Ccc newspaper #4

28
CCC Newspaper #4 NOVEMBER 2015 GALERIE KRINZINGER KRINZINGER PROJEKTE Mankind / Machinekind

description

The fourth and last part of the CCC (Curators Collectors Collaborations), Mankind / Machinekind is an exhibition conceived by collectors Alain Servais and Hampus Lindwall, and involving curator Domenico Quaranta in the role of exhibition maker. Featuring a selection of works from the Servais and Lindwall collections, along with works from international lenders Robert Bielecki (USA) and Li Zhen (Asia), the exhibition focuses on the practice of collecting the digital - a relatively young practice that started when, around the turn of the millennium, “born digital” art practices started finding their own way into the art market thanks to the dedication of a few galleries and the interest of some brave collectors.

Transcript of Ccc newspaper #4

Page 1: Ccc newspaper #4

CCCNewspaper

#4NOVEMBER 2015

GALERIE KRINZINGER

KRINZINGER PROJEKTE

Mankind / Machinekind

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AIDS-3DJuliette BonneviotChristophe BrunoIan ChengPetra CortrightJohn GerrardJean-Baptiste MichelManfred MohrJon RafmanJODI (Joan Heemskerk and Dirk Paesmans)Tianzhuo ChenTaylor HollandEvan RothRaphael RozendaalLigoranoReeseUBERMORGEN

The fourth and last part of the CCC (Curators Collectors Collaborations), Mankind / Machinekind is an exhibition conceived by collectors Alain Servais and Hampus Lindwall, and involving curator Domenico Quaranta in the role of exhibition maker. Featuring a selection of works from the Servais and Lindwall collections, along with works from international lenders Robert Bielecki (USA) and Li Zhen (Asia), the exhibition focuses on the practice of collecting the digital - a relatively young practice that started when, around the turn of the millennium, “born digital” DUW�SUDFWLFHV�VWDUWHG�ÀQGLQJ�WKHLU�RZQ�ZD\�LQWR�WKH�DUW�PDUNHW�thanks to the dedication of a few galleries and the interest of some brave collectors. In recent years, the market for art using digital means and responding to the issues of our digital age has grown with the advent of special interest art fairs and even auctions. However, concerns about the immaterial nature of digital information, its easy copy-ability and the possibility to effectively preserve hardware and software still make collecting digital art quite rare, despite its cultural relevance. Mankind / Machinekind is an attempt to show how it can happen, through a selection of seminal works from private collections.

114 CCC Newspaper #4 Mankind / Machinekind

Curators

Domenico Quaranta 115

Press

Werner Rodlauer 119 Roman Gerold 120Michael Huber 121

Collectors

Alain Servais 123Hampus Lindwall 125Robert D. Bielecki 126 Collaboration

Rafael Lozano-Hemmer 129Public Discussion 134Artist Talks 136

Index 138Colophon 139

CONTENTS ARTISTS

EDITORIAL

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Dear Collector,,·P�ZULWLQJ�\RX�D�OHWWHU�EHFDXVH�ZKDW�\RX�GR�LV�YHU\�SHUVRQDO�DQG�ZKDW�,�KDYH�WR�VD\�ÀWV�EHWWHU�WR�WKH�IRUP�RI�D�SULYDWH�FRQYHUVDWLRQ�WKDQ�DQ�HVVD\��$OWKRXJK�WKLV�OHWWHU�LV�RSHQ��,·G�ORYH�WR�NHHS�GLVFXVVLQJ�ZLWK�\RX�LQ�SULYDWH��LI�\RX�ZLVK��7KH�VKRZ�ZKHUH�\RX�SLFNHG�XS�WKLV�SXEOLFDWLRQ�LV�DERXW�FROOHFWLQJ�GLJLWDO�PHGLD�DUW��DQG�WKDW·V�WKH�WRSLF�,·G�OLNH�WR�GLVFXVV�ZLWK�\RX��QRW�WR�WHOO�\RX�WKDW�\RX�VKRXOG�FROOHFW�LW��EXW�WR�WHOO�\RX�WKDW�\RX�FDQ��LI�\RX�OLNH��,W·V�QRW�WKDW�KDUG��DV�ORQJ�DV�\RX�KDYH�WKH�́ HSLSKDQ\µ��,�JXHVV�\RX�NQRZ�ZKDW�,·P�WDONLQJ�DERXW��7KH�HSLSKDQ\�LV�WKH�UHDOL]DWLRQ�WKDW�PDNHV�\RX�DGGUHVV�\RXU�FROOHFWLQJ�DFWLYLW\�LQ�D�FHUWDLQ�GLUHFWLRQ��$OO�the collectors that offered pieces for this VKRZ�KDG�WKH�HSLSKDQ\�DW�D�FHUWDLQ�VWDJH�LQ�WKHLU�OLIH��7KH�RFFDVLRQ�PD\�EH�WULYLDO��\RX�DUH�XVLQJ�D�EXVLQHVV�VRIWZDUH�WRRO��\RX�DUH�YLGHR�FKDWWLQJ�ZLWK�\RXU�JLUOIULHQG��ZDWFKLQJ�(GZDUG�6QRZGHQ�RQ�<RX7XEH�RU�79��UXQQLQJ�ZKLOH�OLVWHQLQJ�WR�PXVLF��SD\LQJ�IRU�D�FRIIHH�ZLWK�D�FUHGLW�FDUG��ZKHQ�VXGGHQO\�\RX�UHDOL]H�WR�ZKDW�H[WHQW�GLJLWDO�PHDQV�RI�FRPPXQLFDWLRQ�KDYH�FKDQJHG�\RXU�OLIH�DQG�WKH�ZRUOG�RYHU�WKH�ODVW�\HDUV��DQG�WKLV�DW�DOO�OHYHOV��<RX�KDYH�QHYHU�EHHQ�a techno-enthusiast and never will be; but, for betteror for worse, this has happened, ,6�KDSSHQLQJ��,W·V�FRQWHPSRUDU\�OLIH��DQG�FRQWHPSRUDU\�DUW�VKRXOG�UHODWH�WR�LW�VRPHKRZ��E\�FHOHEUDWLQJ��SRUWUD\LQJ��FULWLFL]LQJ�RU�FRQVFLRXVO\�UHIXVLQJ�WKLV�FKDQJH��DQG�E\�XVLQJ��DEXVLQJ��SHUXVLQJ�RU�FRQVFLRXVO\�UHIXVLQJ�WKH�WRROV�DQG�ODQJXDJHV�LQWURGXFHG�ZLWK�WKH�GLJLWDO�VKLIW��This shift is both a culture, with its new set

RI�WRSLFV��DQG�D�PHGLD�VKLIW�LQWURGXFLQJ�D�new set of creation and communication WRROV��VR�ZH�VKRXOG�H[SHFW�FRQWHPSRUDU\�art to respond to these topics and confront WKHVH�WRROV��DV�LW�DOZD\V�KDV�2QFH�\RX�KDG�WKH�HSLSKDQ\��ZKDW�FRPHV�QH[W�LV�QRW�DV�HDV\�DV�EX\LQJ�DQ�RLO�SDLQWLQJ�LQ�D�JDOOHU\�RU�DQ�DUW�IDLU��EXW�LW·V�QRW�WKDW�KDUG�HLWKHU��DQG�LW�FDQ�EH�UHDOO\�EHDXWLIXO�DQG�FKDOOHQJLQJ��7KH�ÀUVW�WKLQJ�\RX�KDYH�WR�UHDOL]H�LV�WKDW�WKHUH·V�QR�VXFK�D�WKLQJ�DV�GLJLWDO�PHGLD�DUW��RU�ZKLFKHYHU�label is used to describe it. There are MXVW�DUWLVWV�UHVSRQGLQJ�DW�GLIIHUHQW�OHYHOV�WR�WKH�WRSLFV�RI�WKHLU�WLPH��DQG�XVLQJ�DW�different levels the tools of their time. Look DW�WKLV�H[KLELWLRQ��\RX�FDQ�ÀQG�ZHEVLWHV��software, 3D animations, interactive ZRUNV��EXW�DOVR�SDLQWLQJV��SULQWV�DQG�VFXOSWXUDO�ZRUNV��1HZ�PHGLD�HQODUJH�the set of tools available to an artist, but WKH\�DOVR�HQDEOH�XV�WR�ÀJXUH�RXW�GLIIHUHQW�XVHV�IRU�H[LVWLQJ�WRROV��$�VSHFLDO�IRFXV�RQ�D�VSHFLÀF�PHGLXP�LV�UDUH�LQ�DUW��HYHQ�LI�SRVVLEOH�DQG�LQWHUHVWLQJ�LQ�LWVHOI��PRVW�artists are committed to a set of concerns DQG�WRSLFV��EXW�DUH�SUHWW\�XQIDLWKIXO�LQ�terms of media, and feel uncomfortable ZLWK�WKLV�NLQG�RI�FDWHJRUL]DWLRQ��6R��GRQ·W�EH�VXUSULVHG�LI��ULJKW�DIWHU�KDYLQJ�WKH�GLJLWDO�PLOOHQQLXP�HSLSKDQ\��\RX�EX\����D�SDLQWLQJ��7KH�VHFRQG�WKLQJ�\RX�ZLOO�VRRQ�UHDOL]H�LV�WKDW�ZKDW�\RX�DUH�ORRNLQJ�IRU�LV�QRW�HDV\�WR�ÀQG�LQ�WKH�XVXDO�YHQXHV�ZKHUH�\RX�JR�WR�ORRN�IRU�DUW��(YHQ�LI��LQ�UHFHQW�\HDUV��D�QXPEHU�RI�DUWLVWV��FXUDWRUV��JDOOHU\�owners, collectors and institutions had \RXU�VDPH�HSLSKDQ\��LQ�WKH�DUW�PDUNHW�DQG�WKH�PDLQVWUHDP�FRQWHPSRUDU\�DUW�

ZRUOG�WKLV�QXPEHU�LV�VWLOO�SUHWW\�VPDOO��,W·V�one of the paradoxes of the weird time \RX�DUH�OLYLQJ�LQ��P\�GHDU�FROOHFWRU��,Q�D�world where politics, economics, social relationships and private life, and with WKHP�PRVW�FXOWXUDO�HFRORJLHV��WKLQN�DERXW�ERRNV��PXVLF�DQG�FLQHPD���KDYH�FKDQJHG�GUDPDWLFDOO\�E\�WKH�DGYHQW�RI�QHZ�PHDQV�of communication; in this world the art ZRUOG�WKDW�KDV�DOZD\V�SOD\HG�WKH�UROH�RI�WKH�FXOWXUDO�DYDQW�JDUGH��KDV�EHFRPH�a sort of conservative, elitist niche. The DUW�ZRUOG��QRW�DUW��ZKLFK�RIWHQ�ÁRXULVKHV�RXWVLGH�WKH�FRQÀQHV�RI�WKH�DUW�ZRUOG��LQ�more experimental, borderline situations and, of course, online. 7KLV�PD\�PDNH�\RXU�TXHVW�PRUH�GLIÀFXOW��EXW�DOVR�PRUH�H[FLWLQJ��,I�\RX�DUH�WKH�kind of committed collector who likes to UHVHDUFK�WKH�DUW�KH�VKH�ORYHV��\RX�ZLOO�HQMR\�WKLV�VLWXDWLRQ�LPPHQVHO\��7KLQN�DERXW�LW��(YHU\WKLQJ�ZLOO�SUREDEO\�VWDUW�LQ�D�SODFH�\RX�DUH�IDPLOLDU�ZLWK��DQ�DUW�IDLU��DQ�DXFWLRQ��DQ�DUW�JDOOHU\�ZKHUH�\RX�IDOO�LQ�ORYH�ZLWK�WKH�ZRUN�RI�DQ�DUWLVW�\RX�GLGQ·W�NQRZ�EHIRUH��<RX·OO�WDON�ZLWK�WKH�DUWLVW��WKH�JDOOHU\�RZQHU��D�FXUDWRU�\RX�PHW�DW�WKH�SODFH��DQG�WKH\�ZLOO�GLUHFW�\RX�WRZDUGV�RWKHU�DUWLVWV�DQG�RWKHU�JDOOHULHV��7KH\�ZLOO�VXJJHVW�\RX�ERRNV�DQG�PDJD]LQHV�WR�UHDG��DQG�SHRSOH�WR�PHHW��6RRQ�\RX�ZLOO�UHDOL]H�WKDW�ZKDW�\RX�FDQ�VHH�LQ�WKH�DUW�PDUNHW�LV�MXVW�WKH�WLS�RI�WKH�LFHEHUJ��DQG�WKDW�PDQ\�RI�WKH�DUWLVWV�\RX�ORYH�GRQ·W�KDYH�D�JDOOHU\�WR�UHSUHVHQW�WKHP�RU�D�PDUNHW�DW�DOO��DQG�WKDW�WKHLU�ZRUN�LV�PRVWO\�presented and discussed in specialized YHQXHV��<RX�ZLOO�PHHW�WKHP��DQG�\RX�ZLOO�EX\�ZRUNV�GLUHFWO\�IURP�WKHP��2U�PD\EH�

Domenico Quaranta —Dear Collector

Curators

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CURATORS

\RX�ZLOO�UHDOL]H�WKDW�WKH�ZRUN�LV�QRW�DFWXDOO\�FROOHFWDEOH�LQ�LWV�SUHVHQW�IRUP��DQG�\RX�will start a discussion with them that will SXVK�WKHP�WR�ÀQG�VROXWLRQV�WR�HQJDJH�WKLV�QHZ�DUHQD��<RX�ZLOO�KHOS�WKHP�WR�WUDQVODWH�D�SXUHO\�GLJLWDO�ZRUN�LQWR�D�SK\VLFDO�ZRUN�when it makes sense; and the cultural YDOXH�RI�WKHLU�ZRUN�LQWR�PRQH\�YDOXH��WR�FRQFHDO�VFDUFLW\�DQG�XELTXLW\��%XW�\RX�ZLOO�DOVR�OHDUQ�WKLQJV�IURP�WKHP��OLNH�WKH�YDOXH�RI�VKDULQJ��DQG�WKH�SRVVLELOLW\�WR�FRQFHDO�SULYDWH�SURSHUW\�DQG�SXEOLF�DFFHVV��XQLTXHQHVV�DQG�HDV\�UHSOLFDELOLW\��<RX�ZLOO�EH�WKH�FROOHFWRU��WKH�UHVHDUFKHU��WKH�FXUDWRU�DQG�WKH�SURGXFHU��WKH�JDOOHU\�owner, the teacher and the student, all in one. ´7KDW·V�ZKDW�,�DOUHDG\�GRµ��\RX�PD\�VD\�PH��́ ,·P�QRW�WKH�NLQG�RI�JX\�ZKR�RQO\�DWWHQGV�WKH�9,3�SURJUDP�DW�$UW�%DVHO�DQG�)ULH]H�DQG�EX\V�RYHU�WKH�SKRQH�DW�art auctions. I do research, I talk with DUWLVWV�DQG�VRPHWLPHV�,�ÀQG�RWKHU�ZD\V�WR�VXSSRUW�WKHLU�ZRUN�EH\RQG�PHUH�FROOHFWLQJ��,�HYHQ�EX\�YLGHRV��7KHUH·V�QRWKLQJ�VSHFLDO�LQ�ZKDW�\RX�DUH�GHVFULELQJ�WR�PH�µ�)LQH��7KDW·V�H[DFWO\�ZKDW�,�ZDQWHG�WR�VD\�EHIRUH�,�VWRS�ERWKHULQJ�\RX��FROOHFWLQJ�GLJLWDO�PHGLD�DUW�LV�QRW�WKDW�GLIIHUHQW�IURP�FROOHFWLQJ�FRQWHPSRUDU\�art. As I mentioned before, most artists FRQFHUQHG�ZLWK�WKH�GLJLWDO�DUH�ZRUNLQJ�with traditional and more stable media as ZHOO��DQG�RIWHQ�HPSOR\�GLIIHUHQW�VROXWLRQV�WR�PDWHULDOL]H�WKHLU�GLJLWDO�ZRUN�DQG�PDNH�LW�PRUH�ÀWWLQJ�WR�WKH�VSDFH�RI�WKH�JDOOHU\�DQG�WKH�UHTXLUHPHQWV�RI�WKH�DUW�PDUNHW��(GLWLRQHG�GLJLWDO�SULQWV�DQG�YLGHRV���'�printed objects, installations with custom RU�FRPPHUFLDO�GHYLFHV�DUH�DOO�UHODWLYHO\�VWDEOH��UHODWLYHO\�DFFHSWHG�ZD\V�WR�GLVSOD\�WKH�GLJLWDO��6RIWZDUH�DQG�RWKHU�ZRUNV�EDVHG�RQ�FRGH�PD\�UHTXLUH�VNLOOV�WKDW�are unusual to a restorer in order to be SUHVHUYHG�RQ�WKH�ORQJ�WHUP��EXW�WKHVH�VNLOOV�FDQ�EH�HDVLO\�IRXQG�WRGD\��WKH�DUWLVW�PD\�KHOS�ZKLOH�VKH·V�VWLOO�DOLYH��DQG�LQVWLWXWLRQV�OLNH�5KL]RPH�DQG�(OHFWURQLF�$UWV�,QWHUPL[�DUH�WUDLQLQJ�D�QHZ�EUHHG�RI�preservation experts that can be of help. 7KH�VDPH�FDQ�EH�VDLG�IRU�WHFKQRORJLFDOO\�FRPSOH[�LQVWDOODWLRQV��PDLQWHQDQFH�PD\�EH�GLIÀFXOW��EXW�QRW�LPSRVVLEOH��$QG�DQ\ZD\��FROOHFWLQJ�KDV�DOZD\V�EHHQ�DERXW�EX\LQJ�WKH�WKLQJV�\RX�ORYH�DQG�7+(1�

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FDQ�JR�WKHUH�DQG�GRZQORDG�LW�LQ�D�VHFRQG��<RX�DQG�WKHVH�RWKHU�SHRSOH�ZLOO�RZQ�WKH�VDPH�WKLQJ��ZKDW·V�GLIIHUHQW��KRZHYHU��LV�\RXU�RZQHUVKLS��$V�\RX�ERXJKW�LW��\RXU�RZQHUVKLS�LV�FHUWLÀHG��,Q�WKH�IXWXUH��WKLV�FHUWLÀFDWH�ZLOO�SURYH��ZLWKRXW�DQ\�GRXEW��WKDW�WKLV�SLHFH�LV�DQ�RULJLQDO�ZRUN�E\�WKDW�DUWLVW��<RX�KDYH�EHHQ�LQIRUPHG�DERXW�WKH�EHVW�ZD\�WR�SUHVHQW�LW��DQG�\RX�WDNH�FDUH�WKDW�FXUDWRUV�IROORZ�\RXU�LQVWUXFWLRQV�ZKHQ�\RX�OHQG�LW��<RX�FDQ�LQÁXHQFH�WKH�KLVWRU\�RI�WKH�SLHFH��DQG�LI�UHTXLUHG��GHYHORS�VWUDWHJLHV�IRU�SUHVHUYLQJ�LW�DQG�PDNH�LW�available on new devices. None of the people who downloaded it from the web ZRXOG�SUREDEO\�FDUH�DERXW�LW�WKH�ZD\�\RX�do. If, in the future, it would become a SHUPDQHQW�SDUW�RI�RXU�FXOWXUDO�KHULWDJH��ZH�ZRXOG�SUREDEO\�KDYH�WR�WKDQN�\RX��P\�dear collector. The same can be said for a website. Ask the artist to store it on a device and UHPRYH�LW�IURP�WKH�ZHE��DQG�\RX·OO�EH�WKH�RZQHU�RI�D�EXQFK�RI�ÀOHV�RQ�D�ÁDVK�GULYH��%X\�LW�ZLWKLQ�LWV�RZQ�GRPDLQ��DQG�\RX·OO�EH�WKH�RZQHU�RI�D�ZRUN�RI�SXEOLF�DUW�RQ�WKH�ZHE��(YHU\ERG\�FDQ�DFFHVV�LW��EHFDXVH�WKDW·V�SDUW�RI�LWV�QDWXUH��EXW�DV�WKH�RZQHU��\RX�DUH�UHVSRQVLEOH�IRU�LWV�online presence, its dissemination and LWV�SUHVHUYDWLRQ��,W·V�OLNH�RZQLQJ�D�VLWH�VSHFLÀF�ZRUN�RI�/DQG�$UW��RU�RIIHULQJ�D�SLHFH�RI�\RXU�FROOHFWLRQ�WR�D�PXVHXP�DV�D�SHUPDQHQW�ORDQ�²�RQO\�GLIIHUHQW��EHFDXVH�the internet is a different kind of public space and communication media.$QRWKHU�ZD\�RI�GHDOLQJ�ZLWK�WKH�DFFHVVLELOLW\�DQG�FRS\�DELOLW\�RI�GLJLWDO�information is, of course, to support the SUDFWLFH�EH\RQG�FROOHFWLQJ��$UW�GLG�QRW�DOZD\V�H[LVW�LQ�D�PDUNHW�HFRQRP\��DQG�LI�\RX�EHOLHYH�LQ�LWV�VRFLDO�IXQFWLRQ��P\�GHDU�FROOHFWRU��\RX�ZLOO�EHOLHYH�WKDW�LW�ZLOO�NHHS�H[LVWLQJ�LQ�D�VKDULQJ�HFRQRP\��7KLV�LV�PRUH�RU�OHVV�DOO�,�ZDQWHG�WR�WHOO�\RX��P\�GHDU��%XW�,�ZRXOG�EH�KDSS\�LI�ZH�ZRXOG�be able to keep this conversation alive LQ�VRPH�IRUP��,I�\RX·G�OLNH�WR�DV�ZHOO��MXVW�drop me an email.

