I have to admit that I am really curious about the Panama Papers scam. Most of all because it reminds me a wonderful conceptual art work called Loophole for All. During the last week the Panama Papers have monopolized the media. It has been the biggest leak ever, based on more than 11.5 million financial and legal records involving companies, politicians and businessmen around the globe.
It is not my interest to deepen the economic and political consequences of the leak. But I have been very impressed by what I could define the aesthetic qualities of the Panama Papers. In a certain sense, Panama Papers can be viewed as an answer to topics such as big data, privacy and networking.
That’s why I think about them as a pure example of artification. And, in this perspective, they remind me Loophole for All, a great work by Italian artist Paolo Cirio, dating back to 2013.
As stated in the project description, Loophole for All is a conceptual piece which aim is to
“Democratize the privileges of offshore businesses by forging Certificates of Incorporation documents for each company, all issued with the artist’s real name and signature”
The dedicated website promoted the sale of real identities of Cayman companies at low cost, unveiling more than 200,000 firms. The final outcome of the work was to reverse global finance machination to serve a creative agenda.
Loophole for All is a really great conceptual project that investigates and unveils global financial processes in a non conventional way.
In my opinion it can be used as well as a starting point to rise questions about contemporary networks. In this perspective, I hope that the Panama Paper scam can be used as a creative vector for new works of art in the short run.
I truly think it makes sense.