Anti-Social Sculptures art that uses personal information

Street Ghosts

Persecuting US Face to Facebook

Fingerprints Catalogue

Masses of individuals involved in artworks without their consent

These anti-social experiments, which take the form of performances and sculptures, are defined within the expanded notions of space,

body and audience that prevail today. These experiments use informational entities that flow through a new

public space formed by media that bridges online and offline environments.

Historical participatory art opened up to the audience:

Surrealism: “Exquisite corpse” Theory: “Opera Aperta” by Umberto Eco Media art: Douglas Davis or Roy Ascott

Anti-Social Sculpture:

“Social sculpture” is a term promoted by Joseph Beuys. It named a kind of artwork that takes place in the social realm, an art

that requires social engagement, the participation of its audience, for its completion.

Living Sculptures:

First Living Sculptures by Alberto Greco 1963 Buenos Aires, mainly photographic work though.

Pi Lind, Living Sculptures ( yj ce rze by), 1967 Stockholm

“Sociological Exhibition”, “Social Realism”

Oscar Bony, The Worker Family (Familia Obrera), 1968, Argantina

His moral unease: “It is obvious that the work was based on ethics, for exposing them to ridicule made me uncomfortable”

Oscar Masotta, To Induce the Spirit of the Image, 1966. Argentina.

(Poor people used for performance like Santiago Sierra) An aggressive attitude toward participation.

“An act of social sadism made explicit”

“This social act of manipulation which in real society happen everyday” He refused to the option “Either Happening or left politics”

PS: Masotta was part of Group of Mass Media Art in 1966 which did the first work of media art.

Paolo Cirio’s approach

Artistic and social experiments with a new,

rich material and a unique social space.

Pushing the boundaries of art forms that investigate new possibilities and perceptions of reality.

Shifting cultural ideas about privacy mark an exciting historical moment.

The difference between

Moral and Ethical

Anti-Social Sculptures

An Anti-Social Sculpture is the deliberate and explicit exploitation of individuals as material for an artistic social experiment. The people who comprise these

performances produce new anti-social networks through coercive participation in an artwork designed for a provocative and sensational spectacle. The stage of the

performance is delineated inside the mediated space of the Anti-Social Sculpture with individuals becoming participants in a show for spectators who watch from afar via

the theater of popular media.

This sociological exhibition involves large quantities of informational bodies in an artistic performance without their authorization. It is the latter transgressive artistic

practice that new media provides to the artist.

Artworks made by people, who use or are subject to personal media, pushes the notion of spectatorship in art and performance to new frontiers.

The artist can play with this power of sorting and arranging huge amounts of personal

data and, in doing so, artistically reconfigure social forms. The social realities generated by media platforms that collect people’s personal information can function as a set of utilitarian structures for artistic creation. Today, artists can mold sensitive, ready-made informational material and recontextualize it in new speculative scenarios

that comment on contemporary society.

The artificial hells created through these Anti-Social Sculptures are the reenactments of today’s social reality: mass surveillance, obsessive stalking, isolated public debate within a social bubble, profiling individuals as micro-targets, the social-manipulation

of public opinion, public disclosure of affinities, and misappropriation and exploitation of personal and private information by companies and authorities.

These anti-social experiments, which take the form of performances and sculptures,

are defined within the expanded notions of space, body and audience that prevail today. These experiments use informational entities that flow through a new public

space formed by media that bridges online and offline environments.

These sculptures offer viewers a potentially transformative experience through cathartic performances generated by social interactions within an artful arrangement

of people. They remind us of the possibilities to construct new social realities by reconfiguring information flow through algorithms. Designing new Social Algorithms is

a form of sculptural activity: in this case it shapes structures of people who interact and participate, whether passively or actively, in lively performances or statically

unveiling their sociological state.

Ultimately, these sculptural performances of informational power aim to unsettle alienating contemporary social conventions. They seek to raise awareness about

problematic situations by engaging randomly-selected crowds in a work of art, thus reaching people who usually are excluded by art discourses and breaking the tedium

and passivity of media and art consumption.