Untitled Art Miami
3 December - 7 December 2025
CB Hoyo - Giuseppe Lo Schiavo - Six N Five
UNTITLED MIAMI 2025

The booth unfolds as a dialogue between two distinct yet converging territories: the algorithmic translation of reality into images, and the cultural and perceptual landscapes of our hyper-digital present. Across both sections, the works on view investigate how images shape — and are shaped by — data, irony, perception, and technology. Together, they offer a meditation on how contemporary art redefines the act of seeing in an age where information, screens, and symbols are omnipresent. Giuseppe Lo Schiavo’s ”Newscapes” turns the news cycle into a visual system. Each day, headlines about climate events, scientific discoveries, or political upheavals are processed by an AI pipeline and transformed into photorealistic “windows.” More than static pictures, these works are automated translations of information into contemplative sceneries — ephemeral portraits of the present moment. Through a language that combines data structuring, prompt engineering, and image rendering, Lo Schiavo creates a calendar of daily landscapes where the urgency of current events is suspended in the form of visual metaphor. Newscapes thus positions technology not as a neutral tool, but as a medium capable of generating a collective memory of our times. If “Newscapes” by Giuseppe Lo Schiavo translates the relentless flow of data into daily windows of contemplation, the adjoining section of the booth focuses on the digital as a shared terrain for two artists whose practices resonate across different registers. CB Hoyo and Six N. Five work within the same expanded field, where screens, networks, and algorithms define not only the aesthetics of the present but also its contradictions and promises. Their affinities lie in the way each treats the digital as both language and matter. Hoyo embraces its immediacy and irony, exposing the absurdities of a culture ruled by hype, memes, and the accelerated circulation of images. Six N. Five, in turn, stretches the digital into a contemplative dimension, where a stone and a moving image coexist in fragile balance, suggesting that
technology can slow down as much as it accelerates, opening portals for reflection. Together, they trace a spectrum of digital sensibilities: Their works speak to each other as variations on a common theme, revealing that the digital is not a single aesthetic but a multiplicity of states, critical, playful, immersive, and poetic.




























