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Europe

Goldin+Senneby
Spot Price, Tysabri (Biogen), 42.22mm

Spot Price, Tysabri (Biogen), 42.22mm is Goldin+Senneby’s first NFT collaboration. The work articulates the image-bias of a diagnosis of Multiple Sclerosis (MS), a degenerative autoimmune disease that Jakob Senneby was diagnosed with in the early 2000s. The work consists of three distinct sets, each consisting of a group of MRIs taken of Jakob Senneby’s brain, where white spots indicate areas of inflammation due to MS. The smart contract for the NFT, written by developer Alberto Granzotto, links the price of these images to the current (and changing) cost of three different corporate pharmaceutical drugs that Senneby has been prescribed over the years to mitigate the effects of MS. The extended essay that accompanies this NFT drop is titled Regions of Interest (ROI), borrowing a phrase from an MS researcher, but the acronym refers not just to the white spots, but also to the corporate profiteering (ROI also means return on investment) involved in the pharmaceutical industry. Since 2015, the price of FDA approved MS drugs has increased six-fold without any clear reason, and despite a US government-led investigation. This NFT project combines various conceptual associations, contemporary culture’s over-reliance on image, alongside narrative myths around certain pharma brands and marketing strategies, and the ‘making visible’ of the system and culture of illness, and the need to better understand treatment by those who have a disease.

The NFT artwork is accompanied by an audio recording of the essay “Region of Interest” by Goldin+Senneby, which was first published in Triple Canopy in 2023. Click here to listen to the audio recording.

Since 2004, the artists Goldin+Senneby, comprised of Simon Goldin and Jakob Senneby, have been working on an ongoing performative and rhizomatic project. Headless Ltd is the name of an offshore company located in the Bahamas that Goldin+Senneby appears to be researching. An investigation that allows them to analyze the virtuality of the financial, economic, and legal fabric and its impact on the reality of our contemporary society. The creation of these offshore spaces is described as a strategy of withdrawal from the public sphere, the secret place of a possible fiction. This project takes shape through the intervention of different people such as Angus Cameron, an English geographer and economist, or John Burlow, whom the artists hired to write a detective fiction Looking for Headless - this documentary novel is written as the project evolves. It is therefore a fiction based on real facts: the places, the societies and the characters exist. We discover both the world of offshore companies and the different forms of presentation of the project. Like the “withdrawal” made by these offshore companies in the real economy, the artists do not appear publicly. They are represented in turn by actors, an author, economic specialists, or exhibition curators. The role of the artist-author deliberately escapes them.