I wanna spend it all on you (I’ma spend my money, yeah), screenstill, video, 2020.
I wanna spend it all on you (I’ma spend my money, yeah) (2020) is a video work that appropriates lyrics from bio digital influencer1 @lilmiquela’s (Miquela Sosa2) music video “Money”3, and re-composes4 both lyrics and video onto appropriated three-dimensional objects5. The unending looping proposes a critical narration of the content of this video, which addresses love and its relationship to currency. It is a closed circuit, that repetitively frames the notion of revolution in one space, as proposing a new idea and new possibility. But also as a paradox, as once it completes the circuit, it returns to its original beginning. The work functions as a distorted re-telling and inherent critique, characterized by a cyclical6 logic emphasizing alienation and fragmentation within the space of Money by Miquela7. Within Miquela’s mandated existence (according to her creators of the start-up tech company, Brud) is to emphasize love and compassion. The work highlights this biased position and its inherent connections to capitalism. Here, falling in love is inherently connected to a cultural superstructure of value where economy and commerce are equated as an expression of love8.
1 A biodigital influencer could be a robot, artificial intelligence, or a graphic representation - a biodigital influencer has a blurred identity.
2 robot girl gently strokes your face and tells you she wrote a song for you.
3 Neo-nomads use digital technologies to adapt to spaces, dwell in momentarily and detach anytime and when necessary. Neo-nomads are not completely de-territorialized, their actions leave traces.
4 CGI-algorithmic models are the new hyper-celebrity.
5 I feel kinda bad that he doesn’t know I’m posting about us but I’m just too used to sharing everything with y’all idk.
6 The prosthetic impulse is a looping logic originating from the posthuman present to biocultural future.
7 gotta rep my Miqaliens.
8 money is made up, but love isn’t.