Artist Profile: Paolo Cirio


So much of your work relies on the interaction between technology and performance, and I'm wondering if you can explain the intersection of new media and performance as you see it, in your work and in general. 

Today we deal with a torrential flow of information, a very rapid flux that is contingent on volatile temporary contexts. Beyond high speed, some contextual factors that influence artworks with digital networked technology are the multiplicity of uncontrollable sources of information, unpredictable human and algorithmic interactions and unstable environments, so nothing can happen twice in the same way. Moreover information and media are always more ephemeral, they disappear quickly, often without leaving traces. Data, software and devices continually change, for instance: You can't keep a tweet forever in the streamline, as well as the interface of a social media platform or a smartphone's Operation System. Ultimately the controversial private ownership and restrictive policies of some technology and data don't even allow to the artists to own and maintain their own work. These conditions require us to consider most of the artworks done within networks as a type of contemporary live performances, a thesis reinforced by the participatory elements brought by the audience, whose involvement is often the main aim of the works.

For these reasons I prefer to display offline installations about my works within networks, which is a solution for conserving performance art that’s been adopted for more than half a century already.

To preserve the performance, I translate concepts, material and documentation of the live performances into durable objects, materializing pure information and the processes of making the artwork and live network interventions.

I like to define my artwork as the sculptural performance of information's power, with correlations to Joseph Beuys’ idea of Social Sculptures ...