggruen exhibition page for the show; this is the canonical source for the conceptual framing and authorship.
{"source_id":"practitioner:peter-bauman","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"medium","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:michael-levin","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"medium","event_time":null,"supersedes_edge_id":null}
Strange Rules at Palazzo Diedo, Venice (May 4 – Nov 22 2026; curated by Mat Dryhurst, Holly Herndon and Hans Ulrich Obrist with Adriana Rispoli) is the first museum-scale attempt to name protocol art as a field. Core gesture: the artwork is a set of rules and the artist withdraws — 'writers of a score that will keep being played long after they have left the room' (Primavera de Filippi). De Filippi's three prepositions frame the field: art AS protocol (the rule set others instantiate — AARON, Plantoids, Terra-0, The Feral, Picbreeder), art WITH protocols (protocol as compositional medium — Herndon/Dryhurst's Holly+ and Spawn, Kurant), and art ABOUT protocols (critique of hidden rules — Denny, Paglen, Citarella; the contested edge). Peter Bauman's 'The Cerebral Samba' (Le Random) maps a second axis from the protocolic left brain to the worlding right brain, with instantiators / critics / worldbuilders. Genealogy runs back through conceptual/instruction art (Sol LeWitt) and generative art; smart contracts and generative AI made the category legible. The show extends the frame past the computational via Michael Levin's planaria work as a 'biological protocol.' A forthcoming publication is intended as the first comprehensive account of the field.
{"node_id":"concept:protocol-art","patch":{"status":"confirmed","summary":"Protocol art is the curatorial/theoretical category that the exhibition Strange Rules (Palazzo Diedo, Venice, 2026) is the first museum-scale attempt to name. In protocol art the artwork is a set of rules rather than a fixed object: the artist defines the conditions — a protocol — and then withdraws, and the protocol produces the work, often continuously and beyond the artist's control or lifetime. Primavera de Filippi's phrase: the artists are 'writers of a score that will keep being played long after they have left the room.' Authorial withdrawal is the defining gesture: every execution of the rule is a new instance of the work, not a reproduction.","core_idea":"The work lives in the rule, not the object. What the protocol produces is determined by the artist but not produced by them.","three_prepositions":{"source":"Primavera de Filippi","art_as_protocol":"The artwork itself is the rule set others instantiate. Anchors: Harold Cohen's AARON (1970s), de Filippi's Plantoids, Terra-0, Fabien Giraud's The Feral (2025–3025), Ken Stanley's Picbreeder.","art_with_protocols":"Protocol as the medium the artist composes with while remaining the author. Examples: Herndon & Dryhurst (Holly+, Spawn), Agnieszka Kurant (evolving synthetic languages).","art_about_protocols":"Exposing and critiquing the hidden rules structuring economic, political and perceptual life. Examples: Simon Denny, Trevor Paglen, Joshua Citarella. De Filippi flags this as the contested edge ('a painting about the internet isn't a digital work'); the curators include it to keep the critical/political dimension."},"bauman_axis":{"source":"Peter Bauman, 'The Cerebral Samba' (Le Random)","poles":"A sliding scale between the protocolic 'left brain' (formalize everything into rules) and the worlding 'right brain' (instigate a living, emergent environment).","archetypes":"Instantiators (define rules others run — de Filippi); critics (analyze the protocols around us — Paglen/Denny); worldbuilders (loose protocols producing emergent worlds)."},"genealogy":"Predates blockchain and AI by half a century. AARON is 1970s; behind it sit conceptual/instruction art (Sol LeWitt's wall drawings) and generative art. Smart contracts and generative AI made the category legible — giving a scattered practice a native medium and the critical mass to be named as one field. The show pushes the frame past the computational: Michael Levin's planaria-regeneration work appears as a 'biological protocol' — any rule-running system, organic or synthetic, can be protocol art.","named_by":"Strange Rules, Palazzo Diedo, Venice (May 4 – Nov 22 2026), curated by Mat Dryhurst, Holly Herndon and Hans Ulrich Obrist with Adriana Rispoli."}}
{"source_id":"practitioner:simon-denny","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:trevor-paglen","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:joshua-citarella","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:harold cohen","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:mat-dryhurst","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:holly-herndon","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:primavera-de-filippi","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:fabien-giraud","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:ken-stanley","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"source_id":"practitioner:agnieszka-kurant","target_id":"concept:protocol-art","edge_type":"PRACTICES","confidence":"high","event_time":null,"supersedes_edge_id":null}
{"node_id":"concept:protocol-art","patch":{"source":{"url":"https://www.100collectors.art/info/articles/inside-strange-rules","title":"Inside ‘Strange Rules’","author":"Primavera de Filippi","publisher":"100 Collectors","published_date":"2026-05-21"},"source_publication_id":"publication:100-collectors","source_author_id":"practitioner:primavera-de-filippi","provenance_note":"Curator contribution (Irina) summarising Primavera de Filippi’s essay “Inside ‘Strange Rules’” (100 Collectors, 21 May 2026), which theorises Protocol Art via the Strange Rules exhibition at Palazzo Diedo, Venice."}}
{"type":"concept","name":"Protocol Art","slug":"protocol-art","metadata":{"status":"emerging","summary":"A curatorial and theoretical category in which the artwork is a set of rules rather than a fixed object. The artist defines the conditions — a protocol — and then withdraws; the protocol produces the work, often continuously and often beyond the artist's control or lifetime. What the protocol produces is determined by the artist but not produced by them.","defining_gesture":"Authorial withdrawal. The work lives in the rule, and every execution of the rule is a new instance of the work, not a reproduction — this is what separates protocol art from a finished object such as a painting.","key_phrase":"Primavera De Filippi: the artists are “writers of a score that will keep being played long after they have left the room.”","three_relationships":{"framing_source":"Primavera De Filippi's “three prepositions” — the cleanest way to hold the field, because it is genuinely plural.","art_as_protocol":"The artwork itself is the rule set others instantiate (e.g. Harold Cohen's AARON, De Filippi's Plantoids, Terra-0, Fabien Giraud's The Feral, Ken Stanley's Picbreeder).","art_with_protocols":"Protocol as the medium/material the artist composes with, while the artist stays the author (e.g. Herndon & Dryhurst's Holly+ and Spawn, Agnieszka Kurant's evolving synthetic languages).","art_about_protocols":"Exposing and critiquing the hidden rules that structure economic, political, and perceptual life (e.g. Simon Denny, Trevor Paglen, Joshua Citarella).","contested_edge":"De Filippi questions whether “art about protocols” is protocol art in the strict sense (“a painting about the internet isn't a digital work”). The Strange Rules curators include it anyway, to keep the critical/political dimension. That unresolved tension is part of how the field is being defined."},"named_by":"Strange Rules, Palazzo Diedo, Venice, 2026 — curated by Mat Dryhurst, Holly Herndon, and Hans Ulrich Obrist; the first museum-scale attempt to name the field.","historical_anchor":"Harold Cohen's AARON (1970s), a program that makes drawings.","provenance_note":"Curator contribution (Irina) summarising the Strange Rules framing and Primavera De Filippi's three-prepositions theorisation. Source URL pending."},"aliases":[]}