Oliver Miro, founder of Vortic Art, in conversation with artist Gretchen Andrew, discussing the impact of XR (extended reality) technologies on the art world and bringing their complementary perspectives to the table. Together, they will discuss how digital and VR exhibiting solutions can encourage new dialogues between artists, galleries and collectors in a sustainable and accessible way. As Untitled Art, Miami Beach 2022 digital partner and the leading sustainable digital platform for the arts, Vortic is committed to providing the highest quality virtual viewing experiences for galleries, collectors, and institutions. Gretchen Andrew hacks systems of power with art, code, and glitter. Through her merger of traditional painting and technology she reimagines reality with art and desire. In 2018 the V&A Museum released her book Search Engine Art. Starting in 2019 she became known for her vision boards and associated performative internet manipulations of art world institutions of Frieze Los Angeles, The Whitney Biennial, The Turner Prize, and The Cover of Artforum. About Oliver Miro Oliver Miro is co-Founder of Vortic, an art led platform that aims to create a connected, collaborative conversation around immersive 3D, augmented reality (AR) and virtual reality (VR) exhibitions from the world’s leading galleries and institutions. The impetus behind the founding of Vortic was a moment where, after more than a decade spent in the sales team of a leading international gallery, Oliver Miro became acutely conscious that the art world lacked a truly high quality way of presenting artworks digitally that would be engaging enough to captivate collectors, inspire artists, and help move galleries and institutions towards a more sustainable future. About Gretchen Andrew Gretchen Andrew hacks systems of power with art, glitter and code. She is best known for her playful hacks on major art world and political institutions, including Frieze, The Whitney Biennial, Artforum, The Turner Prize, and 2020 American Presidential Results. Through her merger of traditional painting and technology she reimagines reality with art and desire. In response to her appropriation of Facebook and Instagram tracking technology, Fotomuseum Winterthur curator Marco De Mutiis said, "Her practice & approach is particularly significant because not only does she have a deep understanding of the logics and strategies of algorithmic systems of powers, she finds subversive ways to reclaim these tools and flip them against themselves." She trained in the studio of Billy Childish from 2013 - 2018.

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