0\�ZDUP�UHJDUGV�Domenico

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Juliette Bonneviot Telepathic Jah A Rize, 2009

oil on canvas 120 × 160 cm

Aids-3D Plato with Biometric Overlay, 2009 inkjet print on

FDQYDV��DFU\OLF 150 × 100 cm

Christophe Bruno Fascinum, 2001 ZHEVLWH��ZZZ�XQEHKDJHQ�FRP�IDVFLQXP�

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Tianzhuo Chen ADAHA II���������.�YLGHR����Ⱦ��ɇ

Ian Cheng Thousands Islands Thousand Laws, 2013, live simulation, infinite duration, sound

Petra Cortright Arrows Krystel W Sounds, 2013, flash animation

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DigitaltransporterWerner Rodlauer, January 19th, 2016Artmagazine.cc

Daseins, das allein schon in der Fülle der XQHUP�GOLFKHQ�$XI]HLFKQXQJHQ�ZLHGHU�LQ�%HGHXWXQJVORVLJNHLW�YHUVLQNW��ZlUH�GD�eben nicht der kuratorische Akt des Kün-stlers, der diese Szenen als Fotoprints in GLH�$XVVWHOOXQJ�EULQJW�:lKUHQG�YRU�DOOHP�DXI�.XQVWPHVVHQ�QRFK�GLH�0|JOLFKNHLWHQɑXQG�/LPLWLHUXQJHQ�des Sammelns von Künstlervideos dis-NXWLHUWɑZHUGHQ��HUP|JOLFKW�GLH�WHFKQLVFKH�(QWZLFNOXQJ�OlQJVW�GLH�OLYH�ɑ*HQHULHUXQJ�LPPHU�QHXHU�%LOGZHOWHQ��(LQ�%HLVSLHO�GDI�U�LVW�GLHɑ$UEHLW�GHV�LQ�,UODQG�JHERUHQHQ�-RKQ�*HUUDUG��/DQJVDP�JOHLWHWɑGLH�.DPHUD��EHU�GDV�*HOlQGH�HLQHU�JUR�HQ�)DUP��HLQ�6HH�XQGɑPHKUHUH�6WDOOXQJHQ�ZHUGHQ�VLFKWEDU��:lKUHQG�GLHɑ.DPHUDIDKUW��GLH�LP�&RPSXW-HU�OLYH�JHUHQGHUW��DOVR�LQ�5HDO]HLWɑLPPHU�ZLHGHU�QHX�EHUHFKQHW�ZLUG��HU]lKOW�GHU�%HJOHLWWH[W�YRQɑHLQHU�YROODXWRPDWLVLHUWHQ�Schweinefarm. Das reale Vorbild dazu EHÀQGHW�VLFK�LQ�2NODKRPD��86$��'LH�LQGXVWULHOOH�*UR�SURGXNWLRQ�EHQ|WLJW�NDXP�QRFK�PHQVFKOLFKH�(LQJULIIH��NDXP�HWZDV�YHUlQGHUW�VLFK�DX�HUKDOE�GHU�*HElXGH�in denen die nie sichtbaren Schweine bis ]XU�6FKODFKWUHLIH�KHUDQJH]RJHQ�ZHUGHQ��/HGLJOLFK�DOOH�VHFKV�ELV�DFKW�0RQDWH�taucht ein Truck auf, der jeweils eine Stunde an der Laderampe jedes Stalls VWHKHQ�EOHLEW�XQG�GDQDFK�ZLHGHU�DEIlKUW�²�HLQ�5K\WKPXV��GHU�XQJHIlKU�DXFK�MHQHP�der Aufzucht der Schweine entspricht. *HUUDUGV�$UEHLW��GLH�EHL�JUR�HQ�$XVVWHOOXQ-JHQ�DXI�/HLQZDQG�SURML]LHUW�ZHUGHQ�NDQQ��LVW�I�U�6DPPOHU�DXFK�LQ�HLQHU�(GLWLRQ�I�U�&RPSXWHUELOGVFKLUP�LQ�HLQHU�ZHL�HQ��YRP�.�QVWOHU�VHOEVW�JHIHUWLJWHQ�%R[�YHUI�JEDU�(WZDV�VFKZLHULJHU��HLQH�DXVVWHOOXQJ-VDGlTXDWH�5HSUlVHQWDWLRQ�GLJLWDOHU�.XQVW�]X�ÀQGHQ��ZLUG�HV�EHL�GHU�,QWHUQHW�.XQVW��ZLH�VLH�LQ�GHU�$XVVWHOOXQJ�YRP�.�QVWOHU-GXR�-2',��-RDQ�+HHPVNHUN��'LUN�3DHV-PDQV��RGHU�5DIDHO�5R]HQGDDO���EULJHQV�nicht online, sondern als Loop-Animation) ]X�VHKHQ�VLQGࡐ��)�U�XQV�ZDU�GDV�GDPDOV�HLQH�WROOH�0|JOLFKNHLW��3O|W]OLFK�ZDUHQ�ZLU�QLFKW�PHKU�DXI�$XVVWHOOXQJVUlXPH�

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Spaßig, aber undurchschaubar

$OV�VSD�LJHU��DEHU�LQ�VHLQHU�JHQDXHQ�)XQNWLRQVZHLVH�UlWVHOKDIWHU�1DFKULFKW-en-Aneinanderstoppler ist I want ... dann durchaus wiederum Facebook verwandt. ,QVRIHUQ�SDVVW�GLH�,QVWDOODWLRQ�JXW�LQ�HLQH�$XVVWHOOXQJ�QDPHQV�0DQNLQG�0DFKLQH-NLQG���XQG�HUVFKHLQW�MHGHQIDOOV�ZHQLJHU�YHUNOlUHQG�DOV�HWZD�GDV�2EMHNW�,�$0�,��������YRQ�/LJRUDQR5HHVH��GDV�SHU�EXQWV-FKLPPHUQGH�*ODVIDVHUNDEHO�(PRWLRQHQ�visualisiert.

'DV�9HUKlOWQLV�GHV�0HQVFKHQ�]X�VHLQHP�ZDFKVHQGHQ�'DWHQKDXIHQ�LVW�DOOHUGLQJV�nur ein Seitenthema von Mankind/Ma-chinekind. Als vierter Teil der Reihe CCC �&ROOHFWRUV�&XUDWRUV�&ROODERUDWLRQV��ZLOO�GLH�6FKDX�QLFKW�]XOHW]W�]HLJHQ��ZLH�PDQ�DXFK�GLJLWDOH�.XQVW�VDPPHOQ�NDQQ���WURW]�Problemen wie obsoleter Hardware oder veralteten Dateiformaten. Dieses nur EHGLQJW�EHWURIIHQ�PDFKHQGH�$QVLQQHQ�YHUJLVVW�PDQ�LP�NXU]ZHLOLJHQ�3DQRUDPD�GLJLWDOHU�.XQVW�GDQQ�DEHU�DXFK�VFKQHOO�ZLHGHU��'LH�6DPPOHUVRUJHQ�IDOOHQ�HLQHP�erst wieder ein, wenn man etwa vor der VFK|QHQ��HZLJHV�8PIDOOHQ�VLPXOLHUHQGHQ�,QVWDOODWLRQ�IDOOLQJIDOOLQJ��������YRQ�5DIDsO�5R]HQGDDO�VWHKW��:HLO�GLH�GRUW�JH]HLJWH�$QLPDWLRQ�RQOLQH�IUHL�]XJlQJOLFK�LVW��VWHOOW�VLFK�GLH�)UDJH��ZHU�VLH�EHVLW]W��$XI�HLQ�spannendes Feld verweist auch Geo Goo ��������'DV�.�QVWOHUGXR�-2',�HULQQHUW�PLW�HLQHP�*RRJOH�0DSV�+DFN�GDUDQ��GDV�.XQVW�KHXWH�ELVZHLOHQ�DXFK�YRQ�&\EHUVL-FKHUKHLWVPD�QDKPHQ�EHGURKW�LVW�'D]ZLVFKHQ�JLEW�PDQ�VLFK�FRPSXWHUJH-QHULHUWHP�6XUUHDOLVPXV�YRQ�,DQ�&KHQJ�KLQ�RGHU�VFKPXQ]HOW��EHU�(YDQ�5RWKV�monumentalen Print eines verwischten )LQJHUDEGUXFNV��GHU�HLQH�DP�6PDUWSKRQH�EHQXW]WH�:LVFKJHVWH�LURQLVLHUW��6OLGH�7R�8QORFN��(YDQ�5RWK���������HLQ�DQDORJHU�.RPPHQWDU�]XU�'LJLWDOLWlW��GHP�PDQ�ZHQLJ�Brisanz, aber - als Wandbild - optimale Sammelbarkeit attestieren wird.

Weltweites Wollen und SammlersorgenRoman Gerold, November 21th 2015Der Standard

CURATORS

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Wie sammelt man Internet-Kunst? Eine Ausstellung in Wien gibt Anhaltspunkte.

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/LQGZDOO�KDW�HWZD�GLH�'RPDLQ�IDOOLQJIDOOLQJ�FRP�HUVWDQGHQ��DXI�GHU�GDV�JOHLFKQDPLJH��Werk des Künstlers Rafael Rozendaal – HLQH�.DVNDGH�IDOOHQGHU�JHRPHWULVFKHU�0XVWHU�²�]X�VHKHQ�LVW��'LHVH�9HUNQ�SIXQJ�GHV�6DPPOHU�1DPHQV�PLW�HLQHU�85/��LVW�GHU]HLW�GLH�JlQJLJVWH�$UW�YRQࡐ�%HVLW]´�EHL�2QOLQH�.XQVW��'HU�6DPPOHU��EHUQLPPW�auch die laufenden Server-Gebühren XQG�KlOW�GLH�.XQVW�GDPLWࡐ�DP�/HEHQ´��anschauen kann sie jeder – etwa auf der Website hampuslindwallcollection.com.Für die Sammler ist mit ihrer Investition auch die Idee verbunden, nicht-markt-NRQIRUPH�.XQVW�]X�HUP|JOLFKHQ��,Q�GHU�*DOHULH�KlQJHQ�IUHLOLFK�DXFK�����'UXFNH��*HPlOGH�RGHU�6NXOSWXUHQ��GLH��]ZDU�DXI�GLJLWDOH�.XOWXU�%H]XJ�QHKPHQ��DEHU�HKHU�GHU�9RUVWHOOXQJ�HLQHV�NlXÁLFKHQ�.XQVWRE-jekts entsprechen. Dass für derlei Kunst XQWHU�GHP�6FKODJZRUW3ࡐ�RVW�,QWHUQHW�$UW´�HLQ�+\SH�HQWVWDQGHQ�LVW��VLHKW�$ODLQ�6HUYDLV�VNHSWLVFKࡐ��:HQQ�HLQ�:HUN�DOV�:HEVLWH�JHGDFKW�LVW��VROO�HV��DXFK��HLQH�:HEVLWH��EOHLEHQ´��HUNOlUW�HUࡐ��,P�%HUHLFK�GLJLWDOHU�.XQVW�LVW�GLH�=XJDQJV�gNRQRPLH��ZLH�VLH�HWZD�GHU�:LVVHQVFKDIWHU�-HUHP\�5LINLQ�LQ�VHLQHP�%XFKࡐ�$FFHVV´�SUHGLJWH��VFKRQ�5HDOLWlW��:LU�VLQG�GD�3XULVWHQ´��VDJW�6HUYDLV8ࡐ��QG�ZLU�VLQG�JXWH�6DPPOHU��ZHLO�wir radikal sind.“

Digital ist gut, radikal ist besserMichael Huber, Dezember 10th, 2015Kurier

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122 CCC Newspaper #4 Mankind / Machinekind

Taylor Holland 1840s GERMAN NEO-ROCOCO��������JROG�leaf, wood, composite, paint 42.5 × 34.5 × 4 cm

John Gerrard Grow Finish Unit (Eva, Oklahoma), 2013, realtime 3D video, plasma screen, artists corian frame

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Collectors

Alain ServaisFirst of all, the usual question: when and how did you start collecting? AS: ,�GLG�QRW�ZDNH�XS�RQH�GD\�ZLWK�WKH�LQWHQWLRQ�RI�FROOHFWLQJ��7KHUHIRUH�,�DP�QRW�DEOH�WR�VD\�H[DFWO\�ZKHQ�,�EHJDQ�� But I became serious about art around 1997. ,�ÀJXUH�FROOHFWLQJ�FRQWHPSRUDU\�DUW�ZDV�VRPHWKLQJ�LQ�PH�DV�QR�RQH�LQ�P\�IDPLO\�ZDV�HYHU�EHIRUH�HYHQ�UHPRWHO\�LQWHU-HVWHG�LQ�DUW�DQG�P\�VWXGLHV�ZHUH�DOO�LQ�mathematics and economics. I believe that artists and collectors are two sides of the same coin, with similar LQFRQVLVWHQFLHV��FXULRVLW\�DQG�VHQVLWLYLW\��6R�,�VXSSRVH�,�PHW�P\�PDWFKHV��&RO-OHFWLQJ�ZDV�WKH�FRQVHTXHQFH�RI�OXFN\�accidents like in ́ 'HU�/DXI�GHU�'LQJHµ�E\�3HWHU�)LVFKOL�DQG�'DYLG�:HLVV��EHLQJ�D�PXVHXP�UDW��JURZLQJ�XS�LQ�WKH�DUW�ZRUOG�ZLWK�D�IULHQG�ZKR�E\�FKDQFH�VWDUWHG�ZRUN-LQJ�DW�*DJRVLDQ�D�ORQJ�WLPH�DJR��KDYLQJ�PRUH�WLPH�DQG�PRQH\�WKURXJK�D�GLYRUFH�VHWWOHPHQW�DQG�P\�EDQN�EHLQJ�ERXJKW�RXW��EHLQJ�LQYROYHG�LQ�D�SDVVLRQDWH�DQG�GHVWUXFWLYH�UHODWLRQVKLS�LQ�ZKLFK�WUDYHOLQJ�WR�DUW�SODFHV�ZDV�D�JRRG�ZD\�WR�UHGXFH�the pressure, etc.

How did you get involved in this proj-ect? And how did your friendship with Hampus Lindwall begin? AS: 8UVXOD�.ULQ]LQJHU�ZKRVH�HQHUJ\�DQG�HQWKXVLDVP�L�GHHSO\�DGPLUH�LQYLWHG�PH�WR�RQH�RI�KHU�QXPHURXV�SURMHFWV��&&&��,�IHOW�KRQRUHG�DQG�DWWUDFWHG�E\�WKH�IUHHGRP�DQG�WKH�VXSSRUW�UHFHLYHG�E\�KHU�WHDP�� ,�PHW�+DPSXV�WKURXJK�D�FRPPRQ�IULHQG�DW�D�GLJLWDO�DUW�IDLU�LQ�3DULV�D�IHZ�\HDUV�

DJR��,�UHFRJQL]HG�D�SDVVLRQDWH�DQG�dedicated man and I believe we became friends. He is also a radical collector of FRQWHPSRUDU\�DUW�DQG�HVSHFLDOO\�GLJLWDO�art.

Can you explain the project in more detail? AS: 8UVXOD�RIIHUHG�PH�WR�VKRZ�LQ�KHU�SURM-

ect space one aspect of the collection. I EHOLHYHG�LW�ZRXOG�EH�D�JRRG�RSSRUWXQLW\�to introduce a less well-known but ten-\HDU�ROG�VLGH�RI�WKH�FROOHFWLRQ��GLJLWDO�DUW� 1RERG\�DW�.ULQ]LQJHU�UHDOO\�XQGHUVWRRG�ZKDW�LW�UHDOO\�PHDQW�LQLWLDOO\�EXW�WKH\�WUXVW-ed me and we added Hampus Lindwall and then Robert Bielecki and others to the project in order to broaden the choice RI�ZRUNV�LQ�RUGHU�WR�RIIHU�9LHQQD�D�WUXO\�WKRXJKW�SURYRNLQJ�VKRZ�RQ�RXU�SDVVLRQ��'LJLWDO�$UW� 5HFRJQL]LQJ�WKDW�D�GHFHQW�FROOHFWRU�GRHV�QRW�QHFHVVDULO\�PDNH�IRU�D�JRRG�¶H[KL-ELWLRQ�PDNHU·�,�DVNHG�8UVXOD�WR�LQFOXGH�in the project a well-respected curator VSHFLDOL]HG�LQ�WKH�ÀHOG��'RPHQLFR�4XDU-DQWD��:H�DUH�YHU\�IRUWXQDWH�KH�DFFHSWHG�WR�LQWHUYHQH�LQ�WKLV�VOLJKWO\�QDUURZHU�UROH�RI�VHOHFWLQJ�ZRUNV�DQG�RUJDQL]LQJ�WKH�exhibition of a limited number of works WKDW�ZHUH�QRW�DOZD\V�KLV�IDYRULWH�SLHFHV��Information and education are other VWURQJ�SRLQWV��ZKLFK�DWWUDFWHG�PH�WR�8UVXOD·V�SURMHFW��DQG�WKDW�WKHUH�ZLOO�EH�D�SXEOLFDWLRQ�RI�WH[WV�VHOHFWHG�E\�'RPH-nico Quaranta and one or more public conferences related to the exhibition. Another important point for us is that WKH�FROOHFWRUV·�QDPHV�DUH�SXEOLF��EXW�ZH�

FKRVH�QRW�WR�LGHQWLI\�ZKRVH�ZRUNV�EHORQJ�to whom as we did not want this to be a celebration of the collectors but rather a JRRG�VKRZ�RI�WKLV�H[FLWLQJ�GHYHORSPHQW�RI�FRQWHPSRUDU\�DUW��DW�OHDVW�DV�IDU�DV�possible.

