Interview with Kevin Abosch in Corriere della Sera

Written by Clelia Patella, published in Corriere della Sera (https://www.corriere.it/)

The Italian magazine Corriere della Sera recently sat down with Kevin Abosch for a conversation about his artistic practice. In this interview, Abosch discusses some of his most well-known works, including Potato, I Am a Coin, Priceless, and his film Am I, while also sharing his thoughts on the future of AI-generated art. We are pleased to present the English translation of the article.

On the day Maurizio Cattelan’s banana was sold at auction by Sotheby’s for $6.2 million, the city of Lugano was celebrating digital artist Kevin Abosch at the Synthetic Program exhibition at Valuart Gallery. In 2015, Abosch sold his photograph Potato #345 for over $1 million. These two seemingly ordinary food items – the banana and the potato, in their respective contexts, challenge the conventions of the art market and question what truly defines a work of art.

While Cattelan uses surrealism and humor, Abosch takes a more direct approach: value is no longer tied to the physical object itself but to the idea behind it. In an era where technology is redefining the boundaries of art and its accessibility, Abosch’s photographed potato is a reflection on how we assign meaning and value to art.

Kevin Abosch, 56, is an Irish artist who was featured on the cover of la Lettura (#681) on December 15. He is best known for his portraits of Hollywood celebrities, including Johnny Depp and Yoko Ono. A decade ago, he shifted his artistic focus, turning everyday objects into subjects of his work. A pioneer of Crypto Art, his practice spans photography, sculpture, installations, artificial intelligence, and video. We interviewed him.

CdS: In 2015, you sold a photograph of a potato for $1 million. How do you view the relationship between value and perception in art?

KA: In my artistic practice, I find it fascinating to challenge conventional notions of value. However, I prefer not to engage with the mechanics of the art market. I would never create work with commercial success as the goal—doing so would mean failing in my pursuit of meaningful art.

CdS: You explore the boundaries between the physical and the digital. How do you see the future of art in an increasingly immaterial world?

KA: Art is art, whether physical or digital. For those under 40, engaging with the immaterial feels natural, whereas older generations often struggle to understand how something intangible can hold value. The rise of NFTs has provided an opportunity to challenge these preconceptions. People collect art for three main reasons: to share space with it and experience an emotional connection; to gain social validation; and as an investment. These motivations apply equally to both physical and digital art. Ultimately, the most important factor is the emotional connection—if an artwork resonates with someone, its material form becomes irrelevant.

CdS: In the project I Am a Coin, you "tokenized" yourself, effectively becoming a cryptocurrency. What motivated this decision?

KA: I Am a Coin was born from my growing sense of being treated as a commodity rather than as an artist. The focus had shifted from the artistic value of my work to its financial worth. By tokenizing myself, I aimed to reclaim control of the narrative—but ironically, the tokens themselves became objects of exchange. It’s a paradox that reveals an intriguing reality.

CdS: In 2018, you collaborated with AI Weiwei on Priceless, a project that created two tokens—one inaccessible and the other with an infinitesimally small fractional value. How has the concept of ownership evolved in an era where art and value are increasingly fragmented and virtualized?

KA: Today, an artwork can be divided and distributed through blockchain, enabling a new form of access—not just financial, but also experiential. This shifts the focus from individual ownership to collective participation. As a result, the very idea of ownership becomes more fluid, transforming into a shared experience.

Kevin Abosch, Potato #345, 2010

CdS: In your film Am I?, you explore transhumanism and the role of artificial intelligence. What are the key opportunities and ethical challenges?

KA: I don’t see artificial intelligence as a being—I consider it a tool, not a collaborator. If used wisely, AI can even help us uncover deeper aspects of ourselves. However, the greatest danger lies in immersing ourselves too deeply in the 'consciousness of the machine' and losing part of our humanity. That’s why, when I feel the boundary between myself and the machine becoming too thin, I step back. I paint, reconnect with the physical world, and return only when I feel grounded in my own humanity again.

CdS: AI-generated art is often perceived as a threat to traditional art. How do you respond to this?

KA: It reminds me of those who criticize my synthetic photographs, arguing that they diminish the value of 'real' photography. But photography, by its very nature, is an illusion—a reproduction of reality. Paradoxically, a synthetic image can sometimes be more truthful and revealing than a traditional photograph. What’s crucial is developing a deep understanding of technology and recognizing its potential for misuse. In the future, true power will not be measured by economic wealth but by technical expertise. Only by mastering these tools can we prevent AI from being weaponized against us.

CdS: We are witnessing a digital transformation that is rewriting the rules of culture. What do you find most compelling about this shift?

KA: Artists and philosophers will serve as guides in this complex, AI-driven future. Those of us working with AI in art act as mirrors for contemporary ethical and social dilemmas, addressing issues such as copyright, personal security, and identity.

CdS: What are the most exciting frontiers for digital art?

KA: We are entering the era of living art. Works will no longer be static but will evolve over time, sometimes in unpredictable ways. This shift will fundamentally change the relationship between the artist, the artwork, and the collector, overturning the traditional dynamic of control.

CdS: Digital art is often dismissed as "not real art." However, you argue that the value of art lies in the idea. How do you assign value to something that cannot be touched or hung on a wall?

KA: Many struggle to grasp that digital art is no less ‘real’ than a painting or sculpture. The value of art lies in the idea and the emotion it evokes. Technology is simply a tool—one of many—that translates that idea into a form we can engage with and understand.

CdS: Your latest work is a short film created entirely with AI. Do you think artificial intelligence will eventually dominate the future of cinema?

KA: Everyone wonders when Hollywood will start producing films entirely powered by AI. But I don’t think even James Cameron and his top technicians can achieve what I can—perhaps while sitting naked in bed with just a laptop. Technology is pushing the boundaries of cinema, but its full potential will only be realized as both the tools and the skills to use them continue to evolve.