etoy. Corporation, Zurich, 1994.
The etoy. Corporation is a collective structure formed in Zurich in 1994. etoy is the typical promotor (online since 1994) that develops rapidly, quickly becoming a controversial, market leader in the field of experimental art and digital entertainment on the internet. Shares and services such as digital kidnap (1996), etoy. Timezone (1998), Toywar (1999/2000) or etoy. Daycare (2002) are art classics. The etoy. Corporation belongs to more than 2000 etoy shareholders: international art collectors, venture capitalists, etoy agents, etoy administrators, admirers and several hundred toywar soldiers (that protected the brand during the legendary toywar). The etoy shareholders posses and control the corporative structure of etoy.
etoy. Corporation does not sell individual art products. etoy interchanges and sells parts of itself: etoy shares represent participation and cultural value. The 640,000 etoy shares available in the international art market represent 100% of the power of etoy (=100% of the company). The etoy share certificates guarantee a strict limit to etoy Shares.
Since 1998, the orange etoy Tanks (retrofitted transport containers without windows, 12 by 6 metres – icons of globalisation) form a mobile and multi-function system of etoy offices, including studios, hotels and conference rooms, etc. Wherever etoy is needed throughout the physical world, etoy appears and disappears from the morning to the night to infect the way that people are thinking and feeling (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending upon the the situation of the market and project, between 5 and 15 etoy Nucleus-Agents (currently 4 women and 11 men in switzelrand, Austria, Italy, Germany, Japan and the U.S.A.) form the production and investigation team of etoy. The etoy administration (2 or 3 Directors must sign contracts) carries out daily business.
etoy. Corporation has won various international art prizes, (the Golden Nica in the .net category / Prix Ars Electronica) and regularly appears on TV (invited and uninvited) as in other media to infect the etoy VIRUS: The New York Times, the Silicon Valley Reporter, the Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Republica, Relax Japan, etc. etoy team members gave conferences and spoke in the MIT Media Lab in Boston, the UCSD in San Diego, the DASARTS in Amsterdam, the ETH in Zurich, the Gottlieb Duttweiler Institute, the ICC Intercommunication Center en Tokyo, the Interactive Institute in Stockholm and in many international festivals.
etoy investments are not focused on gaining economic profit. etoy risk is about cultural benefits, social profits and intelectual capital gains on the resources invested.
Work at the collection: 30+10 etoy. Shares
Try Not To Think So Much, 2018
With this piece Ampudia continues his line of work of emphasizing on art as an effective communication method. In this case, the artist plays with the paradox of breaking that flow through communicational noise. By applying the term “noise” to communication, he not only addresses an unpleasant sound but also any interference in this process. With this work, he alludes to the communicational noise with which we cohabit and which surrounds us, and transforms into a silent method of influence in our everyday environment.
The artist aims at communication in the art world, that tends to be endogamic and self-referencing while proclaiming discourses which are supposedly intended to bring culture to the spectator. The fact that the piece´s noise is made from the appropriation and superposition of conferences related to the art world which are hardly understandable, is an ironic nod to the theoretical apparatus and the codes on which the art system relies. The phrase is a composed amplifier, and every letter comprising it has a pertubing mission, allowing Ampudia to configure a faltering narrative, which also speaks about subjetivity of the discourse and opens doors towards ideas sunch as the discourse of powers or the power of Foucalt´s discourse.