We’d like to share two recently published articles with you, From Performance To Post-Performance, a conversation between Catherine Wood, Marie De Brugerolle and Marie Canet in Mousse (Summer 2014) and an interview with Auto Italia on PostMatter. Both discuss how artists are adapting and responding to alternative and increasingly austere production landscapes. The texts consider the formal and conceptual adaptations of artistic production within a selection of Auto Italia’s projects – as commercial and independent creative industries become increasingly embedded.
In Billy Howard Price’s Post Matter interview with Auto Italia we discuss the value and status of creative production, considering how the surface of certain aesthetics appear to denote specific critical positions. However, what’s required is a greater understanding of the wider environment of commercial cultural production that artists often use to survive.
Within From Performance To Post-Performance, Wood discusses My Skin Is At War With A World Of Data (2012, with Jess Wiesner and Andrew Kerton) noting the performative status of the work through its aesthetics that draw from a sexualized mediatisation of the notion of performance. Going further, Wood asks how we may now understand the terminology and context of performative practices as the term becomes increasingly associated with commercial industry.
You can read the Mousse text by clicking on the image below.
A Horn Of Plenty At The All You Can Eat Buffet Of Nothing: Saturday 28th June, 7-9pm with performances from 7:30pm
As part of Golden Age Problems
If you joined us last Saturday, you would have seen a teaser for a performance that will take place this Saturday 28 June 2014, 7.30pm.
You also might have also picked up a press release that says:
In his essay on musicals “Entertainment And Utopia” the theorist Richard Dyer claims that entertainment does not “present models of utopian worlds, as in the classic utopias of Sir Thomas More, William Morris, et al. Rather the utopianism is contained in the feelings it embodies. It presents, head on as it were, what utopia would feel like rather than how it would be organised.”
The narratives that mass media entertainment produce run deep through our lives and cannot be escaped – entertainment is a headspace where the dynamics of desire, seduction, power and control take place and increasingly make meaning of our world.
The event this coming Saturday is called: “A Horn Of Plenty At The All You Can Eat Buffet Of Nothing” which maybe sounds negative – but don’t worry – it’s actually positive: we’re going to bring a horn of plenty to fill up that empty buffet.
The event will feature live performances and interventions from Leni Cedric, Benedict Drew, Mette Hammer Juhl + Loenzo Tebano, Pablo Navarro MacLochlainn and Plastique Fantastique.
The event is free to attend.
Golden Age Problems is a project by Auto Italia and Nathaniel Budzinski featuring Oreet Ashery, Marleen Boschen, Olivier Castel, Leni Cedric, Benedict Drew, Marianne Forrest, Mette Hammer Juhl + Lorenzo Tebano, Pablo Navarro MacLochlainn, Terence McCormack, Plastique Fantastique, Richard Thomas.
Special thanks to: Eli Cantrill, Joshua Howell, Faun Nash, George Nicolaides, Joshua Parker, Charles Pryor, Dominique Russell and Jacob Watmore.
Image © Auto Italia
We’re excited to share a review of opti-ME* and Banner Repeater’s Snow Crash, published in the current issue of ArtMonthly (June 2014), that considers the performative subjectivities realised in both projects.
In Chris Fite-Wassilak’s review he notes Auto Italia’s decisive approach in developing productive possibilities through an active co-opting of oneself into an incipient digital and networked world. To achieve this, Fite-Wassilak comments on opti-ME*’s staging of ‘intensified self-commodification’ in an imagined future defined solely by an economy of fame. Continuing, Fite-Wassilik considers how the sheen of these future practices reverberated throughout the project through the consistent rehearsal of time based performances.
You can read the article by clicking the image below.
Drills are methods for self-discipline, ways to explore artistic practice
and routines to develop in order to see ourselves and our artistic practices differently.
Click below to DO THE DRILL.
Drill Practice is a collaborative project between Auto Italia and BAFA CSM students, with contributions from Keshav Anand, Sofia Lavalle, Nicole Weisz.
opti-ME* Online Commission: Sascha Pohflepp: "The Currency of Living Matter (Every Thought Is Sunlight)"
As part of opti-ME*s investigation into embodied value, identity economics, and human exchange, artist Sascha Pohflepp presents a speculative executive toy modeled on the body’s very own ‘molecular currency’.Converting organic into digital 'money', he maps in a closed circuit the energy needed for the bio-mechanical production of five US dollars worth of Bitcoins - the market value of the digital rendering of the molecule itself. Sascha Pohflepp: The Currency of Living Matter (Every Thought is Sunlight) “A movement is produced on the surface of the globe that results from the circulation of energy at this point in the universe [...] The play of living matter in general [is] involved in the movement of light of which it is the result.”
– Georges Bataille, The Accursed ShareBefore we learned to harness electricity all work was done by bodies; consuming, storing and expending energy that comes from a star called Sun. Within the body’s trading floor of cells, the molecular currency of energy transaction is the coenzyme Adenosine Triphosphate (ATP). Each human body is a vast stock exchange of such chemical energy, turning over its own weight in ATP each day. Drawing inspiration from Georges Bataille’s writings on flows of energy and excess, the Currency of Living Matter re-imagines a model of the ATP molecule, bought on the internet for five US dollars, as a desk accessory for biotech executives of the near future. Presented online as part of opti-ME* is a 3-minute excerpt from a 440-hour computer simulation. 440 hours is the approximate amount of time in which a human body interacting with a physical version of the object would turn over an amount of energy equal to that required for a Bitcoin mining rig to generate five US dollars.*
* Based on a fictionally under-clocked Avalon ASIC #2 mining rig drawing 100W, at an exchange rate of $449.36 per Bitcoin, at a difficulty of 8000872135.9682 as of May 10th 2014