Moni is a character from Kiral World. This tiny bunny-like creature is the twin of another character named Copi.

Copi & Moni are interpretations of interpretations; they both refer to art characters widely declined in different forms of art merchandise such as Kaikai and Kiki from Takashi Murakami or Companion from Kaws.

Copi and Moni are the product of a playful exercise of extending the idea from which the above-mentioned characters emerged: Mickey Mouse from Walt Disney and other cartoon characters inspired Kaws and Murakami to explore merchandisation in the sphere of fine art. If these are witnesses and products of the effect of globalization and neoliberalism on art, what would they look like if they had been invented now, in an age of post-globalization marked by nationalist retrenchments and populism, an age inaugurated by the Brexit referendum and the election of Donald Trump? Will our world get divided into competing empires again, as my project Terracotta Blockchain refers to, or will our global system take another shape? At a macro level, how will the common imaginary of the post-globalisation era impact the shapes and characteristics of our future icons? And invertedly, how will these icons impact our “reality”?

Since at a micro level, the individual withdrawal that marks post-globalism manifests itself into micro-celebrity culture that promotes the idea of fast and self-made success, Moni was designed to represents the glorification of hyper productivity that is presented as the backbone of this success, and the supposedly easy and abundant financial rewards that result from it.

Mini-Monies are thus ironic trophies of post-globalisation, the product of an ongoing speculative exercise, as well as an extension of the Truth Dealer installation of which Moni is the mascott.