My dear colleagues,
Tomorrow I’m proposing a collective practice and since I’ve noticed we are a group that enjoys to play games, we will be playing the Monopoly. It will not be the classic Monopoly but a Monopoly of Art Objects & Subjects (… help me to find a more suitable tittle).
The monopoly is a game that have marked my childhood with notions about the way how capital circulates and how value is attributed to properties, entities, objects and subjects. Monopoly is the game that reveals how these get trapped in a machine of eternal speculation.
In this game I’ve recreated a system where art is attributed a value in a constant motion and change. Either inflating or recessing, it ’contaminates´ all of its surroundings with prestige and shame, beauty and ugliness, decoration and plainness, obedience and nonconformity, all these are at play. Art has been always responsible for triggering experimentation, for purposing other perspectives of morals and belief, for challenging social taboos and executing senseful utopias. Nevertheless, the machine which apparently supports visionary approaches, shackles the collective creative flow by categorizing as a practice of control filtered throughout a system of value with capitalistic contours. Through my artistic research I’m concerned in unveiling such operations and expose certain contradictions of the society of the spectacle towards the role of the artist..
In this game you will be invited to play various roles, such as the role of the artist, the art entrepreneur, and the role of the spectator.
Since I’ve never played this version of the game myself, I’m pretty sure we will be surprised with some flaws in the rules, what will hopefully induce us to have interesting discussions and debates about the system we are interacting with. Only one thing I’m sure, I guarantee an afternoon with meaningful contents and lots of fun, hoping you can all participate despite the short notice.
Tomorrow Wednesday the 23th, from 2pm (…until we had enough)…
Soft drinks can aid in the success of the game, bring your owns, some will be provided.
It will be good to receive a feed-back of your attendance in advance if possible, to better prepare the game set.
Looking forward to jumping on the human size board with you!
Meanwhile I leave you with a taught from the giant John Baldessari, which believes that every young artist should know 3 things: 1 – talent is cheap; 2 – you have to be possessed which you can’t will; 3 – be at the right place at the right time.
Robin Kinross, A4 and before: Towards a long history of paper sizes
We will be looking at sheets of paper, and at folded sheets of paper. The factor of folding is one of the fundamental considerations I want to keep in mind. One might suggest that it is within the nature of a sheet to be folded. This is after all one of the ideas behind the codex-form, the common book form. (…) I want to suggest, tentatively, another fundamental consideration: as well as being folded, the destiny of a sheet is to be cut, and it may be that we make sheets of a certain size, knowing that they will be cut to a smaller size.
Matthew Fuller, Interview with a photocopier
A: So why this interview? It’s supposed to be a mistake to view technologies as having human qualities. Anthropomorphism is a conceptual sin remember …
Q: Look, a little more in the way of the silent. Stop talking. People talk to machines.
A: LCD Screen Reads ‘OK’. Ready To Copy. Shows Green Light on copier control panel.
Q: It is the operator that is supposed to get something out of you. Now repeat after me. Repeat after me, ‘I’m just a copier’.
John Seely Brown, Paul Duguid: The Social Life of Information
The purely mechanical is rarely so pure. There’s a story told of a typesetter working on a Greek text at the Oxford University Press who announced he’d found a mistake in the text. As the typesetter couldn’t read Greek, his colleagues and then his superiors dismissed his claim. But the man insisted. So finally an editor came down to the compositing room. At first, she, too, dismissed the idea, but checking more closely, she found there was an error. Asked how he knew, the typesetter said he had been hand picking letters for Greek texts for most of his professional life and was sure that he’d never made the physical move to pick the two letters in that order before.
Editor-in-chief Anna Wintour decides what’s in and what’s out of Vogue’s September Issue
Annotated media selection: http://activearchives.org/aaa/tags/Fathers_of_the_internet/
Raw media: http://activearchives.org/aaa/tags/Fathers/
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With contributions by Michel Cleempoel, Yves Bernard, Martino M, Natacha Roussel, Renee Turner, Jara Rocha, Seda Guerses, Marcell Mars, Robert M. Ochshorn, Shinjoung Yeo
The Groom of the Stool (formally styled: “Groom of the King’s Close Stooll“) was the most intimate of an English sovereigns’ courtiers. The Groom of the Stool, in the very earliest times was responsible for assisting the King in the performance of the bodily functions of excretion and ablution, whilst maintaining an aura of royal decorum over the proceedings.This physical intimacy naturally led to him becoming a man in whom much confidence was placed by his royal master and with whom many royal secrets were shared as a matter of course. This secret information he was privy to—whilst it would never have been revealed, to the discredit of his honour—in turn led to him becoming feared and respected and therefore powerful within the royal court in his own right.
How does your practice digested by a foreing body looks like? – wednesday 16 july – 10 – 13:30h workshop Gosie