Have your collecting preferences changed in the last years? AS: 7KH�SURÀOH�RI�WKH�FROOHFWLRQ�KDV�EH-

come clearer and clearer even if it is still HYROYLQJ�ZLWK�ZRUOG�DURXQG�LW��

Have you always been involved in con-temporary art? AS: ,�DOZD\V�KDYH�EHHQ�DWWUDFWHG�DQG�LQWHUHVWHG�LQ�FRQWHPSRUDU\�FUHDWLRQ�whether art, music, movies, dance, IDVKLRQ��WHFKQRORJ\�DQG�,�VWLOO�DP�EXW�,�EHFDPH�VHULRXV�DERXW�FRQWHPSRUDU\�DUW�at the end of the 1990s.

What was your contribution to this project? AS: I supposed I was the initiator and the HQHUJ\�JDWKHUHU�RI�WKLV�SURMHFW�ZLWK�WKH�KHOS�RI�HYHU\RQH�LQYROYHG�� :K\�GR�\RX�FROOHFW�QHW�DUW"�:K\�LV�LW�LQWHUHVWLQJ�IRU�\RX�WR�FROOHFW�QHW�DUW"� :KHQ�,�FDXJKW�XS�RQ�WKH�DUW�KLVWRU\�L�QHYHU�KDG�LQ�P\�FXUULFXOXP�EXW�IRXQG�HVVHQWLDO�LQ�P\�HDUO\�́ FROOHFWLQJµ�FDUHHU��,�UHDOL]HG�WKDW�WKHUH�LV�DOZD\V�D�VWURQJ�link between the art at one point in time DQG�WKH�VRFLR�SROLWLFR�SV\FKR�HFRQRPLF�context at that same time. It was obvious to me that one development that will FHUWDLQO\�EH�UHPHPEHUHG�LQ�WKH�KLVWRU\�RI�WKH�QLQHWLHV�DQG�QDXJKWLHV�LV�WKH�UHYROX-WLRQ�WULJJHUHG�E\�,7�DQG�WKH�,QWHUQHW�����LQ�

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124 CCC Newspaper #4 Mankind / Machinekind

all aspects of our life. When I discovered DOPRVW����\HDUV�DJR�WKDW�DUWLVWV�KDG�FUH-DWHG�WUXH�DUW�LQ�RSSRVLWLRQ�WR�JDGJHWHU\�XVLQJ�WKRVH�PHGLD��LW�ZDV�REYLRXV�WR�PH�that this was one of the art forms I had WR�VXSSRUW��DFTXLUH��SUHVHUYH�DQG�VKDUH�XQWLO�WKH�ODUJHU�SXEOLF�DQG�LQVWLWXWLRQV�UHFRJQL]H�LW�IRU�ZKDW�LW�LV��WKH�$UW�RI�7RGD\��

You own url works that are always accessible for most of us. But how can you claim your ownership for these kinds of artworks? What are the conse-quences? AS: Computers, Internet and the virtual ZRUOGV�KDYH�WDXJKW�XV�WKDW�RZQHUVKLS�LQ�the virtual world will have a different form than in the real world. This is a revolution WKDW�ZLOO�WDNH�WLPH�WR�JHW�WUDFWLRQ�LQ�WKH�VXUSULVLQJO\�FRQVHUYDWLRQ��DQG�WHFK�LP-SDLUHG�DUW�ZRUOG��%XW�WKLV�RQO\�PDNHV�LQ-YROYHPHQW�PRUH�H[FLWLQJ�DQG�SLRQHHULQJ�� 7RGD\��%ORFNFKDLQ�LV�RSHQLQJ�HYHQ�VDIHVW�proof of ownership than in the real world. To be continued...

:KDW·V�WKH�ZRUWK�RI�VRPHWKLQJ�WKDW�LV�always accessible for anyone, at any time and everywhere? AS: 1LO��EXW�LW�LV�OLNH�FRQWULEXWLQJ�WR�WKH�

production of a public work of art. %XW�OHW�XV�QRW�IRFXV�RQO\�RQ�ZHEVLWH�DFTXLVLWLRQ�LW�LV�RQO\�D�PLQRU�VXEVHFWLRQ�RI�WKH�GLJLWDO�DUW�ZRUOG��

What are the responsibilities of a col-lector of Internet art? AS: 6XSSRUWLQJ�WKH�PRVW�LQWHUHVWLQJ�DUWLVWV��FRQWULEXWLQJ�WR�PDNH�WKHLU�ZRUNV�SXEOLF�DQG�UHFRJQL]HG��UDLVLQJ�DZDUH-QHVV�DQG�FRQWULEXWLQJ�WR�WKH�SDUWLFXODU�FKDOOHQJHV�RI�SUHVHUYLQJ�FRQVHUYLQJ�WKH�ZRUNV�DQG�PDQDJLQJ�WKH�ULJKWV�DWWDFKHG�WR�WKHP�ZLWK�WKH�QHFHVVDU\�VXSSRUW�RI�WKH�DUWLVWV�WKHPVHOYHV��VWLOO�KHOSOHVV�JDOOHU\�RZQHUV�DQG�LQVWLWXWLRQV�LQ�WKH�ÀHOG��

Do you think the role of net art will increase within the next years? AS: ,W�LV�DOUHDG\�LQFUHDVLQJ�DV�HYLGHQFHG�E\�7UHFDUWLQ�)LWFK�H[KLELWLRQ�DW�OH�0XVpH�G·DUW�PRGHUQH�GH�OD�9LOOH�GH�3DULV��WKH������/\RQ�%LHQQDOH�RU�WKH������1HZ�Museum Triennial, to name some of the most important.

What could be the next step for net art? AS: ,�SUHIHU�WR�VSHDN�DERXW�GLJLWDO�DUW��

since it sounds broader to me than net.art. It is essential to promote the aspects RI�ULJKWV�RZQHUVKLS�PDQDJHPHQW�DV�ZHOO�DV�WKH�SUHVHUYDWLRQ�FRQVHUYDWLRQ�RI�GLJ-LWDO�DUW��0DQ\�ZRUNV�DUH�QRW�DFFHVVLEOH�DQ\PRUH�EHFDXVH�RI�WKH�XOWUD�IDVW�WHFK-QRORJ\�DGYDQFHV��,W�PXVW�EH�D�SULRULW\�IRU�all stakeholders to collaborate towards LQWHUPHGLDU\�DQG�ORQJ�WHUP�VROXWLRQV�� ,�ZDQW�WKH�QH[W�JHQHUDWLRQV�WR�H[SHULHQFH�them like I experience the Rosetta Stone RU�WKH���WK�FHQWXU\�SUD\HU�ERRNV��

Is it important for you to talk to the art-ist, or do you fall in love with the work itself? AS: &ROOHFWLQJ�LV�PRUH�FRPSOH[�WKDQ�IDLOLQJ�LQ�ORYH�ZLWK�WKH�ZRUN��,Q�IDFW��,�collect artists and their ideas rather than DUWZRUNV��6RPHWLPHV�PHHWLQJ�WKHP�LV�D�SOXV�WR�WKH�XQGHUVWDQGLQJ�RI�WKHLU�SXU-pose but it is not a must and I am careful WR�PLQLPL]H�WKH�DZNZDUG�IHHOLQJ�RI�ZKDW�is a commercial transaction of the collec-WLRQ�FRQWULEXWLQJ�WR�WKHLU�EHLQJ�DEOH�WR�SD\�their rent.

How would you describe your collec-tion? AS: ,·P�FROOHFWLQJ�LGHDV�DV�PXFK�DV�,�FDQ��,Q�P\�RSLQLRQ��D�FROOHFWLRQ�ZLOO�DOZD\V�EH�DQ�LPDJH�RI�LWV�LQLWLDWRU��+RZHYHU��IRU�D�FROOHFWLRQ�WR�EH�LQWHUHVWLQJ��WKH�FROOHF-WRU�PXVW�QRW�RQO\�́ FROOHFW�KLPVHOIµ��EXW�LQVWHDG�RSHQ�XS�WR�D�EURDGHU�UHDOLW\��,�DP�FRQVWDQWO\�WU\LQJ�WR�WDNH�RQ�WKDW�FKDO-OHQJH� Within that context, there are a number of themes that overlap in various works WKURXJKRXW�WKH�FROOHFWLRQ�WR�JLYH�LW�GLYHU-VLW\��ZKLFK�,�EHOLHYH�LV�LQKHUHQW�WR�KXPDQ�nature. I would hate for the collection to EH�HQWUDSSHG�E\�QHYHU�HYROYLQJ�WKHPHV��,�DP�LQWHUHVWHG�LQ�KXPDQLW\��WKH�ZD\�ZH�OLYH�WRJHWKHU�DQG�KRZ�ZH�RUJDQL]H�RXU-VHOYHV�WRGD\�DQG�DOO�RYHU�WKH�ZRUOG�EXW�,�DP�SDUWLFXODUO\�GUDZQ�WR�PLQRULWLHV��DV�I believe it is in their treatment one can MXGJH�WKH�OHYHO�RI�́ PDWXULW\µ�RI�D�VRFLHW\��,W�GUDZV�IURP�WKH�IDVFLQDWLQJ�VWXGLHV�DQG�ZULWLQJV�RI�&ODXGH�/HYL�6WUDXVV�RQ�DQWKURSRORJ\�DQG�HWKQRORJ\�ZLWK�GH-YHORSPHQWV�WRZDUGV�SV\FKR�VRFLRORJ\��

7KH�JURXQGEUHDNLQJ�ERRN�E\�WKH�)UHQFK�SKLORVRSKHU�(GJDU�0RULQ�́ 7KH�/RVW�3DUDGLJP��+XPDQ�1DWXUHµ��WDXJKW�PH�DV�an adolescent that despite their efforts to extract themselves from and pretend to dominate nature, humans are often so PXFK�HDVLHU�WR�XQGHUVWDQG�WKURXJK�WKHLU�´QDWXUDOµ�VLGH��WKHLU�́ DQLPDOµ�VLGH�ZKLFK�implies violence, instincts, sexual drives, etc. This book can explain that there is D�FHUWDLQ�́ UDZQHVV´�WR�WKH�FROOHFWLRQ��0\�VWLOO�JURZLQJ�NQRZOHGJH�RI�DUW�KLVWRU\�FRQYLQFHV�PH�HYHU\�GD\�WKDW�WKH�DUW�ZRUWK�FROOHFWLQJ��WKDW�WKH�DUW�WKDW�VRPH�ZLOO�ZDQW�WR�VHH�WKLUW\�\HDUV�IURP�QRZ�LV�DOZD\V�FORVHO\�UHODWHG�WR�WKH�VRFLR��SROLWLFR�HFRQRPLF�FRQWH[W�RI�WKH�VRFLHW\�LW�GHYHORSV�LQ��,W�IRUFHV�PH�WR�DVN�P\VHOI�FRQWLQXRXVO\�ZKDW�KLVWRU\�LQ�D�KXQGUHG�\HDUV�IURP�QRZ�ZLOO�UHPHPEHU�IURP�RXU�WLPHV��)URP�WKDW�TXHVWLRQ�,�GHYHORSHG�P\�LQWHUHVW�LQ�D�JOREDOL]HG�DUW�VFHQH�LQ�OLQH�ZLWK�WKH�FOHDU�WUHQG�WRZDUGV�D�JOREDO-ized world but also in a deep interest for GLJLWDO�DUW��ZKLFK�ÀWV�WKH�IDEXORXV�GHYHO-opment of computers and the Internet. It LQFOXGHV�DOVR�D�GHHS�LQWHUHVW�LQ�HFRORJ\��)LQDOO\��DUW�PXVW�VXUSULVH�PH��FKDOOHQJH�PH��RSHQ�XS�P\�PLQG�DQG�KHDUW�IROORZLQJ�WKH�GHÀQLWLRQ�WKDW�,�KHDUG�PDQ\�\HDUV�DJR�IURP�0HUD�5XEHOO��́ $UW�LV�D�ODQJXDJH�ZKLFK�RSHQV�\RXU�KHDUW�WR�WKH�2WKHU�µ

:KHUH�GR�\RX�ÀQG�WKH�ZRUNV�IURP�\RXU�collection? On the Internet, at fairs, in museum, galleries, studios? AS: 0XVHXPV��ELHQQLDOVFR�DQG�QRQ�SURÀWV�DUH�P\�IDYRULWH�KXQWLQJ�JURXQGV��7KHQ�LW�LV�JDOOHULHV�DQG�ODVWO\�DUW�IDLUV�DQG�the internet.

What do you think is the role of a con-temporary art collector? AS: 7KH�VDPH�DV�D�GLJLWDO�DUW�FROOHFWRU��

See above.

COLLECTORS

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125

Hampus LindwallFirst of all, the usual question: when and how did you start collecting?HL: :KHQ�,�ZDV�DURXQG����\HDUV�ROG��0\�IDWKHU·V�EHVW�IULHQG�LV�D�FROOHFWRU��DQG�KH�JDYH�PH�D�SDLQWLQJ��VD\LQJ�́ 1RZ�\RX�KDYH�WR�VWDUW�WR�FROOHFW�DUW�µ��+H�WKHQ�WRRN�me to exhibitions and auctions and I VORZO\�EHJDQ�WR�EXLOW�XS�D�VROLG�LQWHUHVW�DQG�D�WDVWH�RI�P\�RZQ��$W�WKH�WLPH�,�FRXOG�RQO\�EX\�YHU\�FKHDS�WKLQJV��VR�WKH�UHDO�FROOHFWLQJ�GLGQ·W�WDNH�RII�XQWLO�DERXW����\HDUV�DJR�ZKHQ�,�VWDUWHG�WR�HDUQ�PRUH�PRQH\�P\VHOI�

How did you get involved in this proj-ect? And how did your friendship with Alain Servais begin?HL: ,�PHW�$ODLQ�6HUYDLV�WKURXJK�D�IULHQG�DW�DQ�DUW�IDLU�D�IHZ�\HDUV�DJR��:H�EHFDPH�friends also outside the art world and we DUH�RIWHQ�PDLOLQJ��GLVFXVVLQJ��RU�VXJJHVW-LQJ�WKLQJV�WR�HDFK�RWKHU��

Why do you collect net art? Why is it interesting for you to collect net art?HL: Art is a product of the time in which it

has been created. Our time is dominated E\�WKH�,QWHUQHW��+HQFH��,�EHOLHYH�WKDW�WKH�Internet is one of the most representative PHGLXPV�IRU�FUHDWLRQ�ULJKW�QRZ��

You own url works that are always accessible for most of us. But how can you claim your ownership for these kinds of artworks? What are the consequences?HL: <HV��WKDW·V�WKH�GLIIHUHQFH�ZLWK�WKH�,QWHUQHW�LQ�JHQHUDO��HYHU\ERG\�KDV�DFFHVV�WR�WKH�VDPH�WKLQJ��RU�LQ�WKLV�FDVH��WKH�́ RULJLQDOµ�WKURXJK�KLV�RZQ�FRPSXW-HU��7KHUH�LV�\HW�QR�VXFK�WKLQJ�DV�́ SRVK�,QWHUQHWµ�RU�́ KLJK�HQG�,QWHUQHWµ�IRU�ULFK�SHRSOH��7KH�RZQHUVKLS��WR�TXRWH�5DIDsO�5R]HQGDDO��LV�OLNH�RZQLQJ�D�VFXOSWXUH�LQ�D�SXEOLF�SDUN��<RX�KDYH�WR�WDNH�FDUH�RI�LW��PDLQWDLQ�LW�DQG�PDNH�LW�VKLQ\��7KHQ�\RX�DUH�KDSS\�WR�VKRZ�LW�WR�SHRSOH��DQG�WKH�LQWHUQHW�LV�WKH�SDUN��9LVLEOH�WR�PLOOLRQV�

What are the responsibilities of a col-lector of Internet art?HL: 3D\�WKH�ZHE�KRVWLQJ�IRU�WKH�ZRUN��(YHQWXDOO\�DOVR�JHW�VRPHERG\�WR�UHSDLU�RU�UHSURJUDP�WKH�SLHFH�LI�IXWXUH�YHUVLRQV�of the internet denatures the work.

Do you think the role of net art will increase within the next years?HL: )RU�VXUH��1RZ�WKHUH�LV�D�KDQGIXO�RI�SHRSOH�GRLQJ�RQOLQH�ZRUN��EXW�,�DP�VXUH�that it will become a natural element of PDQ\�DUWLVWV�SUDFWLFH��1RW�IRU�GRLQJ�RQO\�ZHE�DUW��EXW�IRU�WKH�WKLQJV�WKDW�\RX�FDQQRW�express in a marble sculpture….

What could be the next step for net art?HL: 7KDW·V�IRU�WKH�DUWLVWV�WR�DQVZHU� Is it important for you to talk to the art-ist, or do you fall in love with the work itself?HL: 7KHUH�LV�QR�UXOH��7KURXJK�P\�ZRUN�DV�

a musician, I have had the chance of be-FRPLQJ�IULHQGV�ZLWK�D�ORW�RI�DUWLVWV��PDQ\�of them of which I collect. It is sometimes a help to understand the importance of a ZRUN�HDUO\�LI�\RX�KDYH�D�GLDORJXH�DERXW�LW�with the artist.

How would you describe your collec-tion?HL: 7R�HDUO\�WR�VD\��EXW�DV�RI�QRZ��D�UHS-UHVHQWDWLRQ�RI�(XURSHDQ�DQG�$PHULFDQ�culture from the 2000s and onwards.

What do you think is the role of a con-temporary art collector?HL: %X\�DUW��7KDW�ZD\�\RX�JHW�WR�OLYH�ZLWK�REMHFWV�WKDW�LQVSLUHV�\RX�HYHU\�GD\��DQG�\RX�VXSSRUW�WKH�FUHDWLRQDO�SURFHVV�DQG�FULWLFDO�WKLQNLQJ�WKDW�LV�H[WUHPHO\�LPSRUW-DQW�IRU�VRFLHW\��

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COLLECTORS

Robert D. Bielecki First of all, the usual question: when and how did you start collecting?RB: ,�EHJDQ�FROOHFWLQJ��WKRXJK�,�SUHIHU�WKH�WHUP�́ FDUH�WDNLQJµ������\HDUV�DJR��0\�LQLWLDO�LQWHUHVW�LQ�FROOHFWLQJ�VWDUWHG�ZLWK�SKRWRJUDSK\�GRFXPHQWLQJ�WKH�LQWHUVHF-WLRQ�RI�DUFKLWHFWXUH��JHRJUDSK\�DQG�WKH�massive transformation of the metropolis LQ�WKH���WK�DQG���VW�FHQWXU\��6RPH�RI�P\�ÀUVW�DFTXLVLWLRQV�ZHUH�(GZDUG�%XUW\Q-VN\·V�&KLQD�VHULHV�DQG�0LFKHO�1DMMDU·V�Netropolis series.

