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Paolo Cirio

Paolo Cirio

Paolo Cirio has exhibited in major museums and institutions and has won numerous prestigious art awards. He regularly gives public lectures and workshops about media art at leading art festivals and universities worldwide.

He has had solo shows at International Kunstverein Luxemburg, 2016; NOME gallery, Berlin, 2015; Bellegard Centre Culturel, Toulouse, 2015; Kasa Gallery, Istanbul, Turkey, 2013; Aksioma Institute for Contemporary Art, Ljubljana, Slovenia, 2011 and 2013.

Conceptual Artist, 1979. IT/U.S.

Art Career Cirio’s artworks have been presented at Musée National d’Histoire et d’Art of Luxembourg, 2017; C/O Berlin, 2017; Museum für Fotografie, Berlin, 2017; Münchner Stadtmuseum, 2017; International Kunstverein Luxemburg, 2016; ICP Museum, NYC, 2016; Artium Museum, Basque MCoCA, 2016; Gaîté lyrique, Paris, 2016; China Academy of Art, Hangzhou, 2015; Somerset House, London, 2015; Artium Museum, Vitoria-Gasteiz, 2015; Het Nieuwe Instituut, Rotterdam, 2015; Utah MoCA, 2015; Vancouver Art Gallery, 2015; Cenart, Mexico, 2015; Kasseler Kunstverein, Kassel, 2015; Victoria and Albert Museum, London, 2014; Open Society Foundation, NYC, 2014; TENT, Rotterdam, 2014; DOX Prague, 2014; MoCA Sydney, 2013; ZKM, Karlsruhe, 2013; CCCB, Barcelona, 2013; CCC Strozzina, Florence, 2013; MoCA Denver, 2013; MAK, Vienna, 2013; Architectural Association, London, 2013; Museum of Modern Art, Rio de Janeiro, 2012; National Fine Arts Museum, Taichung, 2012; Wywyższeni National Museum, Warsaw, 2012; AEC Museum, Linz, 2011; SMAK, Ghent, 2010; National Museum of Contemporary Art, Athens, 2009; Courtauld Institute, London, 2009; PAN, Naples, 2008; MoCA Taipei, 2007; Sydney Biennal, 2007; and NTT ICC, Tokyo, 2006.

Conceptual Artist

Cirio has also curated panels series at the Kitchen, NYC, 2012 and Eyebeam, NYC, 2013. He has won a number of awards, including Golden Nica first prize at Ars Electronica, Transmediale second prize and the Eyebeam Fellowship, among others. His controversial artworks are often covered by global media outlets, such as CNN, Fox News, Washington Post, Huffington Post, Global Village, O Globo, ABC, Daily Mail, Toronto Standard, Der Spiegel, ZEIT, Tagesspiegel, El Pais, Libération, Russia Today, Global Times, Apple Daily HK, among many others.

Artworks Paolo Cirio engages with legal, economic and semiotic systems of the information society. His works investigates social fields impacted by the Internet, such as privacy, copyright, politics and finance. He shows his research and intervention-based works through prints, installations, videos, and public art. Cirio’s installations and artworks condense his sophisticated work in order to document and illustrate the outcomes, potentials and significance of his performances and progressive concepts. Cirio’s artworks often engage power structures, global mass media and the general public in art performances that embody contemporary social and economic conflicts. Cirio is considered one of the most noticeable Internet artist for embodying hacker ethic values, such as open access, privacy policies, and disrupting economic, legal and political models. He received a number of legal threats for his Internet art performances with practices such as hacking, piracy, leaking sensitive information, identity theft and cyber attacks.


Poetic Paolo Cirio’s art practice considers how society is impacted by the distribution, organization, and control of information. It embodies the conflicts, contradictions and potentials inherent to the social complexity of information society through a critical, provocative and proactive approach. His techniques of exposure, appropriation, and recontextualization of sensitive information and social processes provoke a new way of seeing and understanding modern complex social systems and dynamics. Cirio uses popular language, irony, interventions and seductive visuals to engage a wide public in critical issues and sophisticated works of art. His works often make contradictions apparent, expose mechanisms, and dispute their processes in order to debunk functions and perceptions of normative systems. Cirio’s works of art ultimately propose creative alternatives beyond the socioeconomic critiques they offer. Cirio is particularly interested in how media and specific arrangements of information influence the creation and perception of cultural, political, and economic realities, as well as personal emotional states, interpersonal relationships, and instinctive human behaviors.

Paolo Cirio artworks are often active agents, they elicit reactions from the subjects of the works and direct participation from the audiences. The interactions and processes from his interventions into social dynamics generate art performances within mediated environments. These socially engaged performances involve the public in critical debates and demand for change driven directly by his artistic concepts and creations, which often embody personal risks and challenges. His aesthetic investigations are conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions.

Installations and artworks Paolo Cirio’s art installations translate the gathering, processing, and dissemination of sensitive information into visual forms for the exhibition setting. Within the space of an art exhibition, Cirio’s installations and fine art translate and document sophisticated concepts, public art interventions, or ethereal time-based online performances. With prints, videos, and custom artifacts, the installations present, crystallize, and document ideas, reactions, and contexts of the works taken from its original setting to a formal mode of presentation. Cirio’s fine art condenses critiques of information systems and processes into archival artifacts to visually document and illustrate complex structures and flows. Cirio’s installation art combines images, photographs, diagrams, documents, artifacts, and videos to engage a general audience in experiencing and discovering outcomes, circumstances and significance of his interventions and concepts.


Obscurity


Obscurity 2016 - Archival inkjet on 350gsm paper.

