Tag "art"

Jeweller Ted Noten created a really simple and inspiring collaborative (offline) art piece for the exhibition “Framed by Ted Noten“. Signature Miss Piggy rings were hung upon nails forming a gun. Visitors could swap their own rings for a Ted Norton ring and in the end the art piece had metamorphosed into a new crowd sourced work of art. Though it is not digital I find this work inspiring, especially in the way it drives audience participation.

noten902054_445778612164233_853186632_oThe pig-ring is on of the original Ted Noten Miss Piggy rings.


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I was lucky enough to have a long talk with the Danish Fluxus Artist Knud Pedersen in the end of November. Knud is the founder of the Art Library, a special library where you can rent art for a very low price. He was also one of the key organizers of the most important Fluxus events in Copenhagen, amongst them the famous Copenhagen Fluxfest of 1963.

Knud is also the owner of a large collection of Fluxus works which he calls the Fluxus Archive, he promised to show me this archive soon but I have not had the chance to come by yet so I hope the offer still stands.

Knud told me that in his opinion some of the Fluxus performances became to person orientated as the artists personal fame grew. So, in 1993, for the celebration of the 30 years of Fluxus Copenhagen, he came up with a concept called “Art ala Carte”. The audience where placed at dining tables and could order Fluxus events and objects from a menu. They were then given the remedies to create the events, and instead of watching perfomances they could create them themselves.

Here are some photos I took of the menu which he had kept in his office, I think the idea is just wonderful!

This work really got me thinking, it is in it’s own way a Fluxus art piece in its own right!

In my opinion Knud is a very important local contributor to Fluxus, as he was both a contributor and an organiser.

It’s was a big inspiration and honor to meet such a noteworthy person and I was very moved by the time he gave me (we talked for hours!). He was not up for a real interview, but instead he referred me to an interview given to the Danish TV station TV4 in 1998 back which I have transcribed for my Research Paper records. Here is an excerpt:

They [the Fluxus Group] came over in November of ‘62, and they made the first Fluxus concert (Fluxfest). One should be careful what you

call a concert. ‘Concert’ just meant that there was a music audience, and it also meant that there were music reviewers. But it had nothing to do with a concert. It was a performance that totally turned the established concepts of art scene upside down. We had been told that in Wiesbaden, eggs and tomatoes hat had been thrown at them, but when we saw
the show in Nicholas Church, we understood what it was that was so different. One of the acts, for example, was ‘633 times for Henry Flint’, this meant that someone sat down and banged on a piano 633 times, like this. I actually think it was half an hour to forty-five minutes long, that piece. There was a violin piece, where the guru amongst the Fluxus artist, George Maciunas, walked on stage and opened the violin case which revieled a trumpet instead. Because it only contained a trumpet he couldn’t do a violin concert, so he closed the case and walked out again.

We were very confused, and TV – there was only one TV station at the time – they had built tall scaffolding inside the church and planned to record the concert. A few days later, on the town hall square, I saw a BT News placard that read: “TV cancels concert because of bad taste.”

The next night at the second concert, we had a final number that was quite interesting. A bus had been rented, and it was announced from the stage that the final act would be performed in the bus parked outside Nikolaj Church. The audience rushed out to get a seat. Since there wasn’t room for more than 40-45 people, the bus was packed. It was ten to ten thirty in the evening, and when the bus was full. The doors closed and the bus started. It then drove – in one stretch – all the way down to the town square of Ringsted. We had an agreement with the driver that if he stopped or opened the door on the trip, he would not get a penny. It was half past eleven in the evening when he stopped in the square of Ringsted. Then the doors opened and the audience was told: “The concert is over.” The people had to get out and try to find their way back to Copenhagen as well as they could. Some of them went to the police station and others went to a hotel. And some, those who had been at the police station, came back the next evening and happily paid the entree fee again. They wanted more, of course.

It was unique what was happening. It’s strange to describe Fluxus, with examples, that don’t work. It may illuminate something, but it can’t tell anything about the core idea of it. On the backdrop behind the altar space, Arthur Køpcke had written: “We create music that is poetry and theater that is painting. We unfold an unspecialized fantasy”. And that is actually goes into the heart and the roots of what Fluxus are. It is not music. It isn’t painting. It isn’t literature and you can’t paint a painting in a way that that makes it become a Fluxus painting. You can’t play a piece of music in a way that makes it a piece Fluxus music. It is something entirely different. In my opinion, we are almost looking at a kind of artistic basic research, which takes fundamental things from the music, from literature, and then treats it in new different ways, and not necessarily even by artists.

From :

Fluxus – In remembrance of an art form. Told by Knud Pedersen, Production: Prime Vision, TV 4 1998


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I will probably end up focussing more on the way Fluxus artists gave the audience firsthand experience in the Fluxus art, but I am also fascinated with the role George Maciunas in the creation of the Flux fests, the Fluxus boxes, the Flux house and the Fluxus magazine. He was indeed the curator that I keep babbling about. Fluxus was not him alone and he didn’t own all the different art works and events the contributing created, but he created a platform and a context that joined art together and gave it context.

