Price Frieze & Liquid Lunch – Sat. Oct 18th (2-5pm) an event as part of POLYMYTH x Miss Information.

Join us for an afternoon fuelled by Joylent cocktails and bespoke lifestyle solutions to cure your Frieze exhaustion. From 2-5pm this Saturday, October 18th, you can make yourself at home in Miss Information’s Boudoir, whilst exploring products and services according to your needs.

Come and explore. Miss Information wants to be free. But there’s a price on everything.


LIMITED EDITION APRIL GREIMAN BAGS!! Commissioned for, and now available to buy at, POLYMYTH x Miss Information at Auto Italia. ONLY £8!!! Email to get yours! 



Meet Z; a pilot content-on-demand service at your fingertips. Enlivened by your touch, Z is a personal guide, productivity consultant and creative collaborator. Z works with you, for you.

The future is full of opportunities – don’t miss yours.

Coming soon… 

Meet Z is a collaborative web project produced by Auto Italia and co-commissioned by The Space.



We’re excited to present the digital version of a Risk Assessment Image Kiosk as part of Golden Age Problems.

In his essay on musicals “Entertainment And Utopia” the theorist Richard Dyer claims that entertainment does not “present models of utopian worlds, as in the classic utopias of Sir Thomas More, William Morris, et al. Rather the utopianism is contained in the feelings it embodies. It presents, head on as it were, what utopia would feel like rather than how it would be organised.”

The narratives that mass media entertainment produce run deep through our lives and cannot be escaped – entertainment is a headspace where the dynamics of desire, seduction, power and control take place and increasingly make meaning of our world.

This exhibition and event series presented ideas about where we might start taking hold of these dynamics and make them our own.

This new and interactive Risk Assessment Image Kiosk web page presents a collection of material related to the production of the show, offering a small sketch of what it was like. (And you can control the content!)

Golden Age Problems was a project by Auto Italia and Nathaniel Budzinski featuring Oreet Ashery, Marleen Boschen, Olivier Castel, Leni Cedric, Benedict Drew, Marianne Forrest, Mette Hammer Juhl + Lorenzo Tebano, Pablo Navarro MacLochlainn, Terence McCormack, Plastique Fantastique, Richard Thomas.

A Horn Of Plenty At The All You Can Eat Buffet Of Nothing was an event on 28 June 2014 that aimed to explain the exhibition through a narrative presentation. It featured performances by Plastique Fantastique, Pablo Navarro MacLochlainn, Benedict Drew and Leni Cedric.




Art/Work Association presents:


Please join us for this public event with artist Nils Norman and writer Anna Minton. Following on a series of discussions around the politics of culture-led regeneration and the mobilisation of creativity in new urban design, this talk will examine the flipside of these trends, where design is integrated into systems of control and policing. Making reference to recent research and writing, the speakers will focus on the privatised landscapes of urban space in London and the UK.

This event forms part of a season organised by Art/Work Association under the title The Real Estate Show: Seminars in Art and Urban Development.


Anna Minton is a writer and journalist living in London whose work focuses on the economics and politics of urban space. She appears regularly in the media and public events, speaking to a wide range of audiences, from art biennials to policemen. Her first book is entitled Ground Control: Fear and Happiness in the Twenty-First Century City.

Nils Norman is an artist living in London, whose work spans public art, architecture, and urban planning. He is a Professor at the Royal Danish Academy of Fine Arts, Copenhagen, where he leads the School of Walls and Space. Recent exhibitions include Future Perfect, Bristol; Edible Park, Stroom Den Haag; and Dave Hullfish Bailey and Nils Norman: Surrounded by Squares, Raven Row, London.

The event is free to attend but booking is essential.




Ending with a month of contributions from artist Julia Tcharfas the last of the RWBA Blog residencies has now finished.