This artwork is composed of over fifteen million mug-shots of people arrested in the U.S. It obfuscated the criminal records of mug-shot websites by cloning them and shuffling their data. A participatory feature lets people judge the individual arrested by deciding to keep or remove their data from the mug-shot websites. Obscurity explores information ethics and the emotional underpinning of unflattering reputation exposed on the Internet. Beyond the use of criminal records for the social experiment and the performative hack, the project promotes a legal Right to Remove personal information from search engines in U.S. The Obscurity artwork deployed strategies that are oriented to problem-solving as a form of Internet social art practice.

Selected shows and presentations Photography, Musée National d’Histoire et d’Art of Luxembourg, 2017, Luxembourg Out of Control, exhibition at Ars Electronica Museum, 2016, Linz - Austria Big Brother Award, exhibition at Stadsschouwburg, 2016, Amsterdam - Netherlands Private, exhibition at NOME gallery at 208 Bowery, 2016, NYC - U.S. Selected press coverage WIRED, online magazine, interview, U.S. GOOD, online magazine, interview, U.S. Fusion, online magazine, interview, U.S. MIC, online magazine, interview, U.S. WHDT TV, regional TV, interview, U.S. The Creators Project, online magazine, interview, U.S. FutherField, online magazine, interview, UK Gazeta, newspaper, interview, Poland La Stampa, newspaper, interview, Italy Yahoo, online magazine, review, U.S. TIME, magazine, review, U.S.


Obscurity - 2016 - Archival inkjet on 350gsm paper. 33x41 inches


Obscurity - 2016 - Archival inkjet on 350gsm paper. 33x41 inches


Obscurity - 2016 - Archival inkjet on 350gsm paper. 33x41 inches


Obscurity - 2016 - Archival inkjet on 350gsm paper. 33x41 inches


Obscurity - 2016 - Archival inkjet on 350gsm paper. 33x41 inches


Overexposed HD Stencils


Overexposed - HD Stencils 2015 - Acrylic spray paint on paper, canvas and photo paper.

This artwork is composed of a series of nine unauthorized photos of high-ranking U.S. intelligence officials; the photos are rendered with the HD Stencils technique and disseminated onto public walls throughout major global cities. The photos were found via social media and were taken in informal and private contexts: from selfies, to family celebrations, to other intimate situations. The artwork satirizes the era of ubiquitous surveillance and overly-mediated political personas by exposing the main officials accountable for secretive mass surveillance and over-classified intelligence programs. New modes of circulation, appropriation, contextualization, and technical reproduction of images are integrated into this artwork.

Selected shows and presentations WATCHED!, exhibition at C/O Berlin Museum, 2017, Berlin - Germany Surveillance, exhibition at Münchner Stadtmuseum Museum, 2017, Munich - Germany Public, Private, Secret, exhibition at ICP Museum, 2016, NYC - U.S. Caméra(Auto)Contrôle, exhibition at Centre Photographie, 2016, Geneva - Switzerland Private, solo show at NOME gallery at 208 Bowery, 2016, NYC - U.S. Data Aesthetics, exhibition at Central City Library, 2016, Amsterdam - Netherland Caméra(Auto)Contrôle, at Centre de la Photographie, 2016, Geneva - Switzerland Quadriennale, exhibition at Palazzo delle Esposizioni, 2016, Rome - Italy Follow me, exhibition at the International Photography Center, 2016, NYC - U.S. #MakeAmericaGreatAgain, exhibition at White Box gallery, 2016, NYC - U.S. Overexposed, exhibition at London Art Fair, 2016, London - UK Little Sister, exhibition at Pratt Manhattan Gallery, 2015, NYC Overexposed, NOME gallery, 2015, Berlin - Germany CityLeaks, exhibition, 2015, Cologne - Germany Overexposed, exhibition at Art Market Budapest, 2015, Budapest - Hungary Selected press coverage Hyperallergic, interview, U.S. Observer, review, U.S. VICE Motherboard, interview, U.S. WIRED, interview, U.S. Post Matter, interview, UK Sleek magazine, interview, UK We Make Money Not Art, interview, UK Reuters, lead photos article, U.S. Berlin Art Link, review, Germany Russia Today, intervew, Russia ZEIT, English video interview, Germany RT, English video interview, Russia SAT3, English video interview, Germany Tagesspiegel, video interview, Germany Frankfurter Allgemeine, online, interview Süddeutsche Zeitung, online, interview Die Tageszeitung, online, interview Wired DE magazine, online, interview Handelsblatt Online, online, review Berliner Morgenpost, online, review Mittelbayerische, online, review Die Welt, online, review


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Overexposed - 2015 - Acrylic spray paint on paper, canvas and photo paper.


Daily Paywall


Daily Paywall 2014 - Newsprint and plastic newsrack, dimensions variable.

Tens of thousands of articles were appropriated from the websites of Wall Street Journal, Financial Times, and The Economist through hacking their paywall systems. The artist redistributed the pay-per-view articles for free and offered to pay readers and writers of the news articles. Readers could earn one dollar for responding correctly to quizzes about featured articles, and journalists were invited to claim compensation for their writing. Donors could offer any amount to crowdfund the system. This circular economic model aims to monetize pirated content for informing the public about socio-economic issues. The artist sifted through thousands of news articles, editing fifteen issues, each featuring eight articles. DailyPaywall. com has over 60,000 articles and 1000 print copies were distributed as a free paper available in custom newsracks and bookshops throughout New York City. Ultimately, the site was shut down when the largest education and publishing company in the world made claims on its copyrighted material, while the artwork was discussed and reviewed by international media outlets. The performance was pre-scripted and staged for engaging participants in a critical exploration of modern economic models and the distribution of information as material to make works of art.

