Archive pour la catégorie ‘art-merchandising’

SASed Art, Secured Automatic Selection

Dimanche 17 décembre 2006

SASed Art

Les galeries doivent assumer leur fonction et optimiser le commerce de l’art.
Le SASed Art fait appel au dispositif à double porte (SAS en français) que l’on trouve à l’entrée des banques. Pour entrer dans la galerie, on introduit sa carte de crédit, le dispositif vérifie que le compte est suffisamment approvisionné pour permettre l’éventuelle acquisition de l’œuvre exposée.
Seuls les visiteurs solvables peuvent découvrir l’objet de l’exposition qui reste masqué aux yeux des spectateurs de la vitrine.

Pour survivre, certaines formes d’art doivent rester un privilège jaloux.

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Jeudi 30 novembre 2006

Good concept art needs good concept critics.

We need a magazine for the analysis and promotion of concept art. It has to be printed (should concept critique stay digital?).

Everybody is asked to write articles about projects/works from the Dump and the Open Dump.

Dump Mag

Contemporary art teaches us that the curator is actually the artist, the collector the historian, and the critics: the conceptors. When we see how a piece of art can be nicely dressed by a good critic, whatever the work, we understand that contemporary criticism is reversed conceptualisation. The impact on the artist is so big that we should respect the value of this not so new fundamental component of creation.

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Stealth Proactive Art Massage (SPAM)

Dimanche 26 novembre 2006

L’intelligence déployée pour franchir nos firewalls et autres filtres antispam, devrait être reconnue à sa juste mesure. On est proche ici de la tactique militaire et de la création à l’état pur.

Les formes les plus efficaces font appel à l’art de l‘image comme à l’art de l’écrit. Elles touchent à des compétences variées.

L’art de l’ « objet » : titre du message. L’art du texte qui tente de dire que non il ne s’agit pas de plâtre sous forme de gélules ayant des propriétés stimulantes propres à redresser un obélisque en gelée.

L’art de l’image qui nous dit en couleur ce que nous ne voudrions pas lire en noir sur blanc. C’est là un art difficile. Alors que les artifices de la communication nous ont appris que les vessies sont belles comme des lanternes et que tout le monde le pense alors pourquoi rester isolé, nous prenons conscience du fait qu’il est inutile de résister et les Warhol du réseau devraient s’emparer des clichés magnifiés de la communication furtive (stealth communication) pour fonder une vision optimiste et soumise aux nouveaux dieux dont les pouvoirs dépassent les promesses, au moins en chiffre d’affaire.

Exposons-les !

stealth art

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Reality Switch and Sockets (RS&S)

Jeudi 23 novembre 2006

See below first
swith and sockets

The switch is an object that can be put somewhere on a wall at home. You plug radio, TV sets, light, music, and so on … Anything that you or your friends could switch at random as if asking a change would not mean asking for something.

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Recycling Cut Outs

Vendredi 17 novembre 2006


Dans l’univers confiné de l’ordinateur, il est une catégorie d’information considérée comme de moindre importance que celle qui est mise à la corbeille.

Ce que l’on jette semble valoir plus que ce que l’on coupe.

Si l’on s’intéresse à l’écologie de l’espace de travail, il faut prendre en compte ce qui est délaissé au point qu’on ne sache pas quel équilibre précaire, sémantique ou mémoriel, pourrait se voir, avec le temps, remis en cause par cette inconséquence.

Introduisons une fonction qui conserve, comme la corbeille sur le bureau de l’ordinateur, tout ce qui est coupé : textes, sons, chutes de vidéo ou d’images recadrées. Tous ces fragments jugés inutiles au point qu’on ne nous demande jamais de confirmation pour leur élimination et qu’aucun lieu-tampon (comme la corbeille) ne constitue pour eux un purgatoire parfois salvateur.

Il faut penser aussi à recycler afin qu’un jour, de la résurgence de ces fragments surgisse un message que la précipitation quotidienne aurait ignoré.

Deux projets possibles qui recyclent simultanément le physique et le numérique.

Récupérons d’un côté ces laissés pour compte de l’information et de l’autre le papier des corbeilles physiques rassemblant les rebus de l’imprimante.

De ce papier recyclé produisons du papier toilette et du papier-peint sur lesquels, éliminés pour l’un, valorisés pour l’autre, les parias de l’information achèveront leur destin.