Within her online residency Julia continued her research into group working experiences looking at the proliferation and significance of psychoanalytic research in Experiences in Groups - by W.R. Bion, which had also been the basis for the RWBA reading group. Using the blog as an alternative method to distribute research, Julia included an image essay - Working Group – and continued with accounts of twentieth century psychological experiments within the aeronautical industry into the working relationships between cosmonauts – including a translation of A Year Inside A Spaceship On Earth by Andrew Bozshko.

The RWBA Blog facilitated a space to continue conversations and ideas developed during Recent Work by Artists, providing a platform to develop ideas on creative labour, group practices, work space design and the convergence of production and consumption. The platform also allowed contributors Rachel PimmTim IvisonGeorge Moutakas and Julia Tcharfas to develop more specialised areas of study through alternative research practices.

All of the residencies are archived and available to view here.



We’d like to share two recently published articles with you, From Performance To Post-Performance, a conversation between Catherine Wood, Marie De Brugerolle and Marie Canet in Mousse (Summer 2014) and an interview with Auto Italia on PostMatter. Both discuss how artists are adapting and responding to alternative and increasingly austere production landscapes. The texts consider the formal and conceptual adaptations of artistic production within a selection of Auto Italia’s projects – as commercial and independent creative industries become increasingly embedded.

In Billy Howard Price’s Post Matter interview with Auto Italia we discuss the value and status of creative production, considering how the surface of certain aesthetics appear to denote specific critical positions. However, what’s required is a greater understanding of the wider environment of commercial cultural production that artists often use to survive.

Within From Performance To Post-Performance, Wood discusses My Skin Is At War With A World Of Data (2012, with Jess Wiesner and Andrew Kerton) noting the performative status of the work through its aesthetics that draw from a sexualized mediatisation of the notion of performance. Going further, Wood asks how we may now understand the terminology and context of performative practices as the term becomes increasingly associated with commercial industry.

You can read the Mousse text by clicking on the image below.




A Horn Of Plenty At The All You Can Eat Buffet Of Nothing: Saturday 28th June, 7-9pm with performances from 7:30pm

As part of Golden Age Problems


If you joined us last Saturday, you would have seen a teaser for a performance that will take place this Saturday 28 June 2014, 7.30pm.

You also might have also picked up a press release that says:

In his essay on musicals “Entertainment And Utopia” the theorist Richard Dyer claims that entertainment does not “present models of utopian worlds, as in the classic utopias of Sir Thomas More, William Morris, et al. Rather the utopianism is contained in the feelings it embodies. It presents, head on as it were, what utopia would feel like rather than how it would be organised.”

It continues:

The narratives that mass media entertainment produce run deep through our lives and cannot be escaped  entertainment is a headspace where the dynamics of desire, seduction, power and control take place and increasingly make meaning of our world.

The event this coming Saturday is called: “A Horn Of Plenty At The All You Can Eat Buffet Of Nothing” which maybe sounds negative – but don’t worry – it’s actually positive: we’re going to bring a horn of plenty to fill up that empty buffet.

The event will feature live performances and interventions from Leni Cedric, Benedict Drew, Mette Hammer Juhl + Loenzo Tebano, Pablo Navarro MacLochlainn and Plastique Fantastique.

The event is free to attend.

Golden Age Problems is a project by Auto Italia and Nathaniel Budzinski featuring Oreet Ashery, Marleen Boschen, Olivier Castel, Leni Cedric, Benedict Drew, Marianne Forrest, Mette Hammer Juhl + Lorenzo Tebano, Pablo Navarro MacLochlainn, Terence McCormack, Plastique Fantastique, Richard Thomas.

Special thanks to: Eli Cantrill, Joshua Howell, Faun Nash, George Nicolaides, Joshua Parker, Charles Pryor, Dominique Russell and Jacob Watmore.

Image © Auto Italia



We’re excited to share a review of opti-ME* and Banner Repeater’s Snow Crash, published in the current issue of ArtMonthly (June 2014), that considers the performative subjectivities realised in both projects.

