1 Euro of initial share capital.
10,000 shares freely negotiable.
If you are interested in buying some shares or knowing more about the project, please contact us here.
Untitled SAS is fully legal and anyone from any country can easily buy and sell shares of Untitled SAS.
10,000 shares freely negotiable.
At November 20 , 2024 Untitled SAS is valued at 400,000 Euros.
If you are interested in buying some shares or knowing more about the project, please contact us here.
Untitled SAS is fully legal and anyone from any country can easily buy and sell shares of Untitled SAS.
|Shareholders+(3.4+%)&chco=BFCCD0,333333&chd=t:100,0.2,0.2,0,0,0.1,0.1,2.1,0.1,0.1,0.1,0.4,0,0.1,0.1,0,0,0.1,0,0,0,0,0.1,0.2,0.6,0,0.2,0.2,0.2,0,0.1,0,0.2,0.1,0.1,0,0.2,0,0,0,0.2,0.1,0,0.1,0.2,0.1&chxr=&chf=bg,s,ffffff00&chxr.png)
"Untitled SAS is an immaterial work of art whose medium is a business company, with “work of art” as corporate purpose and with a capital open to everybody interested in buying shares at their own price. In French, SAS stands for “société par actions simplifiée”, the equivalent of a registered limited company (LTD or INC in English). The social capital of the company is set to 1,00 € (the minimum legally possible), and 10,000 shares are made available. With a freely negotiable capital, the company allows each collector/shareholder to buy and sell shares at the price he set, thus influencing the company’s overall value.
In order to set up the company, the artists worked with one of the largest and oldest lawyer’s office of Paris, Granrut Avocats, who had to resolve many new legal paradoxes for its official registration in the French Trade and Companies Register. A similar gesture was performed, years ago, by the Austrian-Swiss collective etoy, who registered themselves as an actual company in Switzerland, with making art as its corporate purpose. But while etoy, in the early years of the internet, were embracing - in an over-affirmative way - the utopian dream of the new economy in order to set them free from the rules of the art market, Émilie Brout and Maxime Marion are more interested in giving birth to a useless yet fully functional machine that performs and mirrors the ways of working of the current art market, where the value of artworks looks less rooted in the material value of the object or in the cultural value of the work, and more in the ability of a few disruptive characters to manipulate it at their will. At the same time, however, as a socially owned, immaterial artwork with a starting value set to the minimum and able to increase with the help of a community of collectors/shareholders, Untitled SAS is the archetypal work of art: like a medieval church, it mirrors and represents the power in charge, while at the same time being available for the larger society. It also bears some spiritual connotations, recalling the Zones of Immaterial Pictorial Sensibility (1959) by Yves Klein: the empty space exchanged for gold is replaced by the empty shell of a company turned into shares. Finally, it is the perfect portrait of companies like Facebook, that started valueless and evolved into modern golden calfs."
Domenico Quaranta, 2015, Les Nouveaux chercheurs d'or, exhibition catalogue, 22,48 m² Editions, Paris
EVENTS >
Ô Boulot, group show curated by Anne-Sophie Bérard, MAIF Social Club, Paris, FR - January 17 - April 28, 2018 www.maifsocialclub.fr
L'Art est un mensonge, group show curated by Sonia Recasens, H2M, Bourg-en-Bresse, FR - May 5 - July 24, 2016
Art Brussels, solo show - Discovery section, with 22,48 m² gallery, Paris, FR - April 22-24, 2016 www.artbrussels.com
Neoliberal Lulz, group show, Carroll/Fletcher gallery, London, UK - January 11 - April 2, 2016 www.carrollfletcher.com
Les Nouveaux chercheurs d'or, solo show, 22,48 m² gallery, Paris, FR - September 17 - October 31, 2015 www.2248m2.com
PRESS >
Point Contemporain - Pratiques critiques, "Cash, Check, Charge or Art?", by Marion Zilio (FR), 20-06-17
New York Observer, "Art World Descend on Brussels Despite Attacks", by Guelda Voien (EN), 04-23-16
Curating the Contemporary, "Neoliberal Lulz" by Gabriela Acha (EN), 24-03-16
Eat The Hipster, "Neoliberal Lulz" (EN), 21-03-16
