opti-ME* reviewed in Art Monthly

25th Jun. 2014

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.

artmonthly

DRILL PRACTICE

18th Jun. 2014
How do we want to work in the future?

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)"

23rd May. 2014

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 PohfleppThe 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 Share

  Before 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

Auto Italia at Kunstvlaai, 21-25 May

16th May. 2014
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We're excited to announce that Auto Italia will be participating in this year's Kunstvlaai in Amsterdam, 21st-25th May. Developed in close collaboration with Theo Cook, Pablo Jones-Soler and Michael Oswell, Auto Italia will present a billboard-based piece, installed in the Amstelpark alongside work from over 50 artist-led initiatives from around the world.
Kunstvlaai is a platform for experimental art practices; taking place every two years and creating a platform to meet, discuss, and exchange ideas. This tenth edition takes place in the Amstelpark, one of the city's largest parks - with contributors encouraged to engage with alternative approaches to production and exhibition formats in this unusual context. The site-specific commissions are accompanied by Spaces in Dialogue, a three-day programme of round-table discussions between the participants over three themed sessions, Space and Context, The Positioning of The Art(ist-Run) Initiative and The Different Manifestations of The Art(ist-Run) Initiative.  Image © Auto Italia and Michael Oswell

Ingo Niermann at opti-ME*

13th May. 2014
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As part of opti-ME* we're looking for people interested in taking part in a workshop - The Artist as Material - with writer Ingo Niermann, based on his concept of self-determined drill.

This focused, small workshop will take place on Saturday May 24th from 2pm onwards, where Niermann will work with the group to explore ideas and methodologies for how artists might make themselves their own material. The closed workshop will be followed by a public presentation on Sunday 25th May at 4pm, led by Niermann and developed collaboratively from the previous day's workshop.

If you'd like to take part, please get in touch with marleen@autoitaliasoutheast.org by Monday 19th May for more information. Places are extremely limited.
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The Artist As Material - Ingo Niermann In a common understanding of modern art the actual work is the artist persona, while the signed stuff that he/she produces are just "relics" (Boris Groys) of his/her existence. Still, since a phase of radical performance art in the 70s (Hsieh, Abramovic, Burden,...) personal frontiers have rather not been challenged. While the media is flooded with books, TV shows, and blogs on self-improvement, the artistic practice seems to be all about protecting a grail like persona. While pop and movie stars are encouraged to deliver revelations on personal meltdowns and erratic shifts, artists are expected to steadily evolve their once found artistic position to satisfy a market and a critical perception that are both, in whatever ways, determined by the prospects of museification.
As long as artists don't claim to be identical with their artist persona, they feel secure from the trap of a fake authenticity. But as the art world is very much based on personal encounters expectations on what the "real person" is like, make up a large part in the evaluation of an artist persona. To disrupt this trust, writer Ingo Niermann will gather with a couple of artists to develop previously undisclosed ways of how to make themselves usable as artistic material. An elementary tool for this endeavour will be Niermann's concept of a self-determined drill (Choose Drill, Hatje Cantz/ dOCUMENTA13, 2012).
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Ingo Niermann (b. 1969) lives in Berlin and Basel. Recent writing work includes Solution 247-261: Love (ed., 2013), Choose Drill (2011), The Future of Art: A Manual (2011, with Erik Niedling). His work has been featured at Serpentine Gallery (London), MACBA (Barcelona), ZKM (Karlsruhe), dOCUMENTA(13) (Kassel), MoMA (New York), and La Biennale die Venezia. Collaborative projects include Vote (Gwangju, Korea) - a tool for public ballots developed with Rem Koolhaas, and Fiktion - an international digital publishing project with Haus der Kulturen der Welt (Berlin).