In Chris Fite-Wassilak’s review he notes Auto Italia’s decisive approach in developing productive possibilities through an active co-opting of oneself into an incipient digital and networked world. To achieve this, Fite-Wassilak comments on opti-ME*’s staging of ‘intensified self-commodification’ in an imagined future defined solely by an economy of fame. Continuing, Fite-Wassilik considers how the sheen of these future practices reverberated throughout the project through the consistent rehearsal of time based performances.

You can read the article by clicking the image below.



Drill Practice

How do we want to work in the future?

Drills are methods for self-discipline, ways to explore artistic practice
and routines to develop in order to see ourselves and our artistic practices differently.

Click below to DO THE DRILL.

Drill Practice is a collaborative project between Auto Italia and BAFA CSM students, with contributions from Keshav Anand, Sofia Lavalle, Nicole Weisz.



Golden Age Problems - 22nd June - 13th July 2014

Golden Age Problems

Wellbeing in the Entertainment Complex

Art institutions sit comfy in the pockets of big corporations, broadcasters continue to sow the image-seeds of a tedious spectacular capitalism and publishers proliferate middlebrow infotainment and zombie-commenters. Compounding the problem, many artists remain enthralled by the mainstream, commercial art world.

As the worlds of art and mass media collide, converge and change, there’s a need to rethink our relationship with the narratives broadcast by these institutions of cultural emission – if they can’t serve us now and for the future, but retrench their ambitions into yesterday’s hallucinations, we must create new options rather than have them created for us. We must create a new world within this world.

Golden Age Problems is an exhibition of images, objects and stages, activated and explored through narrative presentations and a series of performance events. Energy is only ever amassed collectively and so for any real transformation to take place we must not work alone. Soon the Auto Italia space will become a nexus of celebration dispensing with notions of success and failure, providing collaborators with space and time to imagine alternative, independent entertainment formats: anti-genius narratives, anti-talent show, proactive and present.


Golden Age Problems is a project by Auto Italia and Nathaniel Budzinski featuring Oreet Ashery, Marleen Boschen, Olivier Castel, Leni Cedric, Benedict Drew, Marianne Forrest, Mette Hammer Juhl + Lorenzo Tebano, Pablo Navarro MacLochlainn, Terence McCormack, Plastique Fantastique, Richard Thomas.

Sunday 22nd June – Sunday 13th July

Opening hours: Wed – Sun: 12-6

Preview: Saturday 21st June, 7-9pm

Admission free.

Events as part of Golden Age Problems:

Very Special Episode Saturday, 28th June



As part of opti-ME*s investigation into embodied value, identity economics, and human exchange, artist Sascha Pohflepp presents a speculative executive toy modeled on the body’s very own ‘molecular currency’.

Converting organic into digital ‘money’, he maps in a closed circuit the energy needed for the bio-mechanical production of five US dollars worth of Bitcoins – the market value of the digital rendering of the molecule itself.

Sascha PohfleppThe Currency of Living Matter (Every Thought is Sunlight)

“A movement is produced on the surface of the globe that results from the circulation of energy at this point in the universe […] The play of living matter in general [is] involved in the movement of light of which it is the result.”

– Georges Bataille, The Accursed Share

Before we learned to harness electricity all work was done by bodies; consuming, storing and expending energy that comes from a star called Sun. Within the body’s trading floor of cells, the molecular currency of energy transaction is the coenzyme Adenosine Triphosphate (ATP). Each human body is a vast stock exchange of such chemical energy, turning over its own weight in ATP each day.

Drawing inspiration from Georges Bataille’s writings on flows of energy and excess, the Currency of Living Matter re-imagines a model of the ATP molecule, bought on the internet for five US dollars, as a desk accessory for biotech executives of the near future.