From the movie: Zefiro Torna Or Scenes From the Life Of George Maciunas

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Wow – long time no blog! I’ve been reading quite a bit – will get back to that in a later post. Now I just want to share some thoughts on the Blast Theory lecture that Jonathan uploaded recently.

I plugged my computer to our flat screen TV and enjoyed the lecture in large scale. I actually already knew most of the works described in the talk, but it was great to hear some background info from Matt Adams and to get knowledge of some of the difficulties of creating work like this.

One work that I have to check out is the “Rider Spoke”. This i a work based on mobile and geo-location, but it challenges authorship issues in the same sense that I expect my own work to do. A good point here was to “make work that allows people to speak on their own terms”.

Even though Blast Theory create interactive work, I found that most of the featured works were very controlled. Matt Adams argued that even in these controlled environments their was room for play. I still felt that the artist was looking for some very specific emotions and reactions from their audiences.

A thought: The talk about TV companies was also inspiring. I like the idea that participation doesn’t have to limit to updates and sharing of TV content – but through connectivity we might actually air movies that people can participate in, like this German advert for a TV Channel that was aired in movie theaters two years ago. With a special app that uses voice recognition and connects you smart-phone to your TV you might guide a protagonist through a situation – or remote control a car through a city in a car chase …

13th Street interactive movie, Agency: Jung Von Matt

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I would like to get back to Ben Davis’ use of the Semiotic Square. By using it he visualises 4 possible ways of classifying Social Media art – and then he more or less rules out both “New Media Art” and “Art Mods”. Leaving us with these two categories:

1. Art that uses social media.

My thoughts: This could be a type of “Generative Art” or “Data Art” .that is powered by social media data or merely be an artist that uses a social platform as place to showcase or broadcast their art.


2. Social Art collaboration

My thoughts: This could be art that is co-created or crowdsourced (what you might call af type of “Interactive art”). In this case the role of the artist would changes to be more of a curator/facilitator.


The problem: While both of these categories rightly can be classified Social Media Art, they are very different from each other.

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I had a great Skype chat with Jonathan about my project + project proposal on the 12/12. Jonathan gave me several references for my proposal that I’m currently looking into. I would, however, like to post what I have wrtitten for my proposal so far. Bare in mind that it isn’t at all structured yet and I havn’t put it into context in any way.

Can art be social?

Exploring the boundaries between professional vs. amateur & public vs. exclusive in social media art.

We are living in a time of great change. With media platform becoming increasingly more social, what impact will this new openness have on what we consider to be art and the way it is created?

There is now doubt how huge an impact social media has on our current society, from the election of America’s first black president, to the Arabian Spring. Because of digital media, information and ideas can now flow freely across boarders and continents. To put it simple: Everyone now has a voice.

This is also true in a creative context. The Internet is bulging with unpaid “Makers” that create amazing content, not for money, but to seek praise from their peers. The Internet has changed the old rules of publishing. Everyone with an Internet connection can own a blog, a twitter account or a tumbler, thus blurring the boundaries between professional and amateur.

During my studies, I would like to create a social media art project that potentially evolves professionals and amateurs alike to contribute to a co-created art piece.

Challenges (as menitioned before): Can amateurs create meaningful art? Can co-created art projects be aesthetic? Who owns a co-created art piece result? What is the artist’s role in all of this?

Through my primary research (e.g. the article by Ben Davis) I have come across two different categories of Social Media Art. “Art that uses social media” and “social media art collaboration” The first is really part of what is already known as Generative Art. The artist collects data from social media users and translates it into art. This kind of art can be very illuminating and interesting but it is in my opinion not truly social, since it only uses social platforms to contract data – not as a way for people to interact and co-create.

“Social Media Art Collaboration” is art that is co-created by a community but is often curated by an artist. The weakness of creating art this way is that it is very difficult to quality control contributions. The more freedom given to the contributors – the bigger the risk of receiving bad work. However – it is also possible that freedom will inspire some more creative and surprising result. One should also consider ownership and copyright. I suspect that if a lot of freedom is given, a contributor will have bigger feeling of ownership. I would like to test this theory if I can’t find any data on the subject.

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By reading the article by Ben Davis I became aware of two different types of social media art. And they are quite different from each other.

One is “art that uses social media” (e.g. data from social media users). Example: Don’t tell Ashton. This is really what one might call Generative art and not really that social when you think about it.

The other type is “social media art collaboration“. In this case the artist might actually become more of a curator, who sets a scene and some game rules on an online platform that people collaborate under to create a common art piece. Art collaboration is not new in it self. But social media enables unprofessional to join effort with pros and thus removing the boarders between professionals and amateurs. This is truly social, but one could question the results. It also opens the question about ownership… I will get back to this in a later blog post.


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Crossroads from Katrine Granholm on Vimeo.

This my first video blog post

password: lol-kat


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This “Fühlometer” installation uses software that reads emotions out of random peoples faces and vizualises them in realtime. Click the link above to see a video and read a more detailed description of the project.


What a wonderful idea (I wish I had created this).


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