2015

I began creating interactive sculptures which were used by visitors of my headquarters at the Desert of the Virtual. These could be bought or were used to sell items in Second Life. I relocated Nimda’s and drik magazine’s headquarters into a suburb of the desert to start hosting meetings, encounters and events in them. That year my whole production changed as I eliminated all buddhist philosophical content from my work, and abandoned the idea of internet as a space. I shifted my concept of real virtuality into the understanding of the internet for what it is: a super network of computers capable of processing information at irrationally high speed.

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As I left behind the ideas of cyberspace and singularity, I embraced the ones of collective economy, financial insurgence, tactical media, and alternate reality gaming. As it can leak, stream, and flow, I decided to understand information as a fluid. It works as the new oil, as accumulating it means the accumulation of wealth and power. I used 3d scans of ancient Buddhas Sculptures which I stuffed with oil barrels. The enlightened one was only such because he had filled himself of digital information, a role which today is played by world powers and tech giants (Digital Maoists). I opened Nimda’s first oil complex, Lleratnac, at the Desert of the Virtual and flooded the terrain. On the opposite side of the desert I founded Nimda Sail Boat Club, a nautical space which sold memberships that gave access to the space, a sound & PDF bank, and a cultural center which hosted among other things an award for virtual sculptures, and a conversation between Mariana Botey, Luis Camnitzer, Fran Ilich, and me.

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After a few months of working with my plastic extrusion 3D printer decided that I wanted to focus on sculpting using only data files. Following the idea of information as a liquid entity, and with the possibility of extracting any shape from my computer through the printer, I designed several crystals to use the machine to “crystalize” data. The longer the crystallization, the bigger the resulting crystal. One of the Oil Buddhas was included at an exhibition I presented as part of Fran Ilich’s First Quinquennial Plan of Aridoamerica, named Into the Lleratnac Field. The show consisted on a databank, which could be “distilled” using printers and burners. I founded The Nimda Petroleum Institute and Nimda Oils and sold the exhibition in the shape of oil barrels for the price of the Mexican oil mix at the Transitio MX festival. Artists included were Aldo Chaparro, Daniela Gil, Gabriela Ceja, Fran Ilich, Miltos Manetas, Nora Renaud, UBERMORGEN, and me.

 

At the same time, I discovered an alternate Nimda Corporation, which sells war vehicles in Lod. I decided that my version would absorb theirs, and began making artworks using their corporative image mixed with mine. That year I was invited by my friend Marek Wolfryd to exhibit at a show he was curating at the Foro R38. We intended to present my tank videos appropriated from Nimda.co.il in all the screens of the university and give away 2000 postcards of two models: the Achzarit, and the T-71. The work was banned from the show and I was accused of using war money to create my works. I kept the unopened postcards and the email as a kind of trophy, as the limits between the different Nimdas had been erased for the first time.

 

- If you want to know more about my Armed Vehicle Division click here (English)

- If you want to know about my Virtual Real Estate projects click here (Spanish)
- If you want to listen to Botey, Camnitzer, Ilich and me click here (Spanish)
- If you want to know more about The Nimda Petroleum Institute please click here (English)
- If you want to see pictures of Into the Lleratnac Field click here