On Friday, Kevin Abosch, an Irish conceptual artist who was one of the first to use blockchain technology as a medium, reported that a cowardly robbery had been committed at one of the facilities in the chain. An Ethereum wallet became a work of art titled “Stealing the contents of this wallet is a crime” (2018). [Robar el contenido de esta billetera es un delito, en español].
In a tweet, the artist, whose work was on view at The Hermitage, said a CryptoKitty had been stolen from the open access address:
Hello @CryptoKitties/.@dapperlabs – Someone gave me a tip that “IAMA Kitty” in the #crypto Wallet of my artwork “Stealing the contents of this wallet is a crime” (2018). I can confirm that it was just “stolen”. #I AM A #IAMACOIN #IAMAKitty pic.twitter.com/vq1RmktSs0
– Kevin Abosch (@kevinabosch) November 13, 2020
“Stealing the content …” is what Abosch calls his “social experiments that challenge value systems”. A conceptual framework that is particularly suitable for the world of cryptocurrencies. A part of “Stealing the content …” contained tokens that were deposited in the wallet of his piece “I Am A Coin” (2018) Abosch symbolized himself in a process in which the artist’s own blood distributed 10 million tokens with the ‘IAMA’. Heart.
He described “Stealing …” as a shared playground for explorers, and the participants mostly responded with goodwill and good humor: Ethereum-savvy art fans played with the hidden implications of blood stamps, such as moving .666 from IAMA into the Wallet “Steal …” and out of this, among other things from gadgets.
“I think people just wanted to interact and therefore, in a sense, be part of the art.”Said Abosch.
It was precisely these ideals that made the robbery on Friday so cruel. Even for a room full of cheaters, charlatans and cheaters A CryptoKitty named for his job of stealing from an open access wallet seemed unusually petty.
However, when Abosch was asked in an interview whether the robbery bothered him, he started to laugh.
“Actually, I stole it,” he confessed.
The perversion of digital scarcity
Abosch told Cointelegraph that a friend told him the kitty had been put in his wallet and, using his name, “IAMA Kitty,” assumed it was a gift from Dapper Labs for him.
“I thought I should have this,” he said.
However, Abosch made it clear that this cat theft would not be the start of a larger NFT collection or art collection.. When the conversation turned to the blockchain-based state of the art, he was dismayed by a number of ongoing trends, starting with reviews of digital art based mostly on its craziness.
“I think there is something bad about the technical defect,” he said.
Bronze sculptures are rare because sculptors can only afford a limited amount of bronze. There are inherent limitations on resources in real world art. The digital scarcity, on the other hand, is completely artificial.
In the same way, You are not impressed by the current wave of artists releasing their work as non-fungible tokens (NFTs).
“Many of the so-called crypto artists are shaping NFT, but they only use blockchain technology as a tool to construct scarcity and as a platform to sell their works,” he said. “”I’m not doing a qualitative assessment of the work, I just ask the nomenclature. Of course, there are artists whose work is thematically concerned with cryptocurrency and blockchain technology. […] that seems to be more suitable for the term crypto art. “
He went on to explain that the parts that use technology in the most innovative ways really excite him.
“What interests me most are the pieces where blockchain is the method where the soul or flesh of the piece is holistically woven into the blockchain,” he said. “The NFT is only talking about the platform that made it easier to coin and sell.”
The wave of speculators and collectors moving towards NFT-based art also seemed to make him uncomfortable.
“I find that people buy art for one or more of three reasons: because they really want to experience the work, as a form of social evidence, or as an investment opportunity.”
Very few, he suggested, buy art for experience.
He lamented that the current crypto-art landscape between the medium, artists, and buyers has effectively recreated the dirtiest qualities of the art world’s heritage, which he described as “one of the most corrupt industries in the world” of greed, ego, and hype.
A new generation of collectors
While Abosch’s grievances may seem like some of the archetypal grievances of an old man cackling in front of the new generation, he sees a ray of hope in the NFT art craze: an emerging community of art lovers focused on working on the chain.
“I wonder when crypto enthusiasts discuss the intangible nature of their art when dealing with the philosophical implications of materiality and property.”, he said. “There is a whole younger generation of people who don’t seem to be obsessed with physical obsession, even though they still seem to crave the strange.”
V.Forgetting a more sardonic tone, he went on to say that collectors should better enjoy it too, because at current prices they could get stuck with their purchases for a while at current prices.
Too many are buying as an investment, he said, hoping to resell at a later date in an even more hectic NFT frenzy.
“I just don’t think there’s that much money around,” he warned. “There is a perception that this is a gold rush, but I’m not sure there is gold in these hills.”
Regardless of your suspicions, at least one cute NFT collectible is allowed.
“My kids said they wanted a kitten. Let’s see how they react. “