In 2017, the technology of NFTs — non-fungible tokens — emerged, allowing any kind of information to be recorded on the blockchain and thus "owned". Art has always occupied an ambivalent position: on the one hand, it holds enormous potential for liberation and resistance; on the other, it is continuously appropriated by capitalism and turned into commodity. NFTs can be seen as the ultimate victory of capitalism: anything that has an address on the internet can be recorded on the blockchain, thereby turned into something unique — and thus commodified.

Since 2020, we have increasingly encountered what is known as AI slop — images and texts generated by artificial intelligence. These outputs have become so abundant that we are speaking of a semantic apocalypse — a collapse of the distinction between what is real and what is not.

Both of these processes can be understood as attacks on the aura described by Walter Benjamin in his essay The Work of Art in the Age of Mechanical Reproduction. In the project Non-tokenizable fungi, I invert NFT into NTF — a non-tokenizable dataset of procedurally generated fungi. I confront NFT and AI slop to create a work that resists tokenization: each fungus emerges only once and disappears without a trace. This ephemerality makes them elusive to the blockchain — and therefore to commodification.