Selected shows and presentations The Trickster in Media Art, exhibition at Framer Framed, 2017, Amsterdam - Netherland Mozfest, exhibition at Ravensbourne College, 2016, London - UK Sound & Sight, exhibition at Eastern Bloc, Montreal - Canada FutureEverything, lecture, Manchester - UK Selected press coverage Creators Project, interview, U.S., 2016 VICE Motherboard, review, Germany, 2016 VICE Motherboard, interview, U.S., 2014 Art Net, news, U.S., 2014 Engadget, review, U.S., 2014 Wired, review, UK, 2014 As Safir, news, Lebanon, 2014 Der Standard, review, Austria, 2014 Numerama, review, France, 2014 Media Tics, news, Spain, 2014 Prasa, news, Poland, 2014 Hilavitkutin, news, Filland, 2014 VICE, interview, Colombia, 2014


Daily Paywall - 2014. Newsprint and plastic newsrack, dimensions variable.


Daily Paywall - 2014. Newsprint and plastic newsrack, dimensions variable.


Daily Paywall - 2014. Newsprint and plastic newsrack, dimensions variable..


Global Direct


Global Direct 2014 Mixed media, dimensions variable.

Global Direct illuminates the idea of worldwide democracy within the tradition of utopian artistic visions and functions. To illustrate the conceptual work the artist drew a series of fifteen diagrams of alternative protocols, procedures and policies for actualizing a global participatory democracy. These creative organograms were informed by research on contemporary forms of democracies which the artist assembled and presents as a documentary component of the project. Further, the artist promoted Global Direct as a potential political movement by producing appealing slogans, visuals and videos with statements by prominent advocates of participatory politics. Ultimately, the artwork envisions a political philosophy that structures global democracy through the opportunities offered by distributed network technology for participatory decision-making, transparent accountability and civil awareness.

Selected shows and presentations ISEA 2015: Disruption, exhibition at Vancouver Art Gallery, Vancouver - Canada P.I.G.S., exhibition at Artium Museum, Basque MCoCA, Vitoria-Gasteiz - Spain Biennale Cairo - Something Else, exhibition, Cairo - Egypt Modes of Democracy, exhibition at Forte di Fortezza, Alto Adige - Italy After Transparency, Solo Show at Centre Culturel Bellegard, Toulouse - France Modes of Democracy, DOX Centre for Contemporary Art, Prague - Czech Republic Caratteri, exhibition at Palazzo del Governatore, Parma - Italy Turbulence.org, net-art commission and online exhibition, NY - U.S. An Opera of Labour and Revolution, at Kasa Gallery, Istanbul - Turkey Selected bibliography Kate Armstrong, "ISEA2015" catalogue, New Forms Art Press, 2015, Vancouver Jaroslav Andel, "Modes of Democracy" catalogue, DOX Prague, 2014 Andrea Tinterri, "Caratteri" catalogue, Editrice Berti, Italy, 2014


Global Direct - 2014. Mixed media, dimensions variable.


Global Direct - 2014. Mixed media, dimensions variable.


Global Direct - 2014. Mixed media, dimensions variable.


Global Direct - 2014. Mixed media, dimensions variable.


Global Direct - 2014. Mixed media, dimensions variable.


Loophole for All


Loophole for All 2013. Two video channels and digital prints, US letter size.

This artwork undermined the idea of having a company “on paper” in countries considered financial offshore centers. The artist unveiled over 200000 Cayman Islands companies and reversed global finance machination through conceptual art. The website Loophole4All.com promoted the sale of real identities of anonymous Cayman companies at low cost to democratize the privileges of offshore businesses by forging Certificates of Incorporation documents for each company, all issued with the artist’s real name and signature. This performance generated international media attention, engaged an active audience and drew outrage from authorities on the Cayman Islands, international law and accounting firms, PayPal, and real owners of the companies. Further, the artist interviewed major experts and produced a video documentary investigating offshore centers to expose their social costs and to envision solutions to global economic inequality. In the offline art installation, the paper trail of the project is displayed with prints of the counterfeited Certificates of Incorporation and the documents of the scheme set up for the operation.

Awards First Prize, Golden Nica, Interactive Art, Prix Ars Electronica, 2014, Linz - Austria Nomination, Golden Cube Award, Dokfest, 2015, Kassel - Germany Selected shows and presentations 32nd Kassel Documentary, exhibition at Kasseler Kunstverein, Kassel - Germany Poetics and Politics of Data, exhibition at House of Electronic Arts, Basel - Switzerland Secret, exhibition at Science Gallery, Dublin - Ireland EMAF, exhibition at Kunsthalle Osnabrück - Germany After Transparency, Solo Show at Centre Culturel Bellegard, Toulouse - France C what it takes to change, exhibition and lecture at Ars Electronica, Linz - Austria The Value of Nothing, exhibition at TENT, Rotterdam - Netherlands Loophole for All, solo show at Aksioma | Project Space. 2014. Ljubljana - Slovenia It’s The Political Economy, Stupid, exhibition at Galerija Nova, Zagreb - Croatia Global aCtIVISm, exhibition at ZKM, Karlsruhe - Germany Unstable Territories, at Centre for Contemporary Culture Strozzina, Florence, Italy Out of The Box, exhibition at MAK, Museum for Applied Arts, Vienna - Austria Jurisdiction Shopping, solo show exhibition at Kasa Gallery, Istanbul - Turkey Symposium Technologies Social Innovationat, Echegaray Theatret, Malaga - Spain Cultural Hijack: Rethinking Intervention at Architectural Association, London - UK Selected bibliography Leopoldseder, Schöpf, Stocker, "Ars Electronica" catalogue, Hatje Cantz, 2014, Linz Susanne Jaschko, Julian Stallabrass, "Red Art", Leonardo, Volume 20 Issue 1, 2014 Franziska Nori, "Territori instabili/Unstable Territory", Mandragora, Florence, 2013 Tatiana Bazzichelli, Geoff Cox, "Disrupting Business", DATA browser 05, 2013 Matthias Tarasiewicz, "Out of the Box" catalog, Wien, 2014 Chin Chin Yip, ARTASIAPACIFIC, magazine, Hong Kong, 2014, Issue #87 Boris Magrini, Kunstbulletin, magazine, Switzerland, 2014, ISSUE 1/3