BBC Business, "The Woman who became a corporation" by Dougal Shaw (EN), 21-02-16
The Creators Project / Vice, "A Hilarious New Exhibition Slays Banking and Big Business", by Kevin Holmes (EN), 19-02-16
Furtherfield, "Value in the Digital Age: In Conversation with Emilie Brout & Maxime Marion" by Nicole Sansone (EN), 05-11-15
Osskoor, "Emilie Brout & Maxime Marion sont-ils les Madoff de l'art contemporain ?" by Maxence Alcade (FR), 28-09-15
Le Bourdon, "Emilie Brout & Maxime Marion, les nouveaux chercheurs d'or" by Soyoung HYUN (FR), 21-09-15
Fear of Missing Out, "Qui sont les nouveaux chercheurs d'or ?" by Marie de la Fresnaye (FR), 21-09-15
In order to set up the company, the artists worked with one of the largest and oldest lawyer’s office of Paris, Granrut Avocats, who had to resolve many new legal paradoxes for its official registration in the French Trade and Companies Register. A similar gesture was performed, years ago, by the Austrian-Swiss collective etoy, who registered themselves as an actual company in Switzerland, with making art as its corporate purpose. But while etoy, in the early years of the internet, were embracing - in an over-affirmative way - the utopian dream of the new economy in order to set them free from the rules of the art market, Émilie Brout and Maxime Marion are more interested in giving birth to a useless yet fully functional machine that performs and mirrors the ways of working of the current art market, where the value of artworks looks less rooted in the material value of the object or in the cultural value of the work, and more in the ability of a few disruptive characters to manipulate it at their will. At the same time, however, as a socially owned, immaterial artwork with a starting value set to the minimum and able to increase with the help of a community of collectors/shareholders, Untitled SAS is the archetypal work of art: like a medieval church, it mirrors and represents the power in charge, while at the same time being available for the larger society. It also bears some spiritual connotations, recalling the Zones of Immaterial Pictorial Sensibility (1959) by Yves Klein: the empty space exchanged for gold is replaced by the empty shell of a company turned into shares. Finally, it is the perfect portrait of companies like Facebook, that started valueless and evolved into modern golden calfs."
Domenico Quaranta, 2015, Les Nouveaux chercheurs d'or, exhibition catalogue, 22,48 m² Editions, Paris
EVENTS >
Ô Boulot, group show curated by Anne-Sophie Bérard, MAIF Social Club, Paris, FR - January 17 - April 28, 2018 www.maifsocialclub.fr
L'Art est un mensonge, group show curated by Sonia Recasens, H2M, Bourg-en-Bresse, FR - May 5 - July 24, 2016
Art Brussels, solo show - Discovery section, with 22,48 m² gallery, Paris, FR - April 22-24, 2016 www.artbrussels.com
Neoliberal Lulz, group show, Carroll/Fletcher gallery, London, UK - January 11 - April 2, 2016 www.carrollfletcher.com
Les Nouveaux chercheurs d'or, solo show, 22,48 m² gallery, Paris, FR - September 17 - October 31, 2015 www.2248m2.com
PRESS >
Point Contemporain - Pratiques critiques, "Cash, Check, Charge or Art?", by Marion Zilio (FR), 20-06-17
New York Observer, "Art World Descend on Brussels Despite Attacks", by Guelda Voien (EN), 04-23-16
Curating the Contemporary, "Neoliberal Lulz" by Gabriela Acha (EN), 24-03-16
Eat The Hipster, "Neoliberal Lulz" (EN), 21-03-16
BBC Business, "The Woman who became a corporation" by Dougal Shaw (EN), 21-02-16
The Creators Project / Vice, "A Hilarious New Exhibition Slays Banking and Big Business", by Kevin Holmes (EN), 19-02-16
Furtherfield, "Value in the Digital Age: In Conversation with Emilie Brout & Maxime Marion" by Nicole Sansone (EN), 05-11-15
Osskoor, "Emilie Brout & Maxime Marion sont-ils les Madoff de l'art contemporain ?" by Maxence Alcade (FR), 28-09-15
Le Bourdon, "Emilie Brout & Maxime Marion, les nouveaux chercheurs d'or" by Soyoung HYUN (FR), 21-09-15
Fear of Missing Out, "Qui sont les nouveaux chercheurs d'or ?" by Marie de la Fresnaye (FR), 21-09-15
Untitled SAS, Société par actions simplifiée au capital social de 1 Euro - Siège social au 30, rue des Envierges 75020 Paris - 812 886 315 R.C.S. PARIS