current works aim for a better understanding of the internet as a
parallel space. The internet has exactly the same capabilities that the
real world. Hence I do not aim towards a virtual reality but to a real
My experience as an artist is kind of poor. Instead the experience I’ve
acquired as a viewer keeps growing and growing. Remember how things
were some years ago. During the 90‘s we used to record tapes with our
favorite songs, mixing them in a single cassette. We were still
browsing the pages of encyclopedias to gather images and information.
To visit the world’s museums you needed plane or train tickets, or a
lucky friend who brought back home a catalogue from them. You could
xerox the books, but it was never the same.
Suddenly encyclopedic CD Roms appeared and we browsed on a much easier
way through information. After, the internet bloomed. We marveled
ourselves of being just a click away from the Louvre, the Prado, the
MoMA, and even the NASA. Then Napster , and other softwares appeared.
We began exchanging phone time for information and music!
This leads to my main statement: If creativity now lays on exploring
and sharing, why do we keep on working with contemporary parameters?
Whats the point on making useless objects or estate decors? Can we stop
art from being passive?
Most art buyers are not collectors. Some luckily have began showcasing
their artworks, but the rest of them are just accumulating. They’ve
caged art. They do not share. They do not inspire. But the change does
not relay on them, it relays on us: the producers. We’ve forgotten our
public, we only think of selling big numbers, traveling, and buying
Art needs to change because creativity is dying. We need to encourage
people to be creative. Collectiveness isn’t the answer. Cooperativeness
is! We urgently need to share, teach and learn from others.
The Yanomami people, located in the Amazonian river in Venezuela and
Brazil, have an idea of home named shabono. It’s a giant hut that
houses the complete tribe under a shape of a giant ellipse. Inside it,
each family has its own area. They group surrounding fires, generating
smaller ellipses inside the hut with no walls between them.
The internet is a giant shabono. We just need to generate more ellipses
inside it. Eventually this may lead us to turn our planet into one
The 21st century artist must be a catalyzer. His biggest skill must be
the ability to disappear. We need to stop caring about our name, and
care instead for the proper functioning of our projects. Ideas can
become so much better if more and more people start working them.
Nobody owns an idea, and that’s their beauty.
On 2012 I interviewed Miltos Manetas. He told me I should never forget
that indeed we connected with computers, but that also we connected
ourselves with other things.
Prior to Nicolas Bourriaud’s exhibition Traffic, in 1995 Manetas did an
awesome show in the city of Termoli, named Collegamenti, which means
connection. Cables and sockets were displayed in the gallery so people
could plug and experience the feeling of connecting.
century art doesn’t need a public, it needs participants. Objects are
in fact necessary in art because we are fetishist beings. But they are
collateral. They’re just a portal. Art lays somewhere else near them.
21st century art is nothing different from a multiplayer ping pong
game. We’re just bouncing ideas between us. The beauty on art is to
throw it away and wait to see how its shape changes as it bounces back.
So that’s my alternate reality game called nimda. It doesn’t have a
public, it has players. People still buy art, and become investors.
They help pushing and expanding my game.
nimda is a shabono. It holds lots of ellipses like Nimda Stock Market,
Nimda Commerce Bank, Nimda Cultural Affairs, and it keeps on growing.
All this ellipses collide in sets. Grupo Drik lays inside Nimda
Cultural Affairs. Inside it lays drik magazine, drik wiki, drik docs,
and drik talks. They’re circles, inside circles, inside circles, inside
Nimda Stock Market sells bonds and shares. Players buy them and get
stock certificates, and bank cards. They can do whatever they want with
them.They’re not really buying objects, but what the objects represent:
access to specific areas of the game.
As nimda’s location is the internet, it can be accessed and played from
any part of the world. You just need a modem or a cellphone.
Thanks to my stock market I sell my projects instead of hand-made or
computer generated items. By splitting them into shares, and selling
them away, they become cooperative. On that way they can be pushed into
places that I can’t reach.
We urgently need to set more circles so we can establish bigger
networks. Then we can experience better and bigger connections between
My medium might be the internet, but Marshall McLuhan was wrong. The
medium isn’t the message/massage. The way we use the medium is. My way
is the shabono structure. Nimda corporation is also a circle inside
another: the Variable Network State (VNS), a game by Fran Ilich. nimda
isn’t the only corp on it, and I’m not the only artist inside the VNS
So we’re building this kind of mutant matryoshka doll that will go
deeper with each player that joins. That’s the medium, and that’s the
Darwin said, “The fittest will survive”. The fittest is not the
strongest, is the one that contributes more to his ecosystem. Let’s
connect on a collaborative way, dissolve authorship, and never forget
that our ecosystem isn’t the art world; it’s the world.