Loophole for All - 2013. Two video channels and digital prints, US letter size.


Loophole for All - 2013. Two video channels and digital prints, US letter size.


Loophole for All - 2013. Two video channels and digital prints, US letter size.


Loophole for All - 2013. Two video channels and digital prints, US letter size.


Loophole for All - 2013. Two video channels and digital prints, US letter size.


(W)orld Currency


(W)orld Currency 2014 - Digital prints, document A4 and 100x100cm.

This artwork illustrates a global currency through the creative formulation of an equation and a trading algorithm for the currency exchange market. The creation of algorithmic trading combines art with the material that governs contemporary society and in doing so, it aims to introduce new art practices. The artwork seeks to inspire social progress through envisioning positive and innovative economic tools. It addresses the inherent instability of various currencies, as well as the need for a new independent global reserve currency that could potentially empower and unite the world population. The conceptual artwork is illustrated through the artistic expression of a mathematical equation and a diagram of an algorithm. These two elements indicate how the value of the currency is calculated and how its liquidity is created and maintained, while an accompanying text indicates how the equation and algorithm work.

Selected shows and presentations P.I.G.S., exhibition at Artium Museum, Basque MCoCA, 2015, Vitoria-Gasteiz - Spain LDF Digital Design Festival, exhibition at Victoria & Albert Museum, 2014, London - UK Synthetisch VernĂźnftig, exhibition at LEAP, 2014, Berlin - Germany In Search of Symmetry, exhibition at HDLU, 2014, Zagreb, Croatia Selected bibliography Geert Lovink, MoneyLab: Coining Alternatives, Institute of Network Cultures, 2014 Shu Lea Cheang, We Grow Money, MCD Magazine, France, Issue December 2014 Peter Macapia, In Search of Symmetry, NYC, U.S., 2014


(W)orld Currency - 2014 - Digital prints, document A4 and 100x100cm.


(W)orld Currency - 2014 - Digital prints, document A4 and 100x100cm.


(W)orld Currency - 2014 - Digital prints, document A4 and 100x100cm.


(W)orld Currency - 2014 - Digital prints, document A4 and 100x100cm.


(W)orld Currency - 2014 - Digital prints, document A4 and 100x100cm.


Street Ghosts


Street Ghosts 2012. Inkjet prints on coated paper, dimensions

Photos of people found on Google Street View are posted at the same physical locations where they were taken. The posters are printed in color, cut along the outline, and then affixed to the walls of public buildings at the precise spot where they appear in Google Street View. This project reveals aesthetic and biopolitical aspects, as well as legal issues concerning privacy and copyright, which can be explored through the artist’s statement and theoretical considerations. The artwork re-contextualized readymade informational material, and reenacted a social conflict: ghostly human bodies appear as casualties of the info-war in the city, a transitory record of collateral damage from the battle between corporations, governments, civilians and algorithms over the control of public and private information.

Selected shows and presentations Street Ghosts, exhibition at International Kunstverein Luxembourg - Luxembourg Extra Fantôme, exhibition at La Gaîté Lyrique, Paris - France Be Water, exhibition at Microwave festival, Hong Kong The Peeled Eye, exhibition at Wave Pool Gallery, Cincinnati - U.S. Watching You, Watching Me, exhibition at Museum für Fotografie, Berlin - Germany TransitioMX, exhibition at CENART, Mexico City - Mexico Profiled: Surveillance of a Sharing Society, exhibition at Apexart gallery, NYC - U.S. Watching You, Watching Me, exhibition at Open Society Archives, Budapest - Hungary After Transparency, Solo Show at Centre Culturel Bellegard, Toulouse - France Out of Control, exhibition at Ars Electronica Center, Linz - Austria Watching You, Watching Me, exhibition at Open Society Foundations, NYC - U.S. Eternal September, exhibition for Aksioma Institute at Škuc Gallery, Ljubljana - Slovenia BORROWORROB, Currencies as Spaces, exhibition at HDLU, Zagrab - Croatia Trace Recordings, exhibition at UTS Gallery, Sydney - Australia ISEA 2013, exhibition, Sydney - Australia The Influencers festival, exhibition, Barcellona - Spain Artists as Catalysts, exhibition at Alhóndiga, Bilbao - Spain MediaCities festival, exhibition, Buffalo - U.S. Drones / Birds: Princes of Ubiquity at The Digital now, exhibition, Brussels - Belgium The Big Picture, exhibition at Museum of Contemporary Art of Denver, Colorado - U.S. Public Private, exhibition at Kellen Gallery of The New School, New York - U.S. Selected bibliography "The Messenger", Foam Magazine, Netherland, 2015, Issue 41 Joanne McNeil, "Look Inside", Frieze international magazine, UK, 2014, ISSUE 160 Boris Magrini, Kunstbulletin, magazine, Switzerland, 2014, ISSUE 1/3 Maiken Fosen Håvarstein, Carsten Ohlman, "Å bade i bilder", Norway, 2013 Andreea Breazu, "Mind the Map" Kunstlicht, volume 34, 2013 Yael Eylat Van-Essen, “Photography Beyond Representation”, UK 2013 Danièle Méaux,”Protocol and contemporary photography”, Toulouse 2013 Arcadi Poch, Daniela Poch, "CREATICITY", Lemo, Spain 2013 Claude Crommelin, "New Street Art", Vivays Publishing, UK 2013


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Street Ghosts - 2012. Inkjet prints on coated paper, dimensions variable.