How did you get involved in this project? And how did your friendship with Hampus Lindwall and Alain Servais begin?RB: Steve Sacks, owner and director of

the renowned new media bitforms Gal-OHU\�PDGH�WKH�LQWURGXFWLRQ�

Have your collecting preferences changed in the last years?RB: 0\�DFTXLVLWLRQ�SKLORVRSK\�LV�VLPSOH��DFTXLUH�ZKDW�\RX�ORYH�DQG�\RX·OO�QHYHU�PDNH�D�PLVWDNH��$OWKRXJK�,·P�QRW�ERXQG�E\�D�SDUWLFXODU�PHGLXP��,�RZQ�DQG�HQMR\�VFXOSWXUH��SDLQWLQJ��SKRWRJUDSK\��FHUDP-LFV��DQG�FRQWHPSRUDU\�GHVLJQ��,�KDYH�D�keen aesthetic and philosophic interest LQ�GLJLWDO�DUW�DQG�ÀOP�

Have you always been involved in con-temporary art?RB: 0\�MRXUQH\�LQWR�FRQWHPSRUDU\�DUW�EHJDQ�QHDUO\�WKLUW\�\HDUV�DJR��&RQWHP-SRUDU\�PXVLF�FRPSRVLWLRQ�DQG�LPSUR-YLVDWLRQ�ZHUH�WKH�VSULQJERDUG�WR�DOO�P\�cultural interests. Music continues to be VLJQLÀFDQW�LQ�P\�OLIH�

What was your contribution to this project?RB: 6HYHUDO�\HDUV�DJR�,�PHW�DQG�DFTXLUHG�ZRUN�E\��1RUD��/LJRUDQR���0DUVKDOO��5H-HVH��7KH\�LQYHQWHG�D�ÀEHU�RSWLF�WDSHVWU\�´���'LIIHUHQW�0LQGV�µ�DQ�H[WUDRUGLQDU\�PDUULDJH�RI�WKH�DQFLHQW�DUW�RI�ZHDYLQJ�DQG�GLJLWDO�WHFKQRORJ\��7KLV�LV�WKH�ÀUVW�of a series of woven pieces based on different datasets.

Under the auspices of the Robert D. Bielecki Foundation, of which Marshall is a board member, we determined their ODWHVW�ZRUN�,�$0�,�ZDV�DQ�H[FHOOHQW�ÀW�IRU�this exhibition. It manifests net art from

D�GLIIHUHQW�SHUVSHFWLYH��SRUWUD\LQJ�DQG�EURDGFDVWLQJ�DQ�LQGLYLGXDO�XVLQJ�WKHLU�SHUVRQDO�GDWD�UHFRUGHG�E\�DFWLYLW\�WUDFN-ers and responses to an online emo-WLRQDO�VXUYH\��7KH�DUWLVWV�GHVLJQHG�WKHLU�RZQ�JUDSKLF�LQWHUIDFH�IRU�LQSXWWLQJ�WKLV�information. The piece is also about how we shape and construct our persona now WKURXJK�LQWHUDFWLRQ�ZLWK�PRELOH�GHYLFHV�

Why do you collect net art? Why is it interesting for you to collect net art? RB: 7KH�QHW�GHÀQHV�WKH�]HLWJHLVW�OLWHUDOO\�DQG�PHWDSKRULFDOO\��,W�LV�WKH�KHDUWEHDW�RI�RXU�FXOWXUH�WRGD\��HYHU\WKLQJ�ÁRZV�WKURXJK�LW�DQG�LW�WRXFKHV�HYHU\WKLQJ��)RU�PH��DUW�WKDW�LQFRUSRUDWHV�WHFKQRORJ\�LQWR�WKH�FRQFHSW�RI�WKH�ZRUN�LV�WKULOOLQJ�DQG�LQ�FHUWDLQ�ZD\�QHFHVVDU\�

You own url works that are always accessible for most of us. But how can you claim your ownership for these kinds of artworks? What are the consequences?RB: 7KH�UHVSRQVLELOLW\�DQG�SULYLOHJH�RI�RZQLQJ�GRPDLQ�EDVHG�DUW�LV�WR�EH�D�XVH-IXO�VWHZDUG�RI�D�PDQDJHG�FRPPRQV��,W·V�EHFRPLQJ�PRUH�DERXW�VKDULQJ��H[FKDQJH�DQG�LQWHUDFWLRQ�WKDQ�VLPSO\�RZQHUVKLS��

:KDW·V�WKH�ZRUWK�RI�VRPHWKLQJ�WKDW�LV�always accessible for anyone, at any-time and everywhere? RB: 7KH�,QWHUQHW�LWVHOI�LV�LQKHUHQWO\�RS-

portune for a stewardship model based RQ�D�FLUFOH�RI�UHFLSURFLW\��$V�D�FROOHFWRU�RI�WKLV�W\SH�RI�DUW�,·P�QRW�MXVW�́ RZQLQJµ�D�SDUWLFXODU�DUWZRUN��,·P�HQWHULQJ�LQWR�a relationship with an artist based on D�GLIIHUHQW�SDUDGLJP�WR�WKH�FROOHFWLQJ�PRGHO��ZKHUHE\�WKH�DFTXLUHU�IDLUO\�FRP-pensates the artist to produce more work DQG�WRJHWKHU�WKH\�EURDGHQ�WKH�EDVH�IRU�WKH�PHGLXP��7KLV�LV�D�FULWLFDO�TXHVWLRQ�with broad implications, not just in terms of the production of art but also in its SUHVHUYDWLRQ��FOHDUO\�WKLV�LV�DQ�DUHD�WKDW�demands further exploration.

Do you think the role of net art will increase within the next years?RB: $EVROXWHO\�������\HV��7KH�FKDOOHQJH��DV�DOZD\V��ZLOO�EH�VHSDUDWLQJ�DUW�IURP�DUWLÀFH�LQ�D�QHW�EDVHG�ZRUOG�ZKHUH�́ EULJKW�

VKLQ\�REMHFWVµ�ZLWK�OLWWOH�UHGHHPLQJ�DHVWKHWLF�YDOXH�WDQWDOL]H�WKH�H\H�PRUH�HDVLO\�WKDQ�HYHU�EHIRUH��7KLV�LV�KRZ�collectors and curators can contribute to the discourse.

What could be the next step for net art?RB: )XUWKHU�LPPHUVLRQ�LQWR�YLUWXDO�UHDOLW\�

environments and embeddable technol-RJLHV�

Is it important for you to talk to the art-ist, or do you fall in love with the work itself?RB: First, I feel a connection to the work. *HWWLQJ�WR�H[SORUH�WKH�ZRUN�IXUWKHU�ZLWK�WKH�DUWLVW�LV�D�QDWXUDO�FRUROODU\�DQG�LV�helpful for technical support.

How would you describe your collec-tion?RB: (FOHFWLF�\HW�ZHOO�GHÀQHG�ZLWK�D�FRQ-FLVH�SRLQW�RI�YLHZ��0\�FROOHFWLRQ�LV�TXLWH�GLYHUVH��7KRXJK�LW·V�FOHDUO\�IRFXVHG�RQ�QHZ�PHGLD��,�HQMR\�DQG�FROOHFW�DOO�NLQGV�RI�DUW��/RYH�LW�RU�KDWH�LW��YLHZHUV�UDUHO\�ZDON�DZD\�LPSDUWLDO��

Do you feel your collection changes as you change? Or when you review your collection do you feel that you have al-tered, that what you like has changed?RB: &KDQJH�LV�WKH�RQO\�FRQVWDQW�²�ZKHWK-HU�ZH�NQRZ�LW��RU�DFFHSW�LW��RU�QRW�

:KHUH�GR�\RX�ÀQG�WKH�ZRUNV�IURP�\RXU�collection? On the Internet, at fairs, in museum, galleries, studios?RB: All of the above. The antennae are DOZD\V�DOHUW�

What do you think is the role of a con-temporary art collector?RB: 7R�WKLQH�RZQ�VHOI�EH�WUXH�

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127

Manfred Mohr P-777m, 2004, computer and screen, software

Jean-Baptiste Michel I want to be your idea of perfect, 2014 wood, steel, off-the-shelf electronics, code, 7.5 × 97 × 5.5 cm

Jon Rafman Mexico 45, Silao Guanajuato, Mexico, 2011, DUFKLYDO�SLJPHQW�SULQW�RQ�GLERQG 101.6 × 162.6 cm Calle de Osona, Santa Perpetua de Mogoda, Spain��������DUFKLYDO�SLJPHQW�SULQW�RQ�GLERQG 101.6 × 162.6 cm

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128 CCC Newspaper #4 Mankind / Machinekind

Rafaël Rozendaal fallingfalling, 2011 VLGHVSHFLILF�LQVWDOODWLRQ��SURMHFWLRQ�DQG�VRXQG�RI�IDOOLQJIDOOLQJ�FRP��EURNHQ�PLUURU app. 180 × 300 × 150 cm

UBERMORGEN Oldify™ Laiwa and Oldify Sarah, 2013 direct print on aluminium composite, CCTV Camera each 186 × 140 cm

LigoranoReese I AM I, 2013 ZRYHQ�ILEUH�RSWLF�WKUHDG��DFU\OLF��PHWDOO��custom electronic and custom software 96 × 58 cm

Evan Roth Slide to Unlock, 2013 ODPEGD�SULQW�RQ�DFU\OLF�RQ�GLERQG� 73 × 117 cm

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'HDU�FROOHDJXH�)RU�PRVW�DUWLVWV�,�NQRZ�́ $UW�FRQVHUYDWLRQµ�LV�D�WURXEOLQJ�DIIDLU��ZH�DUH�DOUHDG\�WRR�EXV\�PDLQWDLQLQJ�RSHUDWLRQV�DV�LW�LV��ZH�WKLQN�RI�RXU�ZRUN�DV�D�́ OLYLQJµ�HQWLW\�not as a fossil, we are often unsure if a SURMHFW�LV�ÀQLVKHG��ZH�VQXE�WHFKQLTXHV�WKDW�PD\�KHOS�XV�GRFXPHQW��RUJDQL]H�RU�DFFRXQW�IRU�RXU�ZRUN�DV�VRPHWKLQJ�WKDW�VWLÁHV�RXU�H[SHULPHQWDWLRQ�DQG�FUHDWLYH�SURFHVV��,Q�DGGLWLRQ��HVSHFLDOO\�ZKHQ�we are resentful that institutions are not FROOHFWLQJ�DQG�SUHVHUYLQJ�RXU�ZRUN�LQ�WKH�ÀUVW�SODFH��ZH�UHMHFW�WKH�ZKROH�FRQFHSW�RI�DQ�$UW�FROOHFWLRQ��³DJUHHLQJ�ZLWK�FULWLFDO�KLVWRULDQV�IRU�ZKRP�FROOHFWLQJ�DQG�SUHVHUYLQJ�FRQWHPSRUDU\�$UW�UHSUHVHQWV�an obsessive-compulsive vampiric culture of suspended animation and VSHFXODWLRQ�WKDW�LV�JURXQGHG�LQ�D�QHR�FRORQLDO��RVWHQWDWLRXV��LGHQWLWDULDQ�GULYH��1LHW]VFKH·V�́ ZLOO�WR�SRZHUµ�PL[HG�ZLWK�0DFSKHUVRQ·V�́ SRVVHVVLYH�LQGLYLGXDOLVPµ�

)RU�WKLV�WH[W�OHW·V�DVVXPH�\RX�DUH�DOUHDG\�at peace with the contradiction that is FRQVHUYDWLRQ��\RX�DUH�QRZ�LQWHUHVWHG�LQ�ERWK�FUHDWLQJ�WKH�ZRUN�DQG�RYHUVHHLQJ�LWV�GHDWK�RU�]RPELHÀFDWLRQ��3HUKDSV�GHVSLWH�EHLQJ�D�VWDXQFK�GHPRFUDWLF�VRFLDOLVW�\RX�QRZ�KDYH�\RXU�RZQ�$UW�FROOHFWLRQ��2U�PD\EH�\RX�KDYH�PHW�D�IHZ�FROOHFWRUV�ZKR�WDNH�ULVNV�ZLWK�\RX��DFTXLUH�\RXU�ZRUN�DQG�KHOS�NHHS�\RXU�VWXGLR�DÁRDW�ÀQDQFLDOO\��0RVW�LPSRUWDQWO\��HVSHFLDOO\�LI�\RX�DUH�DQ�LQVHFXUH�PHJDORPDQLDF�OLNH�PH��\RX�GRQ·W�ZDQW�WR�GLVDSSHDU�IURP�KLVWRU\�OLNH�VR�PDQ\�JUHDW�DUWLVWV�ZKR�DUH�QRW�FROOHFWHG�E\�LPSRUWDQW�0XVHXPV�6R�KHUH�ZH�DUH��WKLQNLQJ�DERXW�WKH�WRSLF�RI�FRQVHUYDWLRQ�LQ�PHGLD�DUW��$V�\RX�NQRZ��WKHUH�LV�D�SOHWKRUD�RI�H[LVWLQJ�LQLWLDWLYHV�to preserve media artworks, but these DUH�DOZD\V�IURP�WKH�SHUVSHFWLYH�RI�WKH�institutions that collect them. While most LQVWLWXWLRQDO�SURJUDPV�LQFOXGH�H[FHOOHQW�artist-oriented components like interviews

DQG�TXHVWLRQQDLUHV��WKH�SURJUDPV�DUH�DOO�D�SRVWHULRUL��DOPRVW�IRUHQVLF��DV�WKH\�ORRN�at the work in retrospect, as a snapshot of time.This text is written to outline what artists PD\�FKRRVH�WR�GR�RQ�WKH�VXEMHFW�LQ�RUGHU�WR�L��VLPSOLI\�RXU�OLIH�LQ�WKH�ORQJ�UXQ��LL��JHQHUDWH�LQFRPH��DQG�LLLL��WDNH�RZQHUVKLS�RI�WKH�ZD\�RXU�ZRUN�ZLOO�EH�SUHVHQWHG�LQ�the future. I welcome variations, additions DQG�FRPPHQWV��<HV��LW�LV�DEVROXWHO\�XQIDLU�IRU�WKH�DUWLVW�WR�KDYH�WR�ZRUU\�DERXW�FRQVHUYDWLRQ�RI�WKHLU�ZRUN��1RZ�OHW·V�JHW�on with it.

Before making

• 0LVWUXVW�DQ\RQH�ZKR�KDV�D�́ PHWKRGµ�IRU�FRQVHUYDWLRQ�RI�0HGLD�$UW��$Q\RQH��VXFK�DV�P\VHOI��ZKR�RIIHUV�D�VHW�RI�UXOHV�LV�VRPHRQH�ZKR�LV�QRW�FRQVLGHULQJ�WKH�YDVW�UDQJH�RI�GLVSDUDWH�H[SHULHQFHV��PHWK-ods, constraints and dependencies that

Best practices for conservation of media DUW�IURP�DQ�DUWLVW·V� perspective.Rafael Lozano-Hemmer

Collaborations

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130 CCC Newspaper #4 Mankind / Machinekind

FDQ�DULVH�HYHQ�ZLWKLQ�WKH�ZRUN�RI�D�VLQJOH�DUWLVW��$OO�ZH�FDQ�GR�LV�VXJJHVW�D�EXQFK�RI�tips, wait for an artist to prove those tips useless, and then review the tips.

• 6WXG\�LQVWUXFWLRQ�EDVHG�DUW��LQ�SDUWLFXODU�0RKRO\�1DJ\�́ &RQVWUXFWLRQ�LQ�(QDPHO��µ��KLV������SDLQWLQJ�UHSRUWHGO\�RUGHUHG�RYHU�WKH�WHOHSKRQH��DQG�WKHQ�VWXG\�WKH�instructions of established artists who SXVKHG�DQG�DUH�SXVKLQJ�WKH�ERXQGDULHV�of the art of instructions like Sol LeWitt, )HOL[�*RQ]iOH]�7RUUHV�DQG�7LQR�6HJKDO��&LWLQJ�WKHVH�SUHFHGHQWV��DQG�'XFKDPS�RI�FRXUVH��ZLOO�LPPHGLDWHO\�UHOD[�WKH�FRQFHUQV�WKDW�PD\�DULVH�ZLWK�\RXU�RZQ�ZRUN·V�PDWHULDOLW\�EHFDXVH�WKLV�GLVFXV-VLRQ�DOUHDG\�KDV�EHHQ�KDSSHQLQJ�LQ�WKH�DUWZRUOG�IRU�D�KXQGUHG�\HDUV��

• 6WXG\�SUHFHGHQWV�RI�WHFKQRORJLFDO�DUW��,�ÀQG�WKDW�XQGHUOLQLQJ�FRQQHFWLRQV�EH-WZHHQ�P\�ZRUN�ZLWK�KLVWRULFDO�H[SHULPHQ-tal traditions is much more productive �DQG�KRQHVW��WKDQ�SUHWHQGLQJ�ZKDW�,�GR�LV�́ QHZµ��4XRWH�PHDQLQJIXO�SUHFHGHQWV�that allow the collector to contextualize \RXU�ZRUN��)RU�H[DPSOH��,�RIWHQ�FLWH�WKH�SLRQHHULQJ�XVH�RI�UDGLR�EURDGFDVW�WHFKQRORJ\�E\�WKH�(VWULGHQWLVWD�SRHWV�LQ�0H[LFR�LQ�WKH�����V��RU�WKH�ÀUVW�XVH�RI�QHRQ�OLJKWLQJ�E\�*\XOLD�.RVLFH�LQ�������RU�WKH�ÀUVW�XVH�RI�D�OLYH�YLGHR�IHHG�LQ�DUW�LQVWDOODWLRQ�E\�0DUWD�0LQXMtQ�LQ����������\HDUV�DJR��+RZ�FDQ�ZH�SUHWHQG�ZKDW�ZH�GR�LV�́ QHZµ�PHGLD"���

• 'HFLGH�LI�WKH�ZRUN�\RX�DUH�DERXW�WR�PDNH�will be a one-off ephemeral performance, D�FRPSXWHU�YLUXV�WKDW�LV�PHDQW�WR�PXOWLSO\�LQ�ZD\V�\RX�FDQQRW�FRQWURO��D�KDSSHQ-LQJ�WKDW�LV�VR�VLWH��DQG�WLPH��VSHFLÀF�WKDW�LW�FDQ�QHYHU�EH�RZQHG��UHVWDJHG�RU�UHSURGXFHG��,I�\RX�GHFLGH�WKLV�LV�WKH�FDVH�then do not ever think about conserva-tion, not once, and work with reckless DEDQGRQ�ZLWK�WKH�FHUWDLQW\�WKDW�WKH�GHDWK�RI�\RXU�FUHDWLRQ�PD\�EH�WKH�KLJKHVW�IRUP�RI�EHDXW\�DQG�H[SHULHQFH��6RPH�YR\HXU��ÁkQHXU��GLOHWWDQWH��RSSRUWXQLVWH��RU�RWKHU�person who can be described with a )UHQFK�ZRUG��ZLOO�WU\�WR�FDSWXUH�\RXU�SLHFH�DQG�VHOO�LW�RU�JHW�D�3K'��EXW�UHDOO\�DOO�WKDW�GRHV�LV�VD\�́ \RX�KDG�WR�EH�WKHUHµ��,I�RQ�WKH�RWKHU�KDQG�\RX�DUH�LQWHUHVWHG�

LQ�FRQVHUYLQJ�WKH�VSHFLÀF�ZRUN�\RX�DUH�PDNLQJ�ULJKW�QRZ�WKHQ�UHDG�RQ�

While making

• Keep a notebook and/or electronic GRFXPHQW�ZKHUH�\RX�SXW�DQ\�VNHWFKHV��SURWRW\SHV��SDUWV�OLVWV��ELWV�RI�UHVHDUFK�RQ�the project.