Presented online as part of opti-ME* is a 3-minute excerpt from a 440-hour computer simulation. 440 hours is the approximate amount of time in which a human body interacting with a physical version of the object would turn over an amount of energy equal to that required for a Bitcoin mining rig to generate five US dollars.*

* Based on a fictionally under-clocked Avalon ASIC #2 mining rig drawing 100W, at an exchange rate of $449.36 per Bitcoin, at a difficulty of 8000872135.9682 as of May 10th 2014



We’re excited to announce that Auto Italia will be participating in this year’s Kunstvlaai in Amsterdam, 21st-25th May. Developed in close collaboration with Theo Cook, Pablo Jones-Soler and Michael Oswell, Auto Italia will present a billboard-based piece, installed in the Amstelpark alongside work from over 50 artist-led initiatives from around the world.

Kunstvlaai is a platform for experimental art practices; taking place every two years and creating a platform to meet, discuss, and exchange ideas. This tenth edition takes place in the Amstelpark, one of the city’s largest parks – with contributors encouraged to engage with alternative approaches to production and exhibition formats in this unusual context.

The site-specific commissions are accompanied by Spaces in Dialogue, a three-day programme of round-table discussions between the participants over three themed sessions, Space and Context, The Positioning of The Art(ist-Run) Initiative and The Different Manifestations of The Art(ist-Run) Initiative. 

Image © Auto Italia and Michael Oswell



As part of opti-ME* we’re looking for people interested in taking part in a workshop – The Artist as Material - with writer Ingo Niermann, based on his concept of self-determined drill.

This focused, small workshop will take place on Saturday May 24th from 2pm onwards, where Niermann will work with the group to explore ideas and methodologies for how artists might make themselves their own material. The closed workshop will be followed by a public presentation on Sunday 25th May at 4pm, led by Niermann and developed collaboratively from the previous day’s workshop.
If you’d like to take part, please get in touch with by Monday 19th May for more information. Places are extremely limited.

The Artist As Material – Ingo Niermann

In a common understanding of modern art the actual work is the artist persona, while the signed stuff that he/she produces are just “relics” (Boris Groys) of his/her existence. Still, since a phase of radical performance art in the 70s (Hsieh, Abramovic, Burden,…) personal frontiers have rather not been challenged. While the media is flooded with books, TV shows, and blogs on self-improvement, the artistic practice seems to be all about protecting a grail like persona. While pop and movie stars are encouraged to deliver revelations on personal meltdowns and erratic shifts, artists are expected to steadily evolve their once found artistic position to satisfy a market and a critical perception that are both, in whatever ways, determined by the prospects of museification.

As long as artists don’t claim to be identical with their artist persona, they feel secure from the trap of a fake authenticity. But as the art world is very much based on personal encounters expectations on what the “real person” is like, make up a large part in the evaluation of an artist persona. To disrupt this trust, writer Ingo Niermann will gather with a couple of artists to develop previously undisclosed ways of how to make themselves usable as artistic material. An elementary tool for this endeavour will be Niermann’s concept of a self-determined drill (Choose Drill, Hatje Cantz/ dOCUMENTA13, 2012).


Ingo Niermann (b. 1969) lives in Berlin and Basel. Recent writing work includes Solution 247-261: Love (ed., 2013), Choose Drill (2011), The Future of Art: A Manual (2011, with Erik Niedling). His work has been featured at Serpentine Gallery (London), MACBA (Barcelona), ZKM (Karlsruhe), dOCUMENTA(13) (Kassel), MoMA (New York), and La Biennale die Venezia. Collaborative projects include Vote (Gwangju, Korea) – a tool for public ballots developed with Rem Koolhaas, and Fiktion – an international digital publishing project with Haus der Kulturen der Welt (Berlin).



Now available, from us to you, a *FREE* ringtone, comprised of the auto-tuned and pitch shifted sounds of Lady Gaga and Marina Abravomic in physical and emotional turmoil. Answer your calls after a duet of despair.


The ringtone gifts a special mobile-momento re-edit of DJ and producer Pierre LX‘s future-Muzak commission and spatial soundtrack, commissioned by Justin Jaeckle for In The #Memewhile… as part of the Auto Italia project opti-ME*.