Persecuting US


Persecuting US 2012. Mixed media and audio installation, 2000 hour long track.

One million Americans were sorted by political affiliation and exposed to public persecution in the aftermath of the 2012 U.S. presidential election. The data was harvested from Twitter.com and recontextualized on the website Persecuting.US, which offers a platform where everyone can take part in a participatory model pushed to extremes, engaging people in surveying and persecuting each other in a form of info-civil-war of political polarization. This project breaks boundaries in art transgression with Anti-Social Sculptures made by a mass of people arranged and involved in an artwork without their permission. The art installation evokes the activity of wiretapping the Internet to identify political activities. Through an audio installation the audience at the exhibition space can listen to a durational (over fifty days) track of robotic voices reading statements of Americans sorted by their political views.

Selected shows Panopticon, exhibition at Utah Museum of Contemporary Art, 2015, Salt Lake City - U.S. Surveillance Awareness Bureau, exhibition at Modelab, 2015, Wellington - New Zealand The Poster in the Clash of Ideologies, DOX, 2014, Prague - Czech Republic Run Computer, Run, exhibition in Rua Red Gallery, 2013, Dublin - Ireland Fast Connection Search, exhibition at the Internet Week NY, 2013, New York - U.S. Showcase 2012, exhibition at Eyebeam, NYC - U.S.


Persecuting US - 2012. Mixed media and audio installation, 2000 hour long track.


Persecuting US - 2012. Mixed media and audio installation, 2000 hour long track.


Persecuting US - 2012. Mixed media and audio installation, 2000 hour long track.


Face to Facebook Hacking Monopolism Trilogy


Face to Facebook - Hacking Monopolism Trilogy 2011. Mixed media, dimensions variable.

This project was a social experiment that consisted of appropriating one million Facebook profiles, filtering them with face-recognition software, and then posting 250000 of them on a custom-made dating website, sorted by the personality suggested by facial expression analysis. The concept was to recontextualize identities in order to make them face the extent of Facebook’s impositions, constraints, and social rules. The dating website (Lovely-Faces.com) provided a stage for anybody to interact with Facebook users’ facial expressions and personality traits, used without their consent, while Facebook had to confront the artwork made with its appropriated material. The project took place over five days of thrilling personal, media and legal reactions, which became a Global Mass Media Performance. During the performance the artwork received over a thousand mentions in the international press, eleven legal threats, five death threats, and several letters from the lawyers of Facebook. The project addressed surveillance, privacy and the economy of social media monopolies as well as art interventions within global media. Co-author: Alessandro Ludovico.

Awards Award of Distinction, Interactive Art, Prix Ars Electronica, Linz First Prize, Award Share Prize, Turin Nomination, New Technological Art Award, Ghent Nomination, Stuttgarter Filmwinter, Stuttgart Selected shows and presentations Meme City, exhibition at China Academy of Art, Hangzhou - China Profiled: Surveillance of a Sharing Society, exhibition at Apexart gallery, NYC - U.S. Big Bang Data, exhibition at Sumerset House, London - UK Brave New World, exhibition at DOX, Prague - Czech Republic Bang Data, exhibition at CCCB Museum, Barcelona - Spain Face to Facebook, exhibition at The Photographers’ Gallery, London - UK Out of Control, exhibition at Ars Electronica Center, Linz - Austria ISEA2013, keynote lecture at Museum of Contemporary Art of Sydney - Australia Artists as Catalysts, exhibition at Alhóndiga, Bilbao - Spain Public Private exhibition at Kellen Gallery of The New School, New York - U.S. ArtFutura 2012, exhibition at Museum of Modern Art of Rio de Janeiro - Brazil TEA - Collective Wisdom at National Fine arts Museum in Taichung - Taiwan 7th Seoul International Media Art Biennale, exhibition, Seoul - Korea New Technological Art Award, exhibition, Bruxelles - Belgium Loving Art. Making Art, exhibition, Tel Aviv Art Festival - Israel From the Pharaoh Lady Gaga at Wywyższeni National Museum, Warsaw - Poland Out of Control exhibition at Ars Electronica Center, Linz - Austria Impakt festival, exhibition & lecture, Utrecht - Netherlands Ars Electronica Festival, Origin, exhibition & workshop, Linz - Austria Networked, Centro Fundación Telefónica, exhibition, Lima - Peru Response:Ability, Transmediale, exhibition, Berlin - Germany Selected bibliography Christiane Paul, “Digital Art”, Thames and Hudson’s World of Art book, UK Kathy Cleland, Laura Fisher, Ross Harley, “ISEA2013, Resistance is futile”, Sydney Ars Electronica, “The Big Picture”, catalogue, Austria 2012 Le Nouvel Observateur, magazine, France 2012, issue 2506 Barbara Pollack, “The Social Revolution”, ARTnews magazine, U.S. 2011, Issue June Dominique Moulon, “Art contemporain nouveaux médias” book, France 2011 Hatje Cantz, Ostfildern-Ruit, “ORIGIN”, Ars Electronica catalogue, Austria 2011 Vera Tollmann, “We want our Facebook profiles back”, Springerin, Austria, Issue 2/11 Bruce Sterling, “Art crosses the borders”, XL magazine, Italy April 2011, Year VII, n°65


Face to Facebook - 2011. Mixed media, dimensions variable.