• :RUN�LQ�DQ\�GHYHORSPHQW�SODWIRUP�\RX�IHHO�LV�EHVW�IRU�WKH�SURMHFW�RU�IRU�\RX��EXW�LI�\RX�KDYH�D�FKRLFH�DOZD\V�JR�IRU�RSHQ�VRXUFH�WRROV��$W�P\�VWXGLR�ZH�KDYH�RIWHQ�XVHG�FORVHG�FRPPHUFLDO�V\VWHPV��VXFK�DV�́ )DFH$3,µ�IRU�IDFH�UHFRJQLWLRQ�DQG�´6KRXW�'µ�D�SURSULHWDU\�RQOLQH��'�$3,��RQO\�IRU�WKH�FRPSDQLHV�WR�JR�EDQNUXSW�RU�RUSKDQ�WKH�VRIWZDUH�OHDYLQJ�XV�ZLWK�WKH�WDVN�WR�UH�HQJLQHHU�WKH�ZRUN�ZLWK�PRUH�RSHQ�HTXLYDOHQWV��2SHQ&9�LQ�RQH�FDVH�DQG�*RRJOH�(DUWK�LQ�WKH�RWKHU��

• &RQVLGHU�XVLQJ�YHUVLRQLQJ�V\VWHPV��OLNH�*LW��7KHVH�DOORZ�\RXU�VRIWZDUH�SURMHFWV�WR�EH�WUDFHDEOH�LQFUHPHQWDOO\�DQG�WKH\�DUH�D�JUHDW�UHSRVLWRU\�IRU�IXQGDPHQWDO�information on how a project evolves. Of course code can and should have comments to help follow the code, but Git JLYHV�FRQVHUYDWRUV�D�PRUH�JOREDO�YLHZ��,Q�P\�VWXGLR�ZH�DUH�RQO\�QRZ�VWDUWLQJ�WR�XVH�*LW�EXW�,�UHDOO\�ZLVK�ZH�KDG�VWDUWHG�HDUOLHU��9HUVLRQLQJ�LV�LPSRUWDQW�DOVR�LQ�VFKHPDWLFV��SURWRW\SHV�DQG�PDQXDOV��,Q�IDFW�WKH�ZKROH�LGHD�RI�9HUVLRQLQJ�FDQ�EH�DSSOLHG�WR�WKH�DUWZRUN�LWVHOI�DV�VXJJHVWHG�in the next section.

• <RXU�VRIWZDUH�LV�\RXU�́ VFRUHµ��WKH�IXQGD-PHQWDO�LQVWUXFWLRQV�WKDW�FUHDWH�\RXU�ZRUN��VR�EDFN�LW�XS��$W�P\�VWXGLR�ZH�KDYH�D�OHVV�WKDQ�VWHOODU�V\VWHP��ZKLFK�LV�EDVLFDOO\�D�FHQWUDO�UHSRVLWRU\�RI�ÀOHV�LQ�D�GULYH�ZKLFK�JHWV�PLUURUHG�WR�DQ�LGHQWLFDO�GULYH�WKDW�LV�RIIVLWH��,�DOVR�UXQ�$SSOH·V�WLPH�PDFKLQH�LQ�P\�ODSWRS�WR�WZR�GULYHV��RQH�DW�WKH�studio and one at home. I do recommend a cloud-based solution as it can scale XS��LV��DOPRVW��DOZD\V�DYDLODEOH�DQG�LV�FRVW�HIIHFWLYH��KRZHYHU��\RX�GR�QHHG�WR�feel comfortable that a corporation has \RXU�GDWD��WKH\�DOZD\V�GR�DQ\KRZ��DQG�WKDW�\RX�FDQ�FRQWLQXH�SD\LQJ�PRQWKO\�IHHV��ZKLFK�LV�D�ELJ�LI��6RPH�0XVHXPV�

DUH�VWDUWLQJ�WR�KDYH�GHGLFDWHG�VHUYHUV�WR�hold all of their software collections, in the future all Museums will have to have WKLV�NLQG�RI�GDWD�UHSRVLWRU\�DQG�FRQVHU-YDWLRQ�ZLOO�EH�YHU\�OLQNHG�WR�,7��,I�\RX�NHHS�\RXU�RZQ�VHUYHU�ZLWK�DOO�\RXU�GDWD�WKLV�PD\�HYHQWXDOO\�DOVR�EH�FR�ORFDWHG�DW�D�SODFH�IRU�DUFKLYHV�VXFK�DV�D�SDUWLFXODUO\�IRUZDUG�ORRNLQJ�OLEUDU\�

• $V�\RX�ZRUN��VD\�RQ�D�FRPSOH[�LQVWDOOD-tion with hardware, software, manufac-tured and found components, prepare a ´%LOO�RI�PDWHULDOVµ��%R0���ZKLFK�LV�EDVL-FDOO\�D�OLVW�RI�DOO�FRPSRQHQWV�RI�D�SLHFH��/LVW�HDFK�VHSDUDWH�FRPSRQHQW��ZULWLQJ�LWV�EUDQG�DQG�PRGHO��LWV�IXQFWLRQ��WKH�85/�for information, and a small picture.

• 1H[W�WR�HDFK�LWHP�LQ�\RXU�%R0��ZULWH�whether the element is replaceable or ir-replaceable. An irreplaceable element is IRU�H[DPSOH�D�1L[LH�WXEH�WKDW�\RX�IHHO�LV�FUXFLDO�WR�WKH�ORRN�RU�IXQFWLRQLQJ�RI�WKH�À-QDO�SLHFH��,I�IXWXUH�FRQVHUYDWRUV�FDQ·W�ÀQG�an exact replacement the piece should have an honourable death. A replace-DEOH�HOHPHQW�LV�HYHU\WKLQJ�HOVH��EXW�IRU�HYHU\�UHSODFHDEOH�HOHPHQW�WKHUH�VKRXOG�EH�QRWHV�RQ�ZKDW�LV�DFFHSWDEOH��H�J��´WKLV�PRWRU�FDQ�KDYH�DQ\�VSHFLÀFDWLRQ�VR�ORQJ�DV�LW�ÀWV�LQ�WKH�FDYLW\�DQG�LW�FDQ�VSLQ�WKH�PHFKDQLVP���WLPHV�D�VHFRQGµ�RU�´WKLV�VFUHHQ�FDQ�EH�DQ\�&57��/&'��/('��2/('�RU�RWKHU�WHFKQRORJ\�SURYLGHG�LW�LV�EHWZHHQ����DQG����LQFK�GLDJRQDO��KDV�D�EULJKWQHVV�RI�DURXQG�����QLWV�DQG�FDQ�VKRZ�;*$�UHVROXWLRQµ�RU�́ WKLV�FRYHU�LV�PDGH�RI�DFU\OLF�EXW�LW�FDQ�EH�FKDQJHG�IRU�JODVV�VR�ORQJ�DV�LW�LV�WHPSHUHG�DQG�FDQ�stand the vibration, please do not use SRO\FDUERQDWH�DV�WKDW�LV�QRW�WUDQVSDUHQW�HQRXJKµ�

• :KHQ�FKRRVLQJ�KDUGZDUH��WU\�WR�OLPLW�DQ\�PRYLQJ�SDUWV�DV�PXFK�DV�SRVVLEOH��WKHVH�are the parts that tend to fail most over WLPH��$Q�H[DPSOH�LV�XVLQJ�VROLG�VWDWH�UDWKHU�WKDQ�VSLQQLQJ�SODWWHU�KDUG�GLVNV�RU�KHDW�VLQN�FRROLQJ�LQVWHDG�RI�IDQV��$QRWKHU�H[DPSOH�LV�XVLQJ�D�VROLG�VWDWH�UHOD\�LQ-VWHDG�RI�D�FRQWDFW�VZLWFK��$�ÀQDO�H[DPSOH�LV�FKRRVLQJ�D�ZLGH�DQJOH�FDPHUD�ZLWK�YLUWXDO�SDQ�DQG�WLOW�XVLQJ�UHJLRQ�RI�LQWHUHVW�rather than a motorized pan/tilt camera.

COLLABORATIONS

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131

• ,I�\RX�KDYH�D�FKRLFH��XVH�́ RII�WKH�VKHOIµ�FRPSRQHQWV�WKDW�DUH�DEXQGDQW��$W�P\�studio we developed our own computer YLVLRQ�WUDFNLQJ�V\VWHPV�XVLQJ�LQGXVWULDO�FDPHUDV�IRU����\HDUV�EXW�QRZ�ZH�KDYH�moved to Microsoft Kinect2 whenever SRVVLEOH�DV�WKHVH�DUH�UHDGLO\�DYDLODEOH��Another example is microcontrollers, as P\�VWXGLR�QRZ�PRVWO\�GHYHORSV�ZLWK�$U-duinos, which are widespread, open and IULHQGO\��<RXU�RZQ�GHYHORSHG�V\VWHPV�RI�FRXUVH�VKRXOG�EH�XVHG�LI�WKH\�GHOLYHU�EHWWHU�UHVXOWV��EXW�WKHQ�\RX�QHHG�WR�GRFX-PHQW�WKRVH�DSSURSULDWHO\�

• 0DNH�JOREDO�FKRLFHV�LQ�\RXU�SURFXUH-PHQW��)RU�H[DPSOH��FKRRVH�JHDU�WKDW�FDQ�IXQFWLRQ�LQ�D�UDQJH�RI�YROWDJHV��������9�LGHDOO\�ZLWK�DXWR�VZLWFKLQJ�FLUFXLWU\��RU�LI�\RX�DUH�&DQDGLDQ�QHYHU�XVH�5REHUWVRQ�VFUHZV�GHVSLWH�KRZ�JUHDW�WKH\�DUH��DV�QR�RQH�RXWVLGH�RI�RXU�SURXG�FRXQWU\�KDV�GULOO�ELWV�IRU�WKLV�VFUHZ�KHDG��$OO�\RXU�PHD-VXUHPHQWV�VKRXOG�EH�PHWULF�DQG�DOO�\RXU�QRWHV�LQ�(QJOLVK��\HDK��,�VDLG�WKDW��

• 3URJUDP�DQ�́ ,GOH�PRGHµ�DQG�RU�DQ�DXWRPDWLF�VKXWGRZQ�IRU�\RXU�SLHFH��Collectors sometimes just leave a piece RSHUDWLQJ�ZKLOH�WKH\�JR�RQ�D�KROLGD\�IRU�WZR�PRQWKV��<RX�QHHG�WR�GHWHFW�LI�QR�RQH�has interacted with the piece for a certain WLPH�IRU�LW�WR�JR�LQWR�DQ�,GOH�VWDWH�WKDW�stops or slows down motors, shuts down RU�GLPV�GLVSOD\V��DQG�LQ�JHQHUDO�SURWHFWV�the piece. An auto shutdown is anoth-HU�ZD\�WR�VDYH�WKH�SLHFH�XQQHFHVVDU\�F\FOHV��EXW�HQVXUH�WKDW�\RX�KDYH�D�SUR-JUDPPDEOH�SRZHU�EDU�VR�WKDW�DOO�KDUG-ZDUH�LV�WXUQHG�RII�LQ�WKH�ULJKW�VHTXHQFH�

After making

• 0DNH�D�YLGHR�RI�WKH�SURMHFW��LGHDOO\�ZLWK�\RX�VSHDNLQJ�RYHU�LW�DQG�H[SODLQLQJ�SURSHU�IXQFWLRQLQJ��,I�\RX�DUH�VK\�WKHQ�JHW�VRPHRQH�WR�LQWHUYLHZ�\RX�

• ,QVWDOO�WKH�SURMHFW�LQ�D�YDULHW\�RI�FRPSXW-HUV��RSHUDWLQJ�V\VWHPV�DQG�RU�GHYLFHV�DQG�WHVW�IRU�DQ\�6:�RU�+:�GHSHQGHQ-FLHV��1RWH�WKHVH�YHU\�FDUHIXOO\�LQ�D�́ 5HDG�0Hµ�GRFXPHQW�WKDW�LV�LQ�D�ZD\�D�YHUVLRQ�of the BoM for hardware. Bundle the 5HDG�0H�ÀOH�ZLWK�LQVWDOOHUV�IRU�HYHU\�VLQ-JOH�LWHP�LQ�WKH�OLVW��)RU�H[DPSOH�LQFOXGH�

RSHUDWLQJ�V\VWHP��'LUHFW;��DQ\�JUDSKLFV�GULYHUV��$3,V��SURJUDPPLQJ�HQYLURQ-ments, etc.

• 3UHSDUH�RQH�RU�VHYHUDO�ÁDVK�GULYHV�ZLWK�DOO�WKH�VRXUFH�FRGH�IRU�\RXU�SURMHFW��LQFOXGLQJ�ÀUPZDUH��ELQDULHV��PHGLD�DV-VHWV��VFKHPDWLFV���'�SULQW�ÀOHV��(9(5<-THING. Then add all the installers for the dependencies from the previous point. 7KHVH�ÁDVK�GULYHV�DUH�PHDQW�WR�EH�OLNH�a time capsule that hold all the instruc-WLRQV�UHTXLUHG�WR�UHSURGXFH�WKH�ZRUN��'R�include a document that explains that WKH\�VKRXOG�PDNH�D�EDFNXS�FRS\�RI�WKH�FRQWHQWV�RI�WKH�ÁDVK�GULYH�DQG�HQVXUH�WKH�LQWHJULW\�RI�WKH�GDWD�IURP�WLPH�WR�WLPH�

• :ULWH�D�PDQXDO�ZLWK�WKH�IROORZLQJ�SDUWV��L��D�́ PHWDµ�QDUUDWLYH�GHVFULELQJ�WKH�NH\�concepts and elements of the piece and how it works; ii) a detailed set-up SURFHGXUH��LQFOXGLQJ�SLFWXUHV�RI�H[DPSOH�LQVWDOODWLRQV��ZLULQJ�GLDJUDPV��PXVHR-JUDSKLF�QRWHV�VXFK�DV�GHVLUHG�OLJKWLQJ�RU�DFRXVWLF�FRQGLWLRQV��VDPSOH�OD\RXWV�VKRZLQJ�ZKDW�LV�DQG�LV�QRW�DOORZHG��LLL��maintenance section on how to clean the piece and turn it on and off; iv) preserva-tion section with the Bill of materials, all schematics, comments to the code.

• 6HW�\RXU�FRPSXWHUV�WR�SHUIRUP�XQLQWHU-UXSWHG�IRU�D�ORQJ�WLPH��(QVXUH�\RX�DUH�QRW�GHIHDWLQJ�IDQV�VR�LW�LV�FRROHG�SURSHU-O\��QR�VFUHHQ�VDYHUV��GLVDEOH�DXWRPDWLF�VRIWZDUH�XSGDWHV�IRU�RSHUDWLQJ�V\VWHP�and java for example, no virus checkers, monitor temperature inside boxes or HQFORVXUHV��VWRS�DOO�QRWLÀFDWLRQV��VWRS�DOO�ORJLQ�SDVVZRUGV��HWF�

• 3UHSDUH�D�WRRONLW�ZLWK�DQ\�GULOO�ELWV��VSH-cial tools, adapters and with spares of FRPSRQHQWV�WKDW�\RX�WKLQN�DUH�PRVW�KDUG�WR�FRPH�E\��

Dealing with a collector

• 7DNH�WKH�YLGHR��WKH�ÁDVK�GULYHV��WKH�manual, the toolkit and the spares and make a BOX. Give the box to the col-OHFWRU�H[SODLQLQJ�KRZ�LPSRUWDQW�LW�LV�DQG�ZDUQ�WKHP�WKDW�UHSODFLQJ�LW�ZLOO�FRVW������

�RU�FKRRVH�D�QXPEHU�WKDW�LV�SURÀWDEOH���0DQ\�FROOHFWRUV�ZLOO�TXLFNO\�ORVH�WKLV�ER[��:KHQ�WKH\�FRPH�WR�\RX�DVNLQJ�IRU�D�UHSODFHPHQW�PDNH�D�EXFN�IRU�JRGVDNHV��

• ([SODLQ�WKH�FRQFHSW�RI�GLJLWDO�FRS\�WR�\RXU�FROOHFWRU��0RVW�GR�QRW�XQGHUVWDQG�WKDW�DQ�RULJLQDO�ÀOH�LV�LGHQWLFDO�WR�D�FRS\��$QG�LI�WKH\�GR��WKH\�DUH�VR�FRPSOHWHO\�DE-VRUEHG�ZLWK�WKH�DXUD�RI�DXWKHQWLFLW\�WKDW�,�KDYH�KHDUG�RI�DUWLVWV�KDYLQJ�WR�GHVWUR\�D�GLJLWDO�ÀOH�RQFH�WKH\�SULQW�FRSLHV�RI�D�GLJLWDO�SLFWXUH��7KLV�LV�DEVROXWHO\�DEVXUG�DQG�XQQHFHVVDU\�IRU�ZRUN�OLNH�PLQH��DQG�\RXUV���,I�D�FROOHFWRU�EX\V�DQ�LPDJH�IURP�PH�,�ZDQW�WR�JLYH�KHU�WKH�7LII�ÀOH�ZLWK�FRORXU�ORRNLQJ�WDEOHV�DQG�SULQWLQJ�LQVWUXF-tions so that she can reproduce the work LQ�WKH�IXWXUH�ZKHQ�WKH�89�UD\V�ZDVK�the colours out or when a child takes a NQLIH�WR�WKH�LPDJH��6R�ORQJ�DV�\RX�FRS\�WKH�GDWD�IURP�WKH�ÁDVK�GULYH�RQWR�RWKHU�IXWXUH�PHGLD��DV�86%�GLHV��WKH�ZRUN�WKDW�\RX�RZQ�ZLOO�EH�SHUIHFWO\�UHSURGXFLEOH��like the instructions of a Sol LeWitt or a *RQ]DOH]�7RUUHV��,Q�WKLV�VHQVH��GLJLWDO�SULQWV�DUH�RUGHUV�RI�PDJQLWXGH�HDVLHU�WR�SUHVHUYH�WKDQ�DQ\�RWKHU�SULQW��

• 2QFH�WKH�FROOHFWRU�XQGHUVWDQGV�WKDW�WKH\�KDYH�WKH�GLJLWDO�ÀOHV�QHHGHG�WR�UHSURGXFH�PRVW�RU�DOO�RI�WKH�ZRUN�WKH\�PLJKW�SDQLF�DVNLQJ�KRZ�WKHLU�LQYHVWPHQW�LV�SURWHFWHG�from reckless reproduction. The answer LV�FHQWXULHV�ROG��ZLWK�D�VLJQDWXUH��)RU�HDFK�RI�P\�SLHFHV�,�JLYH�D�FHUWLÀFDWH�RI�DXWKHQWLFLW\�WKDW�LV�WKH�WUDGDEOH�FRPPRG-LW\�RI�P\�ZRUN��,Q�P\�FDVH��WKH�FHUWLÀFDWH�LV�DQ�$��VL]HG�GRXEO\�DQRGL]HG�DOXPLQ-LXP�LQJRW�WKDW�VKRZV�WKH�GHWDLOV�DQG�SLFWXUH�RI�WKH�ZRUN��,�VLJQ�WKH�FHUWLÀFDWH�E\�KDQG��DGGLQJ�WKH�HGLWLRQ�QXPEHU��7KH�FHUWLÀFDWH�LV�DOVR�HQJUDYHG�ZLWK�RXU�VWX-GLR�QXPEHULQJ�V\VWHP��KDV�WKUHH�GLJLWDO�watermarks and soon it will also have a EORFNFKDLQ�XQLTXH�VLJQDWXUH��7KLV�LV�ZKDW�\RX�NHHS�LQ�WKH�VDIHW\�GHSRVLW�ER[�DV�LW�LV�FRPSOHWHO\�LUUHSURGXFLEOH��,I�\RX�GR�QRW�KDYH�WKLV�FHUWLÀFDWH�WKH�SLHFH�\RX�KDYH�LV�FRPSOHWHO\�ZRUWKOHVV��7KLV�FHUWLÀFD-WLRQ�V\VWHP�LV�UHWURDFWLYH��DQG�ZH�DUH�VORZO\�JLYLQJ�RQH�RI�WKHVH�IRU�HDFK�SLHFH�DFTXLUHG�LQ�WKH�SDVW��5XQQLQJ�D�SHUVRQDO�FHUWLÀFDWLRQ�V\VWHP�DOVR�KDV�WKH�VLGH�EHQHÀW�RI�SURWHFWLQJ�\RX�IURP�SRWHQWLDO�

Page 20: Ccc newspaper #4

132 CCC Newspaper #4 Mankind / Machinekind

IUDXG�IURP�JDOOHULVWV�RU�LQWHUPHGLDULHV�ZKR�PD\�EH�UHSURGXFLQJ�\RXU�ZRUN�EH-KLQG�\RXU�EDFN��7KLV�KDV�QRW�KDSSHQHG�WR�PH�EXW�,�KDYH�KHDUG�PDQ\�VWRULHV��$QRWK-HU�EHQHÀW�RI�SHUVRQDO�FHUWLÀFDWLRQ�LV�WKDW�LI�WKH�FROOHFWRU�GRHV�QRW�SD\�\RX�LQ�IXOO�\RX�VLPSO\�GR�QRW�KDQG�RYHU�WKH�FHUWLÀ-FDWH��+H�RU�VKH�PD\�KDYH�WKH�ZRUN�DIWHU�SD\LQJ�DQ�DGYDQFH��EXW�WKH�SXUFKDVH�LV�QRW�FRPSOHWH�XQWLO�WKH�ZRUN�LV�IXOO\�SDLG�and the collector is in possession of the XQLTXH�FHUWLÀFDWH�

• 8QOHVV�WKH�SLHFH�LV�YHU\�VLPSOH��WKH�SULFH�RI�DFTXLVLWLRQ�RI�D�ZRUN�VKRXOG�LQFOXGH�DQ�KRQRUDULXP�IRU�\RX�RU�D�WHFKQLFLDQ�WR�KHOS�ZLWK�LQVWDOOLQJ�WKH�ZRUN�RQ�VLWH��ZKDW�LV�QRW�LQFOXGHG�LQ�WKH�DFTXLVLWLRQ�SULFH�LV�WKH�ÁLJKW��DFFRPPRGDWLRQ�DQG�SHU�GLHP�IRU�\RX�RU�WKH�WHFKQLFLDQ���0DNH�LW�FOHDU�WR�the collector that their installers need to IROORZ�\RXU�LQVWUXFWLRQV�RQ�KRZ�WR�KDQJ�WKH�ZRUN�SK\VLFDOO\��UXQ�WKH�ZLUHV�DQG�SURYLGH�HOHFWULFLW\��<RX�FDQQRW�GR�WKRVH�WKLQJV�EHFDXVH�\RX�DUH�QRW�LQVXUHG��<RX�DUH�WKHUH�RQO\�WR�VXSHUYLVH�DQG�WR�FDOLEUDWH�WKH�V\VWHP�

• 2QFH�\RX�RU�\RXU�WHFKQLFLDQ�FDOLEUDWH�the work, show it to the collector, teach them how to turn it on and off and clean LW��7KHQ�DVN�WKHP�ZKR�\RX�VKRXOG�WUDLQ�IRU�D�IXOO�WHFKQLFDO�UXQ�WKURXJK�RI�WKH�SLHFH��H�J��WKH�FROOHFWRU�KHUVHOI�LI�VKH�LV�QHUG\��KHU�LQVWDOOHU��WKH�,7�GHSDUWPHQW��the conservator of the collection, etc. Do D�FRPSOHWH�ZDON�WKURXJK�RI�WKH�ZRUN�ZLWK�this person and show them the manuals, spare parts, and so on. This person will EH�WKH�ÀUVW�RQH�WKDW�WKH�FROOHFWRU�ZLOO�JR�to when the work malfunctions so he or VKH�LV�YHU\�LPSRUWDQW�IRU�\RXU�RZQ�SHDFH�RI�PLQG��2QFH�\RX�KDYH�WUDLQHG�WKH�collector and the technical person, make WKHP�VLJQ�D�GRFXPHQW�WKDW�VLPSO\�VD\V�that the work has been installed to their OLNLQJ��WKDW�WKH\�UHFHLYHG�WUDLQLQJ�RQ�WKH�operation, maintenance and preserva-tion of the piece.

• ,QVWDOO�91&�RU��EHWWHU��/RJ0H,Q�DQG�H[SODLQ�KRZ�\RX�FDQ�ORJ�LQ�UHPRWHO\�WR�À[�problems if needed. Show the collector how to disconnect the piece to the net LI�WKH\�ZDQW�SULYDF\��'HSHQGLQJ�RQ�KRZ�

IDQF\�WKH�ZRUN�LV��\RX�FDQ�FRQVLGHU�DOVR�XVLQJ�QHWZRUNHG�SRZHU�EDUV�WR�F\FOH�WKH�SRZHU�UHPRWHO\�LI�QHFHVVDU\��

• +DYH�WKH�FROOHFWRU�LQVWDOO�VXUJH�SURWHF-WLRQ�DQG�JURXQGLQJ�WR�WKH�SRZHU�WKDW�LV�VXSSOLHG�WR�WKH�SLHFH��0DQ\�SUREOHPV�ZH�KDYH�VHHQ�WKURXJKRXW�WKH�\HDUV�FRPH�IURP�EDG�SRZHU��À[LQJ�D�EXUQW�WUDQVIRUP-er is often a tedious and expensive job DQG�RIWHQ�WKH�FLUFXLWU\�LV�DOVR�DIIHFWHG��

• Talk about maintenance. To the best of \RXU�DELOLW\�JLYH�D�VSHFLÀF�0HDQ�7LPH�%HWZHHQ�)DLOXUH��07%)��HVWLPDWH��ZKLFK�LV�EDVLFDOO\�WKH�WLPH�LW�ZLOO�WDNH�IRU�FRPSR-QHQWV�WR�EUHDN��RQ�DYHUDJH��)RU�H[DP-SOH�LI�WKH�SLHFH�KDV�D�SURMHFWRU�TXRWH�the number of hours that it will work IRU�EHIRUH�D�EXOE�QHHGV�WR�EH�FKDQJHG�DQG�VSHFLI\�KRZ�PXFK�WKDW�ZLOO�FRVW�WR�UHSODFH��,�W\SLFDOO\�XVH�WZR�PHWDSKRUV�WR�explain maintenance on a media artwork, GHSHQGLQJ�RQ�WKH�FROOHFWRU�DQG�VLWXDWLRQ�����7KH�DUWZRUN�LV�OLNH�D�FDU��³\RX�VKRXOG�GULYH�LW�IURP�WLPH�WR�WLPH��FKDQJH�WKH�RLO�DQG�WXQH�LW��EXW�WKH�PRUH�\RX�GULYH�LW�WKH�more it will it cost to preserve; and 2) 7KH�ZRUN�LV�OLNH�D�IRXQWDLQ��³\RX�KDYH�a capital investment but then there is a PDLQWHQDQFH�EXGJHW�IRU�FKDQJLQJ�UXVW\�YDOYHV��FKORULQDWLQJ�WKH�ZDWHU��HWF�

• 7DON�DERXW�ZDUUDQW\��<RX�VKRXOG�OHW�WKH�FROOHFWRU�NQRZ�DERXW�ZKDWHYHU�ZDUUDQW\�there is on the individual components of the piece, for example a computer usual-O\�KDV�D���\HDU�ZDUUDQW\��%XW�\RX�VKRXOG�XQGHU�QR�FLUFXPVWDQFHV�JXDUDQWHH�WKDW�WKH�ZRUN�ZLOO�IXQFWLRQ�D�JLYHQ�DPRXQW�RI�WLPH��<RX�DUH�QRW�D�FRUSRUDWLRQ��\RX�GR�not control the conditions of the exhibi-WLRQ�RU�WKH�KDQGOLQJ�RI�WKH�SLHFH�DIWHU�\RX�GHSDUW��7KH�VSLULW�RI�JLYLQJ�WKH�FROOHFWRU�all schematics, software and code, plus WKH�WUDLQLQJ��VSDUH�SDUWV�DQG�PDQXDOV��LV�WKDW�\RX�DUH�QRZ�GHOHJDWLQJ�FRQVHU-vation to his or her collection. When the collector is uncomfortable about the lack RI�ZDUUDQW\�FODULI\�WKH�WHFKQLFDO�VXSSRUW�\RX�DUH�ZLOOLQJ�WR�JLYH�

• 3URYLGLQJ�WHFKQLFDO�VXSSRUW�FDQ�EH�D�QLJKWPDUH�LQ�0HGLD�$UW��1RW�SURYLGLQJ�LW�LV�even worse. If a piece fails the collector QHHGV�WR�NQRZ�H[DFWO\�ZKR�WR�FDOO�DQG�KDYH�D�VXSSRUW�QHWZRUN��,I�WKH\�GRQ·W�LW�LV�

SRVVLEOH�WKH\�ZLOO�QHYHU�LQYHVW�LQ�PHGLD�DUW�DJDLQ��2IWHQ�DUWLVWV�PDNH�QHWZRUNV�WKDW�LQFOXGH�WKHLU�JDOOHULHV��WUXVWHG�technicians or AV companies. In our case here is what we ask the collectors to do LQ�FDVH�RI�IDLOXUH�

i) 5HDG�WKH�PDQXDO��2YHU�����RI�IDLOXUHV�DUH�VRPHWKLQJ�VLPSOH�OLNH�D�SRZHU�FDEOH�WKDW�LV�QRW�QHVWOHG�LQ�IXOO\�

ii) Contact the installer who was trained E\�\RX�RU�\RXU�WHFKQLFLDQ��KH�RU�VKH�should be able to troubleshoot at a KLJKHU�OHYHO�

iii) &RQWDFW�WKH�JDOOHU\�LQ�FDVH�WKH\�KDYH�a technician who can help.

iv) &DOO�RU�HPDLO�P\�VWXGLR�DQG�ZH�ZLOO�WU\�WR�À[�WKH�SUREOHP�UHPRWHO\�IRU�IUHH��RYHU�WKH�SKRQH�DQG�UHPRWH�ORJLQ�LI�available.

v) If the problem is not solved, we are KDSS\�WR�JR�RQ�VLWH�WR�VROYH�LW��7KH�FRVWV�DUH��UHWXUQ�ÁLJKW�IRU�\RX�RU�WKH�WHFKQLFLDQ�WR�JR�WR�WKH�FLW\��DFFRPPR-GDWLRQ�DQG�SHU�GLHP��DQ\�SDUWV�WKDW�QHHGHG�UHSODFHPHQW��DQG�������RU�VRPH�RWKHU�GDLO\�IHH�\RX�HVWDEOLVK��IRU�KRQRUDULXP��3OHDVH�QRWH�D�WUDYHO�GD\�LV�FKDUJHG�DW�KDOI�WKH�GDLO\�UDWH��,W�LV�P\�H[SHULHQFH�WKDW�FROOHFWRUV�UDWKHU�JHW�GL-rect support from the artist studio even LI�WKDW�PD\�EH�FRVWO\��7KLV�PRQH\�KHOSV�the studio maintain operations and LQVWHDG�RI�WHFKQLFDO�VXSSRUW�EHLQJ�D�QLJKWPDUH�LW�LV�QRZ�D�VRXUFH�RI�LQFRPH��

• 3URYLGH�D�PLJUDWLRQ�SDWK�DQG�H[SODLQ�YHUVLRQLQJ�IRU�DUWZRUN��:KHQ�FROOHFWRUV�DFTXLUH�D�PHGLD�DUWZRUN�WKH\�QHHG�WR�NQRZ�WKH\�DUH�JHWWLQJ�DQ�́ HYHQW�EDVHGµ�OLYLQJ�SLHFH�WKDW�LV�FORVHU�WR�D�SHUIRUPLQJ�arts commission than a traditional visual DUWZRUN��0DQ\�FRQVHUYDWRUV�XQGHUVWDQG-DEO\�FULQJH�DW�WKH�SRVVLELOLW\�RI�DQ�DUWZRUN�FKDQJLQJ�RYHU�WLPH��EXW�WKDW�LV�H[DFWO\�what Media Art should aspire to do. In an epic conversation with Tate expert and friend Pip Laurenson, I realized that what VKH�ZDV�DIWHU�ZDV�FRPSOHWHO\�GLIIHUHQW�EXW�QRW�HQWLUHO\�LQFRPSDWLEOH�ZLWK�ZKDW�,�HQYLVLRQHG��7DWH�DFTXLUHG�P\�ZRUN�́ 6XE-WLWOHG�3XEOLFµ�PDGH�LQ�������,Q�WKLV�ZRUN�\RX�HQWHU�DQ�HPSW\�URRP��DUH�WUDFNHG�E\�FRPSXWHUL]HG�VXUYHLOODQFH��DQG�D�UDQGRP�YHUE�LV�SURMHFWHG�RQ�\RXU�ERG\�

COLLABORATIONS

Page 21: Ccc newspaper #4

133

ZKLFK�IROORZV�\RX�HYHU\ZKHUH��³WKH�RQO\�ZD\�WR�JHW�ULG�RI�WKH�ZRUG�LV�WR�WRXFK�VRPHERG\�DQG�H[FKDQJH�ZRUGV�ZLWK�KLP�or her. The project was written in Delphi, XVLQJ�ÀUHZLUH�FDPHUDV��,5�LOOXPLQDWRUV�DQG�;*$�SURMHFWRUV��8VLQJ�DQ�LPSUHVVLYH�and comprehensive method Pip ensured that the piece that is at Tate can be SHUIRUPHG�XVLQJ�WKHVH�RULJLQDO�WHFKQROR-JLHV��JLYLQJ�WKH�SXEOLF�D�VQDSVKRW�RI�ZKDW�FRPSXWHUL]HG�WUDFNLQJ�ZDV�OLNH�LQ�������6R�IDU�VR�JRRG��7HQ�\HDUV�ODWHU�WKHUH�DUH�KDUGO\�DQ\�'HOSKL�SURJUDPPHUV��ÀUHZLUH�is dead, projectors now have over 10x the pixel resolution and Kinect2 track-LQJ�LV�RUGHUV�RI�PDJQLWXGH�IDVWHU��PRUH�accurate and easier to install. I am now SODQQLQJ�D�PLJUDWLRQ�SDWK�IRU�́ 6XEWLWOHG�3XEOLFµ�WR�ZRUN�ZLWK�WKHVH�QHZ�WHFKQROR-JLHV�EHFDXVH�WKLV�SDUWLFXODU�SURMHFW�LV�QRW�DERXW�WKH�VSHFLÀF�WUDFNLQJ�DQG�SURMHFWLRQ�used but about the experience of words EUDQGLQJ�WKH�SXEOLF��,�DP�HDJHU�WR�VHH�the project in a second version because the experience will be more ominous. 7KH�FRVW�IRU�WKLV�PLJUDWLRQ�LV�UHODWLYHO\�ORZ��HVSHFLDOO\�LI�\RX�FRQVLGHU�WKDW�\RX�ZRXOG�QRW�QHHG�WR�VWRFNSLOH�ROGHU�JHDU�RU�LQWHUSUHW�'HOSKL�FRGH��9HUVLRQLQJ�LV�DOPRVW�DV�LI�D�FROOHFWRU�EX\V�D�SLHFH�RI�software for an initial amount, then the DUWLVW�LPSURYHV�WKLV�RYHU�WLPH��LQ�D�ZD\�the artist provides a Conservation path IRU�WKH�DUWZRUN��DQG�FKDUJHV�D�VPDOO�XSJUDGH�IHH��/LNH�LQ�LQGXVWU\��YHUVLRQLQJ�can also be a source of income for the studio. Of course in the future Tate can choose to exhibit either version or both. ,W�GHSHQGV�RQ�WKH�VKRZ��7KH�NH\�LV�QRW�to think that both these approaches are PXWXDOO\�H[FOXVLYH��2EYLRXVO\��WKH�DUWLVW�FDQQRW�JR�DQG�RIIHU�YHUVLRQ���WR�D�GLIIHU-HQW�FROOHFWRU��D�PLJUDWLRQ�LV�DYDLODEOH�RQO\�WR�WKH�FROOHFWRU�ZKR�RULJLQDOO\�DFTXLUHG�the work.