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Product Placement

Samedi 4 novembre 2006

Each artwork, in an exhibition context, provide its own publicity. The exhibition makes it public, but also gives it the opportunity to « show-off ». In the Entertainment context, giving publicness to a product became a current practice. The fusion between production and promotion is totally consumed.
Let’s end the logic system, by proposing an artwork that is the promotion of another in a museum or a prestigious collection. The promotional support artwork must borough stylistic lines of contemporary art, in its academic variant.

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Sample Flat

Samedi 4 novembre 2006

Environment, installation, wallpaper.

Replacing the thing by its commercial representation is a phenomenon that seems to become general. In the TV discourse, the program has officially became an excuse for publicity that is the text, clearly said. Our environment then has to adapt and furniture objects of our daily lives replaced by their ratified representation. The attention time of each potential consumer being the true commercial value, information becomes free (web, newspapers), supported in all terms by publicity.

Wall Paper

The Sample Flat is a housing, with all furniture so to say, on advertising wallpaper (pages of catalogues) that shows objects for living at best price.

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COBA Coming Out Bag Art

Mercredi 1 novembre 2006

Performance Installation October 30th 2006

Isabelle mentioned Sylvie Fleury’s shopping bags. Without really understanding, I propose the creation of a self-installing device, to leave in museums.
It has the appearance of a bag that one carelessly forgets in an interesting room of a great museum. As a time bomb, a clock programmes the opening of the bag and it blows itself up in a structure that spreads out as an artwork taking part of the permanent exhibition. The wrapping unfolds; the basis contains a battery and a compressor. The cartel is stitched onto the artwork, mentioning: Blown-up, date, author.
In the case Blown-up was destructed by security services, several more items of the work and variants would of been anticipated.

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DNA Fields and Frames

Lundi 23 octobre 2006

(weave and networks)

written : october 21st, 2006

Player: Derek Pr University of Rotterdam during his conference on the resection of DNA for early diagnostic.

I always dreamed of weaving information. Of finding a loom (the precursor with Jaccart of the information technology), that would be piloted to weave sheets, tablecloths, rugs surfaces. Based upon religious texts, hope messages or despaired messages, DNA corresponding to specific communities. The colour variations, line to line, the informative linear flux converted in surfaces as video raster transforms time in space. We could then live, eat, sleep, walk, pray on lives, on thoughts.

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Lundi 23 octobre 2006

(physical and network come back installation) October 21th, 2006

One reminds me of art trap.
Art Trap
It is a project I conceived when working on Art Impact for Beaubourg in 2000. The turnover operated in the attitude of the institution when a sponsor proposed to co-finance the work, was quite spectacular. We shifted from the ordering of an artwork and exhibition to a location renting (unfortunately under-financed, as usual) – and I thank, by the way, Daniel Soutif who, going over obstacles, made the thing possible. This sudden turn, not in Daniel Soutif’s attitude, but in the centre’s administrator’s attitude, was sufficiently spectacular and scheming so that I propose making out of it a special device.
Art Trap was born, left in the state of concept; I presume it has its place here, in the project’s purgatory.
Art Trap 2
Art Trap is funded on the idea that the artistic institution’s economy is a permanent compromise with the financiers. Some will say the whole art history is in the same boat. I, therefore propose to take possession of a location of minimum surface of 16m2, in a museum. A museum, I insist, not a gallery; it is the area dedicated in art in its most institutionalised version that interest me here. So I build four walls without ceiling above. In the middle of each wall, an opening without door. Above the opening, a projector turned inside. Online, a proposition to buy the space of visibility. Each volunteer/patron invests the desired amount of money and obtains the proportional visibility according to online engagements. The first one sees his logo, name, tag, brand on the wall facing the projector. As soon as the second one comes in for the same amount of money, each one fills only half of the space, and on and on.
Art Trap 3 When the number of « patrons » becomes significant, with plaster and trowel, I reduce the openings sizes to increase the « renting » surface. After some time, the four doors will only leave a cat size visitor in. And the so told and requested visibility would be reduced to electronic surveillance that report, online and black and white, the effective presence of the patrons with their logos.
The gained money, after deduction of charges, would be shared between the museum, renting the location, and the artist that will be able to, on a fix bank account, report the way the money is used, survival or pleasure expenses. A screen, outside the box, would transmit in real time, the state of the bank account: expenses, bills.

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