Face to Facebook - 2011. Mixed media, dimensions variable.


Face to Facebook - 2011. Mixed media, dimensions variable.


Face to Facebook - 2011. Mixed media, dimensions variable.


Face to Facebook - 2011. Mixed media, dimensions variable.


P2P Gift Credit Card Gift Finance


P2P Gift Credit Card - Gift Finance 2010. Digital print, plastic cards embossed, dimensions variable.

This project proposes an alternative financial model based on a Peer-toPeer social architecture. It offers an innovative participatory system using counterfeit virtual money by issuing forged VISA credit cards. The project introduced Gift Finance, a monetary policy based on free universal credit without interest. Gift Finance is the conceptualization of the democratic creation of money by ordinary people in order to redistribute wealth in society. The website P2PGiftCredit.com allows people to generate unique virtual card numbers and send them to others via digital platforms. A limited edition of physical plastic P2P Gift Credit Cards are available by request at P2PGiftCredit.com, and they have been distributed worldwide via mail, in art exhibitions and public interventions.

Selected shows and presentations FIY: The Art of Creating Economic Models lecture for ISP Whitney Museum, NYC - U.S. DATA lecture at Science Gallery, Dublin - Ireland ODNM lecture at L’École Nationale des Arts Décoratifs, Paris - France Psychoeconomy summit, lecture, Seville - Spain UAMO festival, Ultra Social, exhibition, Munich - Germany REALITYFLOWHACKED, solo show at Aksioma | Project Space, Ljubljana - Slovenia Abandon Normal Devices festival, lecture & performance, Liverpool - UK Utopian Currencies, exhibition & lecture, Paris - France Visionary Trading Project, Guest Projects, exhibition, London - UK Selected bibliography Denisse A. Arévalo, "Creative Destruction" catalogue, Whitney Museum, U.S. 2012 Pau Waelder Laso, "Art.es" magazine, Spain 2012, issue 48-49 Paul D. Miller, "Origin" magazine, U.S. 2012, issue September Gustavo Romano, "PSYCHOECONOMY! " catalogue, Spain 2012, issue 2 Eftihia Stefanidi, Dazed and Confused magazine, UK 2011, issue 204 LaToyah Gill, ROOMS magazine, UK 2011, ISSN 2046-5505, issue 6 Artlick, magazine, UK 2011, ISSN 2046-9349, issue 5 B. Sterling, "Art crosses the borders", XL magazine, Italy April 2011, Year VII, n°65


P2P Gift Credit Card - 2010. Digital print, plastic cards embossed, dimensions variable.


P2P Gift Credit Card - 2010. Digital print, plastic cards embossed, dimensions variable.


P2P Gift Credit Card - 2010. Digital print, plastic cards embossed, dimensions variable.


P2P Gift Credit Card - 2010. Digital print, plastic cards embossed, dimensions variable.


P2P Gift Credit Card - 2010. Digital print, plastic cards embossed, dimensions variable.


Open Society Structures Algorithms Triptych


Open Society Structures - Algorithms Triptych 2009. Serigraph (digital) print on Plexiglass. 54x39cm each.

The artwork is presented as a triptych of diagrams that provide a conceptual framework for bringing together egalitarian values, collaborative perspectives, and edifying voices. It includes a taxonomy of cultural, economic, and political concepts relevant to the formation of social structures in order to outline the flow of principles for an ideal society. These diagrams introduced the idea of organizing society like designing algorithms for operation systems and they refer to the performative, creative process of reflecting on complex social systems.

Selected shows and presentations Realityflowhacked, exhibition at Aksioma Institute, 2011, Ljubljana - Slovenia User friendly society, exhibition at Galerija GalĹženica, 2011, Zagreb - Croatia Cairo Prize, exhibition at Palazzo della Permanente, 2009, Milan - Italy Share festival, exhibition at Academia Albertina, 2009, Turin - Italy


Open Society Structures - 2009. Serigraph (digital) print on Plexiglass. 54x39cm each.


Open Society Structures - 2009. Serigraph (digital) print on Plexiglass. 54x39cm each.


Loophole for All - 2013. Two video channels and digital prints, US letter size.


People Quote People The Death of the Author 2.0


People Quote People - The Death of the Author 2.0 2007. Engraved white marble. 30x19x4cm each.

This work explores plagiarism and authorship in the era of the creative economy, with its attendant profusion of artistic creations and their remixes. In this artwork the quotations are no longer attributed to the correct authors. On the mock website, quotations are continually and randomly reassigned to different authors, spreading online misquotations as a form of liberation from the fixation on authorship. The offline installation reflects the new “death of the author� through engraved slabs of marble with historical misquotations about plagiarism in creative works.

Selected shows and presentations Nothing Political, exihbtion at Komplot, 2010 Bruxelles - Belgium Selected bibliography Uncopy, review, 2012 Springering, magazine, review, 2007 Neural, magazing, review, 2007 P2P Foundation, review, 2007


People Quote People - 2007. Engraved white marble. 30x19x4cm each.


People Quote People - 2007. Engraved white marble. 30x19x4cm each.


People Quote People - 2007. Engraved white marble. 30x19x4cm each.