• 9HUVLRQLQJ�VKRXOG�HQG�ZLWK�WKH�GHDWK�RI�WKH�DUWLVW�XQOHVV�\RX�OHDYH�VSHFLÀF�LQ-VWUXFWLRQV�RQ�ZKDW�\RX�QHHG�\RXU�HVWDWH�WR�DFFRPSOLVK��OLNH�*RQ]DOH]�7RUUHV�GLG��

• A collector should be free to decline PLJUDWLQJ�WKHLU�SLHFH�DORQJ�WKH�DUWLVW�RU�HVWDWH�VXJJHVWHG�SDWK��,I�LQ�WKH�IXWXUH�WKH�SLHFH�LV�DFTXLUHG�E\�D�GLIIHUHQW�SDUW\�the new owners can decide to pursue a

PLJUDWLRQ��6KRXOG�WKH�FROOHFWRU�DWWHPSW�WR�SUHVHUYH�WKH�ZRUN�ZLWK�D�PLJUDWLRQ�SDWK�WKDW�LV�HJUHJLRXV�DQG�QRW�DSSURYHG�E\�WKH�DUWLVW�RU�HVWDWH�WKH�WLWOH�RI�WKH�ZRUN�ZLOO�EH�DXWRPDWLFDOO\�YRLG�DQG�WKH�DUWLVW�ZLOO�EH�DEOH�WR�VHOO�LW�DJDLQ��,�OHDUQW�WKLV�IURP�-DPHV�7XUUHOO·V�SUDFWLFH��,W�VR�VPDUW��\RX�QHHG�WR�EH�SURWHFWHG�IURP�VRPHRQH�DGGLQJ�RU�WDNLQJ�DZD\�DQ�HOHPHQW�WR�WKH�SLHFH�WKDW�\RX�GLG�QRW�DSSURYH�RI��

Final notes

• 7UXVW�FRQVHUYDWRUV��7KH\�DUH�DEVROXWHO\�IXQGDPHQWDO�IRU�\RXU�ZRUN�WR�KDYH�D�IXWXUH�SHUIRUPDQFH��7KH\�DOVR�KDYH�D�ORW�RI�H[SHULHQFH�LQ�SUHVHUYLQJ�WKH�PRVW�GLYHUVH�WKLQJV�\RX�FDQ�LPDJLQH��(VWDE-OLVK�D�GLDORJ�ZLWK�WKHP�DQG�ZRUN�RXW�D�PLJUDWLRQ�SODQ��WKH\�WHQG�WR�EH�UHOLHYHG�ZKHQ�WKH�DUWLVW�KDV�WKRXJKW�WKURXJK�WKHVH�LVVXHV��$ERYH�DOO�\RX�GRQ·W�ZDQW�WKH�FROOHFWRU�WR�WKLQN�WKH\�DUH�DFTXLULQJ�D�IXWXUH�FRQVHUYDWLRQ�SUREOHP��WKRXJK�DGPLWWHGO\�HYHU\�ZRUN��HYHQ�D�SDLQWLQJ�LV�a future conservation problem).

• Trust curators, but not as much as con-servators. In the future the curator is the SHUVRQ�ZKR�ZLOO�VWDJH�\RXU�ZRUN�LQ�D�YD-ULHW\�RI�GLIIHUHQW�FRQWH[WV��7U\�WR�H[SODLQ�LQ�\RXU�GRFXPHQWDWLRQ�ZKDW�LV�DQG�LV�QRW�SRVVLEOH�ZLWK�WKH�ZRUN��0DQ\�FXUDWRUV�DUH�VDGO\�WRR�UXVKHG�WR�UHDG�PDQXDOV��ZKLFK�LV�ZK\�\RX�PXVW�WUXVW�FRQVHUYDWRUV�more.

• .HHS�D�ZHEVLWH��)RU�HDFK�SLHFH�WKDW�,�KDYH�HYHU�PDGH�,�KDYH�D�ZHESDJH�ZLWK�YLGHRV��SKRWRV��GHVFULSWLRQV��ELEOLRJUD-SK\�DQG�PRVW�LPSRUWDQW��WKH�PDQXDO�IRU�the work in PDF and a list of credits of the people who worked on the proj-HFW��*LYLQJ�SXEOLF�FUHGLW�WR�HQJLQHHUV��SURJUDPPHUV��DQG�RWKHU�DVVLVWDQWV�LV�DQ�KRQHVW�WKLQJ�WR�GR�EXW�LV�DOVR�D�ZD\�IRU�IXWXUH�FRQVHUYDWRUV�WR�WUDFN�SURMHFWV�E\�GLIIHUHQW�FRGLQJ�VW\OHV��IRU�H[DPSOH�

• 7KLV�ÀQDO�QRWH�LV�QRW�IRU�HYHU\RQH��EXW�LW�LV�VRPHWKLQJ�WKDW�PDNHV�VHQVH�IRU�P\�ZRUN��,Q�P\�XSFRPLQJ�PRQRJUDSKLF�VKRZ�LQ�0H[LFR�&LW\·V�08$&�0XVHXP�ZH�ZLOO�SXEOLVK�D�86%�ÁDVK�GULYH�ZKLFK�ZLOO�FRQWDLQ�DEVROXWHO\�DOO�WKH�VRXUFH�

FRGH�DQG�VFKHPDWLFV�RI�HYHU\�VLQJOH�DUWZRUN�RQ�GLVSOD\��WKHUH�DUH����SLHF-HV����:H�DOUHDG\�KDYH�D�*LW+XE�DFFRXQW�ZKHUH�ZH�VKDUH�VRPH�RI�RXU�SURJUDP-PLQJ�WR�WKH�RSHQ�VRXUFH�FRPPXQLW\��EXW�WKLV�QHZ�LGHD�LV�GHVLJQHG�WR�EH�PRUH�radical. We want to make software and PHWKRGV�VRPHWKLQJ�PRUH�GLDORJLFDO��less precious, more open, more viral. If P\�VHUYHUV�FUDVK�DQG�QR�PXVHXP�KDV�EDFNXS�FRSLHV�P\�ZRUN�ZLOO�DOUHDG\�EH�LQ�the forks of dozens or hundreds of other SURMHFWV�WKDW�RWKHU�DUWLVWV�SURJUDPPHUV�KDYH�GHYHORSHG�IURP�P\�VWXGLR·V�FRGH��,QIHFWLQJ�IXWXUH�SURMHFWV�LV�RXU�QHZ�VWUDW-HJ\�IRU�SUHVHUYDWLRQ��7R�RXU�NQRZOHGJH�WKLV�ZLOO�EH�WKH�ÀUVW�WLPH�WKDW�D�FRPSUH-hensive art show will be made available with an open source code. Version 0.9.1

PS. 7KH�FRYHU�LPDJH�LV�́ ���4XHVWLRQV�SHU�0LQXWHµ�D�SLHFH�IURP������ZKLFK�UDQ�RQ�:LQGRZV����DQG�ZDV�SURJUDPPHG�LQ�'HOSKL��,Q������0R0$·V�DFTXLUHG�WKH�ZRUN�DQG�XVHG�P\�VRXUFH�FRGH�WR�SRUW�LW�WR�&���DQG�UXQ�LW�RQ�/LQX[��WKXV�SURYLQJ�WKDW�VWRFNSLOLQJ�ROG�3&V�ZDV�QRW�QHFHV-VDU\�WR�DVVXUH�FRQVHUYDWLRQ��7KDW�ZDV�VRPH�QH[W�OHYHO�VKLW�ULJKW�WKHUH�DQG�D�ELJ�UHOLHI�IRU�DOO��,�KDYH�RQO\�QRZ�IRXQG�WKLV�new initiative from the Museum and I VKDOO�ORRN�DW�LW�FORVHO\�KWWS���ZZZ�PRPD�RUJ�H[SORUH�LQVLGHB«

PS2. �+HUH�LV�WKH�WH[W�,�XVHG�WR�SUHVHQW�WKLV�WH[W�RQ�)DFHERRN��,�DP�FRS\LQJ�LW�KHUH�DV�LW�KDV�LPSRUWDQW�DFNQRZOHGJHPHQWV���,�ZDQW�WR�DFNQRZOHGJH�WKH�WDONV�,�KDYH�KDG�ZLWK�QXPHURXV�IULHQGV�DQG�FROOHDJXHV��PRVW�QRWDEO\�P\�VWXGLR�DVVLVWDQWV�DQG�WKH�JUHDW�.LP�%ULFNOH\�ZKRVH�LQWHUYLHZV�helped me put some order to it all; but also Steven Sacks, Patricia Ortiz Mon-DVWHULR��=LPRXQ��'DQLHO�&DQRJDU��3LS�Laurenson, Glenn Wharton, Christiane Paul, Ben Fino-Radin, Kate Lewis, Sarah &RRN��%HU\O�*UDKDP��0DWWKHZ�%LHGHU-PDQ��.DWKOHHQ�)RUGH��5XGROI�)ULHOLQJ��%DUEDUD�-��/RQGRQ��3DEOR�+HOJXHUD��&ROLQ�*ULIÀWKV��$ODLQ�'HSRFDV��-HDQ�*DJQRQ��$ELJDLO�6XVLN��6WHYH�'LHW]��(UNNL�Huhtamo, and other artists, collectors, historians, curators and conservators ZKR�OLNH�WDONLQJ�DERXW�WKLV�NLQG�RI�WKLQJ�

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134 CCC Newspaper #4 Mankind / Machinekind

Public Discussion How to collect digital art?January 13th, 2016

Participants ��Johannes Grenzfurthner��PRGHUDWRU�DQG�DUWLVW�Dirk Paesmans��DUWLVW�Axel Stockburger��DUWLVW�DQG�WKHRULVW�Hampus Lindwall��FROOHFWRU�

JG: )LUVW�RI�DOO�,�ZRXOG�OLNH�WR�H[SODLQ�ZK\�,�DP�LQWHUHVWHG�LQ�FROOHFWLQJ�́ 'LJLWDO�$UWµ��7R�VWDUW�ZLWK��P\�QDPH�LV�-RKDQQHV�*UHQ]-furthner and I am the founder of “mono-FKURPµ�WRJHWKHU�ZLWK�*�QWKHU�)ULHVLQJHU��,�KDYH�EHHQ�GRLQJ�DUW�DQG�DFWLYLVP�IRU�WKH�ODVW�WZHQW\�\HDUV�DQG�,�DP�OLYLQJ�LQ�WKH�86�DQG�LQ�9LHQQD��,�MXVW�ÀQLVKHG�D�GRFXPHQWD-U\�DERXW�́ QHUG�FXOWXUHµ�DQG�́ GLJLWDOLW\µ��7KH�ELJJHVW�SUREOHP�IRU�PH�ZDV�JHWWLQJ�P\�hands on the archives, because there is GHDG�PHGLD�HYHU\ZKHUH��0DWHULDO�VHPDQ-WLFV�LV�YHU\�LPSRUWDQW�WR�PH��+RZ�FDQ�ZH�PDNH�VRPH�ZRUNV�UXQ�DJDLQ"�6R�$[HO�

6WRFNEXUJHU�WHOO�XV�ZKDW�LV�\RXU�DSSURDFK�to the panel?

AS: ,�DP�D�́ 'LJLWDO�$UWµ�FROOHFWRU��,�JXHVV�,�share this with most people here. We are DOO�FROOHFWLQJ�DQG�VWRULQJ�́ 'LJLWDO�$UWµ�LQ�D�FHUWDLQ�ZD\��2QH�TXHVWLRQ�IRU�PH�LV�ZKDW�does it mean to own an artwork that can EH�HDVLO\�FRSLHG��$UH�WKHUH�QHZ�ZD\V�RI�SRVVHVVLQJ�DQG�RZQHUVKLS"�$�ORW�RI�P\�DUWLVWLF�ZRUN�GHDOV�ZLWK�WKHVH�TXHVWLRQV��:KDW�GRHV�LW�PHDQ��ZKHQ�VRPHWKLQJ�WKDW�FDQ�EH�HDVLO\�FRSLHG�DQG�WKXV�ORVH�WKH�HO-HPHQW�RI�VFDUFLW\�ZKDW�GRHV�WKLV�PHDQ�IRU�

the art market and the art context as such? :KDW�,�GLG�ZDV��,�HQFU\SW�WKH�DUWZRUN�DQG�JLYH�D�SULYDWH�NH\�WR�D�SRWHQWLDO�FROOHFWRU�VR�WKDW�KH�LV�WKH�RQO\�RQH�WR�VHH��ZKLOH�DQG�HYHU\ERG\�HOVH�FRXOG�RQO\�VHH�WKH�HQFU\SWHG�SLHFH�

DP: ,�DP�QRW�DQ�DUW�FROOHFWRU��0\�SRLQW�RI�view as an artist is that back at the time ZKHQ�ZH�VWDUWHG��ZH�ZHUH�VLPSO\�GRLQJ�LW��ZH�GLG�QRW�WKLQN�DERXW�DUFKLYLQJ��<RX�KDYH�WR�OHW�JR�D�OLWWOH�ELW��:H�WDONHG�DERXW�WKH�DHVWKHWLFV��:H�ZHUH�SDUW�RI�WKH�ÀUVW�QHW�H[SHULHQFHV��:H�ZHUH�QRW�WKLQNLQJ�DERXW�

f.l.t.r.: Hampus Lindwall, Dirk Paesmans, Johannes Grenzfurthner, Axel Stockburger

COLLABORATIONS

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135

FROOHFWLQJ�RU�PDNLQJ�PRQH\��ZH�ZHUH�MXVW�excited to have access to a mass medium. People from all over the world were react-LQJ�WR�ZKDW�ZH�GLG��$QG�WKDW�VWLOO�FRQWLQXHV�WRGD\�DQG�,�EHOLHYH�WKH�,QWHUQHW�LV�JHWWLQJ�wilder and wilder. :H�DFFHSWHG�IURP�WKH�EHJLQQLQJ�WKDW�D�EURZVHU�ZDV�GLIIHUHQW�HYHU\�\HDU��WKDW�WKH�SRVVLELOLWLHV�ZHUH�GLIIHUHQW��WKDW�HYHU\-WKLQJ�ZDV�FKDQJLQJ�DOO�WKH�WLPH��7KLV�ZDV�SDUW�RI�WKH�LQWHUHVWLQJ�SUREOHP��,I�,�ZDQW�WR�SURWHFW�P\�GHVLJQ�RU�LI�,�GRQ·W�ZDQW�LW�WR�ORRN�GLIIHUHQWO\��WKHQ�RI�FRXUVH�\RX�KDYH�WR�print it out on paper. I believe in a website, it is the easiest medium to collect and to EX\��,PDJLQH�\RX�RZQ�D�FKDQQHO�RQ�WKH�,QWHUQHW�

AS: +DPSXV�,�KDYH�D�TXHVWLRQ�IRU�\RX��,Q�\RXU�FROOHFWLRQ��DUH�\RX�ORRNLQJ�PRUH�IRU�these works that are ephemeral or online? ,V�WKDW�D�FULWHULRQ�IRU�\RX"

HL: 1R��RQO\�WKH�TXDOLW\�RI�WKH�ZRUN�LV�LP-portant to me. I am not a fetishist in terms RI�WKH�PHGLD�DQG�,�GR�QRW�OLNH�-2',V·�ZRUN�because it is online. I like it for what it is.

AS: ,W�LV�IXQQ\�WKDW�ZH�DUH�WDONLQJ�DERXW�´'LJLWDO�$UWµ�EHFDXVH�WKH�GLJLWDO�VWDQGV�more or less for the production methods, which are used for most of the art pro-GXFHG�WKHVH�GD\V��:KDW�LQWHUHVWV�PH�LQ�particular is what it is like to own some-WKLQJ�WKDW�HYHU\ERG\�FDQ�VHH�IRU�IUHH"�7KLV�is different than a conceptual work from the 1960s. When it is online, it becomes HSKHPHUDO��FKDQJHV�LWV�VKDSH�DQG�LW�HYHQ�FDQ�EH�JRQH�WKH�QH[W�GD\��

HL: 7KDW·V�SHUIHFW�IRU�PH�EHFDXVH�,�DP�QRW�a jealous person.

DP: <RX�GRQ·W�QHHG�D�JDUGHQ�WR�GLVSOD\�LW���HYHU\ERG\�ODXJKLQJ�

HL: :KHQ�\RX�OLNH�VRPHWKLQJ�\RX�DOVR�OLNH�WR�WDNH�FDUH�RI�LW��$QG�RI�FRXUVH�LW�JLYHV�WKH�DUWLVW�WKH�SRVVLELOLW\�WR�GR�DQRWKHU�SLHFH��/HW·V�WDNH�IRU�H[DPSOH�D�ZHEVLWH�E\�5DIDsO�Rozendaal. He developed a certain con-WUDFW��WKDW�\RX�DUH�UHVSRQVLEOH�IRU�NHHSLQJ�WKH�ZHEVLWH�DOLYH��ZKLFK�PHDQV�\RX�KDYH�WR�SD\�WHQ�HXURV�D�\HDU�IRU�WKH�GRPDLQ�DQG�do updates.

DP: ,�PHDQ�WU\�WR�EX\�EXEEOH�ZUDS����HYHU\-ERG\�ODXJKLQJ�

HL: $QG�LI�\RX�KDYH�WR�XSGDWH�D�ZHESDJH�\RX�FDQ�SD\�VRPHERG\�ZKR�FDQ�UHSUR-JUDP�LW�DQG�LW�FRVWV�OHVV�WKDQ�DQ\�RWKHU�DUW�conservator.

DP: )RU�H[DPSOH�P\�ZHEVLWH�ZZZ�JHR-JRR�QHW�ZKLFK�LV�D�KDFN�RI�́ *RRJOH�0DSV´�WKDW�ZLOO�VRRQ�VWRS�ZRUNLQJ�SK\VLFDOO\��:KHQ�\RX�KDFN�LQWR�D�FRPPHUFLDO�V\VWHP�DQG�\RX�PHVV�ZLWK�WKH�ELJ�EURWKHUV��\RX�VWHDO�WKLQJV�IURP�WKHP��WKDW�FDQQRW�JR�RQ�forever.

JF: 6R�\RX�PDGH�D�GRFXPHQWLQJ�ÀOH�RI�LW�DV�\RX�ZRXOG�GR�IRU�D�SHUIRUPDQFH�

HL: (YHU\ERG\�VKRXOG�EX\�D�ZHEVLWH��,W�LV�WKH�EHVW�ZD\�WR�NQRZ�KRZ�LW�IHHOV�WR�RZQ�one.I want to possess art that makes me think LQ�QHZ�GLUHFWLRQV��6RPHWKLQJ�WKDW�FKDQJHV�PH��,I�\RX�SXW�WKH�PRQH\�\RX�KDYH�HDUQHG�LQWR�DQ�DUWZRUN�DQG�SHRSOH�DFWXDOO\�VHH�WKLV��,�DP�WDONLQJ�DERXW�PXVHXPV��LQVWLWX-WLRQV�DQG�RWKHUV��WKH\�VD\��LI�SHRSOH�DUH�EX\LQJ�WKLV��ZH�DOVR�VKRXOG�ORRN�LQWR�LW��This show would not have happened if $ODLQ�6HUYDLV�DQG�,�KDG�QRW�KDYH�ERXJKW�all this art. Museums are like libraries that FRQWDLQ�WKH�FXOWXUH�RI�WKH�VRFLHW\�RI�RXU�time. I want to contribute to that. I think this LV�DQ�LPSRUWDQW�UROH�ZH�SOD\�DV�FROOHFWRUV��7KDW·V�DOVR�ZK\�LW�LV�LPSRUWDQW�WR�RZQ�D�website.