People Quote People - 2007. Engraved white marble. 30x19x4cm each.


People Quote People - 2007. Engraved white marble. 30x19x4cm each.


Amazon Noir Hacking Monopolism Trilogy


Amazon Noir - Hacking Monopolism Trilogy 2006. Mixed media, dimensions variable.

This project eluded Amazon.com copyright protections through a sophisticated hack of the “Search Inside” service. Complete digital volumes of books were obtained and reassembled into .pdf format, then redistributed for free. The hacking took place while traditional publishers were persuaded to digitize their publications for being handed to Amazon. com. The project generated wide press coverage and in turn, press inquiries to Amazon.com, which kept denying their vulnerability. This media performance was documented through various types of offline conceptual installations and with the appropriated books printed and assembled as if they were the originals. The conceptual artwork integrated the criminalization of piracy with free circulation and access to culture, hence addressing copyright and fair use laws within the disrupting digital economy and knowledge misappropriation by information monopolies.

Awards Second Prize, Transmediale Award, Berlin First Prize, IBM Award, Stuttgarter Filmwinter, Stuttgart Honorary Mention, Share Festival, Turin Commission, Edith-Ruß-Haus für Medienkunst, Oldenburg Selected shows and presentations Meme City, exhibition at China Academy of Art, Hangzhou - China Deleted By Memeright Trusted System, HMKV, Dortmund - Germany Territories and Resources, CinemaCity, Novi Sad - Serbia Zone V2, Museum Of Contemporary Art Taipei - Taiwan LABcyberspaces, Laboral Art Center, Gijon - Spain Halle für Kunst, Lüneburg - Germany Free Radicals, Israeli Center for digital Art, Holon - Israel Plugin Festival, Basel - Switzerland Selected bibliography Alex Adriaansens, “Zone V2” catalogue, Taipei, ISBN 9789868321120 V2 Unstable Media, “DEAF” catalogue, Rotterdam, ISBN 9789056625771 Alex Adriaansens , “Lab_Cyberspaces”, Gijon, ISBN 9788461158805 Michael Dieter, “Piracy, Distribution, Control”, M/C Journal, Vol. 10, Issue 5


Amazon Noir - 2006. Mixed media, dimensions variable.


Amazon Noir - 2006. Mixed media, dimensions variable.


Amazon Noir - 2006. Mixed media, dimensions variable.


Google Will Eat Itself Hacking Monopolism Trilogy


Google Will Eat Itself - Hacking Monopolism Trilogy 2005. Mixed media, dimensions variable

In this project Google was hacked in order to be bought with its own money. Revenue was generated through Googles own “AdSense” initiative by programming bots to automatically click on banner ads placed on a network of hidden websites. The money from the scheme was used to buy Google’s shares and hand them over via GTTP Ltd., a firm set up for the artwork, which could ultimately distribute the shares to everyone, in order to turn Google into a public company. By establishing this circular model the project addressed monopoly over control of online information, advertising and its economy.

Awards Media Award, St. Gilgen International School, Graz Honorary Mention, ibizagrafica, Ibiza Nomination, Transmediale Award, Berlin Honorary Mention, Prix Ars Electronica, net Vision category, Linz Nomination, VIPER Award, Basel Commission, Rhizome, New York Selected shows and presentations Meme City, exhibition at China Academy of Art, Hangzhou - China Connected, Art Center Nabi, Seul - Korea NTT ICC Museum, Tokyo - Japan Derivatives, new art financial visions, La Casa Encendida, Madrid - Spain Transmediale, exhibition and lecture at Haus der Kulturen der Welt, Berlin - Germany Hybrid, Ars Electronica, Linz - Austria The Enterprise of Art, PAN, Naples - Italy Revolutions - Forms That Turn, Biennale of Sydney Online Exhibition - Australia MIR Festival, Athens - Greece Economy 0, Paris - France Selected bibliography Suhjung Hur, Art Center Nabi “Connected” catalogue, Seul, ISBN 804140638 Yukiko Shikata, ICC “Connecting Worlds” catalogue, Tokyo, ISBN 757170335 Various Authors, “Struttura”, catalogue, Florence, ISBN 9788859601777 Sergio Morales, “Canarias Mediafest”, catalogue, Gran Canaria, ISBN 848103472X Andreas Broeckmann, “Transmediale - Reality Addicts” catalogue, Berlin


Google Will Eat Itself - 2005. Mixed media, dimensions variable.


Google Will Eat Itself - 2005. Mixed media, dimensions variable.


Google Will Eat Itself - 2005. Mixed media, dimensions variable.


Hacking Monopolism Trilogy


Hacking Monopolism Trilogy 2011. Mixed media, dimensions variable.

The Hacking Monopolism Trilogy includes the three artworks: Face to Facebook, Amazon Noir and Google Will Eat Itself. The trilogy exploited the technical and economic vulnerabilities of major Internet companies at the time of their expansion, reconfiguring the way Internet giants concentrate, misappropriate, and monetize large quantities of information and user interactions. These works share a common methodology and use of strategy - they all used custom-programmed software in order to target three of the biggest online corporations, employing actual hacks to unset their marketing and economic models. All three artworks were media performances created through the exploitation of temporary security vulnerabilities within the Internet giants’ platforms. These performances were staged through the global media for millions of spectators worldwide and through interactions with the companies targeted, media outlets, and the general public. The installations include elements from the reactions and interactions with the performances’ audiences, diagrams that outline the main processes under which the software has been developed to execute the performances, and custom artifacts that translate the conceptual works. Ultimately, the art installations did not use technologies to ensure coherence between the projects, opting to present the concepts, processes, and documentation of the performances. Co-author: Alessandro Ludovico.

Selected shows and presentations Meme City, exhibition at China Academy of Art, Hangzhou - China Selected bibliography Christiane Paul, “Digital Art”, Thames and Hudson’s World of Art book, UK, 2015 Kathy Cleland, Laura Fisher, Ross Harley, “ISEA2013, Resistance is futile”, Sydney Dominique Moulon, “Art contemporain nouveaux médias” book, France 2011 Hatje Cantz, Ostfildern-Ruit, “ORIGIN”, Ars Electronica catalogue, Austria, 2011


The Hacking Monopolism Trilogy - 2011. Mixed media, dimensions variable.


The Hacking Monopolism Trilogy - 2011. Mixed media, dimensions variable.


The Hacking Monopolism Trilogy - 2011. Mixed media, dimensions variable.


The Big Plot Recombinant Fiction


The Big Plot - Recombinant Fiction 2009. Mixed media, dimensions variable

This was a romantic spy story about a dysfunctional and surveilled sociality created by social media. The fiction was conveyed through actors using video dialogues, personal photos, and text messages shown and linked on several media channels. Actions in public environments completed the set of stages upon which the story was performed and audiences took an active role in unfolding and creating other pieces of fiction. The cloned identity of a real spy was used to infiltrate an extremist Russian political movement as the drama deconstructed the language and symbolism of ideologies by remixing characters’ lives and identities with real-world events. This project introduced the genre of Recombinant Fiction as an experimental form of tactical transmedia fiction.

Selected shows and presentations OLE .01 International Festival of Electronic Literature, at PAM, Naples - Italy Hacking Public Space, Flashback, Microwave Festival, Hong Kong STRP Festival, Eindhoven - Netherlands Hacking Public Space, Flashback, S.M.A.K. and Vooruit, Gent - Belgium Art Project 2°, Viareggio - Italy Map Digital Space, Ithaca - U.S. 4th Contemporary Art Festival TINA B, Prague - Czech Republic 10th Cairo Prize, Milan - Italy Da Festival at the National Academy of Art, Sofia Espacio Enter Festival, Tenerife - Spain .move, EMARE exhibition, Halle - Germany Share Festival, Turin - Italy ENTER, 4th international festival, Prague - Czech Republic FAD Festival, Belo Horizonte - Brazil Moves09 Forum, CornerHouse, Manchester - UK SocialEast Seminar on Art and Espionage, Courtauld Institute, London, UK Tag ties and affective spies, National Museum of Contemporary Art, Athens - Greece Selected bibliography ISEA2011, “Uncontainable” Leonardo Electronic Almanac, Istanbul Barbara Pollack, “The Social Revolution”, ARTnews magazine, U.S. 2011, Issue June IMAC2011, “Interactive Media Arts Conference, Re-new”, Denmark Cristiana Campanini, “Antologia della webletteratura” book, Italy, Il Foglio Letterario Luca Barbeni, “Fino alla fine del cinema” book, Mediaversi, Italy Alessandro Ludovico, Neural magazine, Italy, ISSUE #35 Peter Zorn, “.Move Festival” catalogue, Halle Monica Burian “TINA B” catalogue Daphne Dragona, “Tag Ties and Affective Spies” , MoCA Athens Alessandro Ludovico, Springerin magazine, Austria, ISSUE 3/09 Fransiska Nori, Artè magazine, Italy, ISSUE 434


The Big Plot - 2009. Mixed media, dimensions variable


The Big Plot - 2009. Mixed media, dimensions variable


The Big Plot - 2009. Mixed media, dimensions variable


Drowning NYC Recombinant Fiction


Drowning NYC - Recombinant Fiction 2010. Mixed media, dimensions variable

This experimental fiction was about rising sea levels due to global warming and how NYC’s urban populations will be impacted. The project provided inspiration on climate change justice in NYC, forewarning how rising sea levels might drive new economic and social dynamics. The fiction was told by actors and narrative devices over the Internet and in the public spaces of a few selected Manhattan neighborhoods through a socially engaged and pervasive form of fiction. The genre was theorized as Recombinant Fiction, which proposed new pedagogical instruments, innovative activist strategies, elaborate and cutting-edge forms of theatre and cinema.

Selected shows and presentations Show-Case 2012, exhbition at Eyebeam, NYC - U.S. IMAC 2011, Re-New, lecture, Copenhagen - Denmark Mobile Learning Conference, lecture, Bremen - Germany File Festival, exhibition, Sao Paulo - Brazil STRP Festival, Eindhoven - Netherlands Mediateca Expandida Showcase, Laboral, Gjion - Spain IDEAS 10: Art and Digital Narrative, Emily Carr University, Vancouver - Canada EuropeanDays, Co-production forum, Turin - Italy Electrified summercamp, TimeLab, Gent - Belgium Selected biblography ISEA2011, “Uncontainable” Leonardo Electronic Almanac, Istanbul, 2012 Richard Schwarz, “WEAVE” magazine, Germany 2012, issue 02/12 LaToyah Gill, ROOMS magazine, UK 2011, ISSN 2046-5505, issue 6 IMAC2011, “Interactive Media Arts Conference, Re-new”, Denmark B. Weil, B. Gottlieb, “New Narratives of Mobility”, Mediateca Expandida, Gjion


Drowning NYC - 2010. Mixed media, dimensions variable


Drowning NYC - 2010. Mixed media, dimensions variable


Drowning NYC - 2010. Mixed media, dimensions variable


Paolo Cirio - Artworks Catalog  
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