AS: 7KH�JDWHNHHSHU��LW�PDNHV�WRWDO�VHQVH�

HL: $QG�ZKHQ�\RX�FOLFN�RQWR�WKH�EURZVHU�\RX�VHH�́ &ROOHFWLRQ�RI�+DPSXV�/LQGZDOO��IDOOLQJIDOOLQJ�FRP�KDV�����PLOOLRQ�YLHZV�SHU�\HDU��,W�LV�FUD]\��WKHUH�LV�SHUKDSV�RQO\�the Mona Lisa at the Louvre who has that PDQ\�YLVLWRUV�

AS: 7KLV�LV�ZKDW�)HOL[�6WDOGHU�FDOOVࡐ�SRV-VHVVLRQ�WKURXJK�DVVRFLDWLRQ´��No RIIHQVH��WKLV�LV�DOVR�ZKDW�ELJ�HQWHU-SULVHV�GR�ZLWK�VSRQVRUVKLS��1RUPDOO\�WKH�price has to do with value of the work. But I WKLQN�LW�LV�LQWHUHVWLQJ�WKDW��QRZDGD\V�WKHUH�LV�WKLV�QHZ�DXGLHQFH�DOVR�SOD\LQJ�D�UROH�LQ�creation of the price. This amount of hits

online also becomes a voice. It is interest-LQJ�WR�ORRN�DW�KRZ�IXQFWLRQV�RI�FKDQQHOL]D-WLRQ�FKDQJH�ZLWK�́ 'LJLWDO�$UWµ�

HL: 6R�WKDW�WKHUH�LV�QR�LOOXVLRQ��WKHVH�����PLOOLRQ�SHRSOH�SUREDEO\�GR�QRW�OLNH�WKH�piece. It is linked from a website, that is called “the useless web“. This website is TXLWH�IXQ��7KHUH�LV�DQRWKHU�\RXWXEH�YLGHR�WKDW�VD\V�́ WKH�PRVW�IXFNHG�XS�LQWHUQHW�VLWH�HYHU´�DQG�LW�WDONV�DERXW�RQH�RI�-2',·V�pieces. (everybody ODXJKLQJ�So what does this mean? It is not just IXQQ\��LI�SHRSOH�DUH�UHDFWLQJ�VR�DFWLYHO\�WR�WKRVH�SLHFHV��,W�PHDQV�WKDW�WKH\�DUH�DFWXDOO\�UDLVLQJ�TXHVWLRQV�

DP: $W�WKH�EHJLQQLQJ�ZH�GHVFULEHG�RXU�ZRUN�DV�GLJLWDO�PDWHULDO��:H�QHHGHG�WR�GR�VRPH�FRGLQJ��LQ�RUGHU�WR�FUHDWH�WKHVH�LPDJHV��7KLV�VHFRQG�OD\HU��LQ�D�FHUWDLQ�VHQVH��EHFDPH�PDWHULDOLW\��$QG�WKHQ�ÀQDOO\�ZH�FRXOG�HYHQ�GLVWULEXWH�RXU�YLGHRV�ourselves. This was liberation out of frus-WUDWLRQ��:H�ZDQWHG�WR�ÀJKW�EDFN�WHOHYLVLRQ��We could never show our videos on TV channels, except in the 1960s and 1970s on some local TV channels.The ,QWHUQHW�EULQJV�WKLQJV�D�ORW�IXUWKHU��7KLV�ZDV�QR�ORQJHU�MXVW�LQ�WKH�FLW\�RI�$P-sterdam, but visible on the whole planet.

AS: 7KHUH�LV�RQH�WKLQJ�WKDW�ZH�VWLOO�KDYH�QRW�GLVFXVVHG�\HW��ZK\�LV�WKHUH�VXFK�D�ODFN�of public collections of these works. These SLHFHV�DUH�YHU\�LPSRUWDQW�IRU�XQGHUVWDQG-LQJ�RXU�WLPH�

HL: ,W�LV�EHFDXVH�WKH�SHRSOH�P\�DJH�DUH�QRW�PXVHXP�GLUHFWRUV�\HW��,�JUHZ�XS�ZLWK�WKH�,QWHUQHW�DQG�FRPSXWHU�JDPHV��WKHVH�WKLQJV�DUH�QRUPDO�WR�PH��%XW�,�WKLQN�LI�\RX�KDYH�QRW�EHHQ�VXUURXQGHG�E\�LW�DOO�WKH�WLPH��LW�LV�VWLOO�D�OLWWOH�ELW�WRR�ULVN\�IRU�VRPH��

JG: We will see how this all will develop in WKH�IXWXUH��7KDQN�\RX�DOO�IRU�FRPLQJ�

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136 CCC Newspaper #4 Mankind / Machinekind

COLLABORATIONS

/L]YO[��$7��������XQG�+DQV�%HUQKDUG��&+�86$��������VLQG�]ZHL�.�QVWOHU,QQHQ��GLH�mit Installation, Foto, Video, Code und Performance arbeiten und das Kollektiv h%(5025*(1�ELOGHQ��,KU�0RWWR��¶GRLQJ�VWUDQJH�WKLQJV�ZLWK�VRIWZDUH��KDUGZDUH·��8%(5025*(1�NDQQ�]XU�DYDQWJDUGLV-WLVFKHQ�1HW�$UW�%HZHJXQJ�GHU�����HU�-DKUH�JH]lKOW�ZHUGHQ��'LH�N�QVWOHULVFKH�Arbeit des Duos kann in der Tradition der Konzeptkunst, des Dadaismus und :LHQHU�$NWLRQLVPXV�JHVHKHQ�XQG�DOV�GLJLWDOHU�$NWLRQLVPXV�EH]HLFKQHW�ZHUGHQ��Hierbei wird das Prizip des Aktionismus DXI�GHQ�GLJLWDOHQ�5DXP��EHUWUDJHQ��ZREHL�GLH�PDVVHQPHGLDOHQ�.DQlOH�GHV�:RUOG�Wide Webs und Social Networks als Plat-tform dienen. Die Arbeit der Beiden wird DOV�0HGLD�+DFNLQJ��5HFKHUFKH�EDVLHUWH�Kunst, Newspeak, Installation, online Per-formances und Aktionismus bezeichnet, ZREHL�YHUVFKLHGHQH�0HGLHQ�JHPL[W�XQG�$NWLRQHQ�GXUFKJHI�KUW�ZHUGHQ��6R�KDEHQ�GLH�%HLGHQ�EHLVSLHOVZHLVH�ZlKUHQ�GHV�86�Wahlkampfs im Jahr 2000 die Webseite ·9RWH�$XFWLRQ·�LQVWDOOLHUW��DXI�GHU�DPHULNDQ-LVFKH�6WDDWVE�UJHU�LKUH�:DKOVWLPPH�GHU�meistbietenden Partei verkaufen konnten. &11�EH]HLFKQHWH�GLH�6WUDWHJLH�KLQWHU�der Wahlstimmen-Verkaufsplattform als �PDYHULFN�DXVWULDQ�EXVLQHVVPDQ´�XQG�GDVࡐ86�DPHULNDQLVFKH�2QOLQHPDJD]LQ�6DORQ�FRP�VFKULHE��W�ZDV�NLQG�RI�D�KLJK�FRQFHSW,ࡐ�VDWLUH�RQ�WKH�HOHFWLRQ�LQGXVWU\´��8QWHU�GHP�6ORJDQ�́ %ULQJLQJ�FDSLWDOLVP�DQG�GHPRFUD-]\�FORVHU�WRJHWKHU�µ�EHZHJWH�VLFK�GLH�$NWLRQ�DP�5DQGH�GHU�/HJDOLWlW�XQG�I�KUWH�]X�HLQHP�(LQUHLVHYHUERW�GHV�.�QVWOHUGXRV�LQ�GHQ�86$�������ELV������������VWDUWHW�8%(5025*(1�GLH�7ULRORJLH�(.05=�EHVWHKHQG�DXVࡐ�*(:(,���JRRJOH�ZLOO�HDW�LWVHOI´ࡐ��$PD]RQ�1RLU���7KH�ELJ�

ERRN�FULPH´�XQGࡐ�WKH�VRXQG�RI�H%D\´��'LH�NULWLVFKH�$XVHLQDQGHUVHW]XQJ�PLW�GHQ�:HEJLJDQWHQ�VWHKW�KLHUEHL�LP�9RUGHU-JUXQG��ZREHL�0HWKRGHQ�]XU�́ 6HOEVDE-VFKDIIXQJ´�HLQJHOHLWHW�ZHUGHQ��6R�ZLUG�EHLVSLHOVZHLVH�EHL�*:(,�GXUFK�GHQ�9HU-NDXI�YRQ�:HUEHÁlFKHQ�DQ�*RRJOH��GHP�HLQ�*RRJOH�$NWLHQNDXI�IROJW��HLQ�́ $XWRNDQ-LEDOLVPXV´�HU]HXJW��'DV�IUDQ]|VLVFKH�%ODWW��LEpUDWLRQ´�EH]HLFKQHWH�GLHVH�$NWLRQ�DOV/ࡐ¶XQ�SODQ�PDFKLDYpOLTXH·�XQG�GLH�1==�DOV�¶VDFKOLFKH�XQG�SHUYHUVH·�.RQ]HSWNXQVW��Die Arbeiten zeichnen sich durch kontinui-HUOLFKH�XQG�NULWLVFKH�$XVHLQDQGHUVHW]XQJ�PLW�PDVVHQ�PHGLDOHQ�3KlQRPHQHQ�XQG�DNWXHOOHQ�JHVHOOVFKDIWOLFKHQ�(QWZLFN-OXQJHQ�DXV��,KUH�,QV]HQLHUXQJHQ�ÀQGHQ�sowohl im realen als auch im virtuellen 5DXP�VWDWW�XQG�VWHOOHQ�XQJHQLHUW�XQG�PLW�JUR�HU�3Ul]LVLRQ�PRUDOLVFKH�XQG�HWKLVFKH�*UHQ]YHUOlXIH�]XU�'LVNXVVLRQ��7KHPHQ-felder wie der zunehmende Verfall der demokratischen Strukturen, die Veran-VFKDXOLFKXQJ�GLJLWDOHU�hEHUZDFKXQJVV]H-QDULHQ�XQG�YRU�DOOHP�GLH�'DUVWHOOXQJ�LPSH-ULDOHU�.ULHJVPHFKDQLVPHQ�PDFKHQ�VLH�LP�(QGHIIHNW�GXUFK�LKUH�$UEHLWHQ�VLFKWEDU�,P�5DKPHQ�GHU�&&&���$XVVWHOOXQJ�LQ�GHQ�.ULQ]LQJHU�3URMHNWHQ�]HLJW�8%(5-025*(1�LKUH�$UEHLW�2OGLI\�/DLZD��+LHU�VWHKW�GDV�GLJLWDOH�%LOG�LP�0LWWHOSXQNW��-H�QDFK�WHFKQLVFKHP�7UlJHU�HLQHV�%LOGHV�YHUlQGHUW�VLFK�GLH�$XÁ|VXQJ�XQG�GDV�$OWHU�der Person. Die Arbeit ist als kritischer Diskurs mit der manipulativen Selbst-GDUVWHOOXQJ�EHLVSLHOVZHLVH�GXUFK�6HOÀHV�]X�EHJUHLIHQ��

7DO\RU�+ROODQG�ERUQ�LQ������LV�DQ�$PHUL-FDQ�DUWLVW�OLYLQJ�LQ�3DULV��)UDQFH�H[SORULQJ�WKH�QH[XV�RI�WHFKQRORJLFDO�GRPDLQV�DQG�SK\VLFDO�UHDOLW\�WKURXJK�VFXOSWXUH��ZHE�VLWHV��SDLQWLQJV��SKRWRJUDSK\��YLGHR��animations, and screenshots. In addition to his art practice, he is a professor at the 3DULV�&ROOHJH�RI�$UW�

'XULQJ�KLV�WDON�KH�ZDV�SUHVHQWLQJ�D�QRWDEOH�SURMHFW��WKDW�LV�FDOOHG�́ )UD>PHV@µ��ZKHUH�DQWLTXH�IUDPHV�DUH�ÀOOHG�ZLWK�WKHLU�RZQ�FRQWHQW�XVLQJ�FXVWRP�PROGV�EXLOW�IURP�GLJLWDO�SURFHVVHV��8WLOL]LQJ�WKH�LQWULFDWH�FUDIWVPDQVKLS�RI�WUDGLWLRQDO�IUDPHPDNLQJ�LQ�WKH�FRQWH[W�RI�FRQWHPSRUDU\�DUW��DQWLTXH�IUDPHV�DUH�ÀOOHG�ZLWK�WKHLU�RZQ�FRQWHQW�XVLQJ�FXVWRP�PROGV�FUHDWHG�IURP�GLJLWDO�SURFHVVHV��7KLV�SURMHFW�ZDV�ERUQ�GXULQJ�UHSHDWHG�YLVLWV�WR�WKH�0XVpH�GX�/RXYUH�LQ�Paris, where the artist came to appreciate WKH�VWXQQLQJ�RUQDPHQWDO�FKDUDFWHULVWLFV�RI�DQWLTXH�IUDPHV�DQG�ZDV�LQVSLUHG�WR�EHJLQ�H[SORULQJ�WKH�LGHD�RI�WUDQVIRUPLQJ�WKH�XQGHUDSSUHFLDWHG�DUW�RI�IUDPHPDNLQJ�from its conventional use as decoration DQG�LQWR�ÀQH�DUW��7R�FUHDWH�WKH�SLHFHV�WKH�DUWLVW�ZRUNV�FORVHO\�ZLWK�D�WHDP�IURP�6DLQWKLOO�/LMVWHQ��D�IUDPHPDNLQJ�ZRUNVKRS�in Haarlem, Netherlands, whose clients include art dealers, private collectors and museums such as the Rijksmuseum and 9DQ�*RJK�PXVHXP�LQ�$PVWHUGDP�DQG�the Orientalist Museum in Doha, Qatar. 7KH�SURFHVV�EHJLQV�ZLWK�WKH�VHOHFWLRQ�RI�DQ�DQWLTXH�IUDPH�WR�EH�XVHG�LQ�SURGXFWLRQ�of the artwork. The frames come from a private collection via auction houses. The IUDPH�LV�WKHQ�SKRWRJUDSKHG�DQG�D�GLJLWDO�DOJRULWKP�LV�HPSOR\HG��UHVXOWLQJ�LQ�DQ�RUJDQLF��UHQGHUHG�ELW�PDS�ZKLFK�LV�XVHG�DV�D�JXLGH�LQ�WKH�FUHDWLRQ�RI�WKH�WKUHH�GLPHQ-sional work. Composite pieces are then made from custom molds, which replicate the ornaments of the frame. The pieces IURP�WKH�PROG�DUH�SLHFHG�WRJHWKHU�OLNH�D�SX]]OH��WKHQ�IXVHG��JLOGHG��EXUQLVKHG�DQG�

UBERMORGENDonnerstag, 26.November, 2015

Taylor HollandDecember 10th, 2015

Artist Talks

Teilnehmer: Lizvlx��8%(5025*(1�Ruth Schnell �8QLY�3URI��XQG�/HLWXQJ�GHU�$EWHLOXQJ�'LJLWDOH�.XQVW�� 8QLYHUVLWlW�I�U�DQJHZDQGWH�.XQVW�:LHQ�

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137

-RKQ�*HUUDUG���ERUQ����-XO\�������LV�DQ�,ULVK�DUWLVW��ZRUNLQJ�LQ�'XEOLQ�DQG�9LHQ-na, best known for his sculptures, which W\SLFDOO\�WDNH�WKH�IRUP�RI�GLJLWDO�VLPXOD-WLRQV�GLVSOD\HG�XVLQJ�5HDO�WLPH�FRPSXWHU�JUDSKLFV�

*HUUDUG·V�ZRUNV�FRQFHUQ�WKHPVHOYHV�ZLWK�WKH�QDWXUH�RI�FRQWHPSRUDU\�SRZHU�LQ�WKH�EURDGHVW�VHQVH��HSLWRPLVLQJ�WKH�VWUXFWXUHV�RI�SRZHU�DQG�WKH�QHWZRUNV�RI�HQHUJ\�WKDW�characterized the massive expansion and LQWHQVLÀFDWLRQ�RI�KXPDQ�HQGHDYRXU�WKDW�WRRN�SODFH�GXULQJ�WKH�WZHQWLHWK�FHQWXU\��0DQ\�ZRUNV�KDYH�IHDWXUHG�JHRJUDSKLFDOO\�isolated industrial facilities that are a hid-GHQ�SDUW�RI�WKH�JOREDO�SURGXFWLRQ�QHWZRUN�WKDW�PDNHV�WKH�OX[XULHV�RI�FRQWHPSRUDU\�life possible.

$V�(PLO\�+DOO�ZURWH�LQ�$UW)RUXP�*HUUDUG·V�ÀQH�EDODQFH�RI�FRQFHSW��FRQ-WHQW��DQG�PDWHULDO�VXJJHVW�D�WKHPH�DQG�variations on the theme of the virtual. The FRPSXWHU�JHQHUDWHG�ODQGVFDSHV�EULQJ�to mind, of course, virtual worlds, video JDPHV��VSHFLDO�HIIHFWV�²�WKDW�LV��ZD\V�RI�SURGXFLQJ�XQUHDOLWLHV��+HUH�WKH�IRUPDW�PDQLIHVWV�VRPHWKLQJ�TXLWH�UHDO��DOEHLW�DW�WKH�SHULSKHU\�RI�PRVW�RI�RXU�ZRUOGV�²�WKH�discomfort of this admission is part of the ZRUN·V�LPSDFW�²�VLQFH�IRU�PDQ\�RI�XV��WKH�arrival of food in our markets and the avail-DELOLW\�RI�RLO�DUH�WKLQJV�ZH�WDNH�RQ�IDLWK��LI�we think about them at all. Their existence remains provisional – more or less virtual ²�ZKHWKHU�LQ�OLIH��RQ�D�JDOOHU\�ZDOO��RU�RQ�D�computer chip.

$OWKRXJK�OLDEOH�WR�EH�PLVWDNHQ�IRU�WLPH�EDVHG�PHGLD��YLGHR�RU�ÀOP��ZRUNV��*HUUDUG·V�ZRUNV�DUH�FRQVWUXFWHG�DV�VLPXODWLRQV�RU�YLUWXDO�ZRUOGV��XVLQJ��'�5HDO�WLPH�FRPSXWHU�JUDSKLFV�²�D�WHFK-QRORJ\�RULJLQDOO\�GHYHORSHG�IRU�PLOLWDU\�XVH��DQG�QRZ�XVHG�H[WHQVLYHO\�LQ�WKH�YLGHRJDPH�LQGXVWU\��$OWKRXJK�PDNLQJ�XVH�

RI�DGYDQFHG�GLJLWDO�WHFKQRORJ\��*HUUDUG·V�work has been noted for its resistance WR�EHLQJ�FDWHJRULVHG�DV�¶QHZ�PHGLD�DUW·��*HUUDUG�KLPVHOI�UHJDUGV�UHDOWLPH��'�DV�D�medium that enables him to work with time LQ�QHZ�ZD\V��&UHDWLQJ�YLUWXDO�ZRUOGV�ZKLFK�include time as one of their dimensions allows time to become a sculptural com-SRQHQW��+H�UHJDUGV�LW�DV�¶D�SRVW�FLQHPDWLF�medium in which one can manipulate and LQWHUDFW�ZLWK�WLPH�LQ�QHZ�ZD\V·��+H�KDV�also said that the works constitute a con-WLQXLQJ�UHÁHFWLRQ�XSRQ�KLV�RZQ�WLPH��¶WKHVH�PHODQFKROLF�UHDOPV�DUH�LQ�VRPH�ZD\�D�URDG�PRYLH�RI�WKH�7ZHQWLHWK�&HQWXU\��D�UHYLVLWLQJ�RI�WKH�H[WUDRUGLQDU\�FRPIRUWV�DQG�IUHHGRPV�WKDW�,·YH�H[SHULHQFHG�·7KH�HHULH�K\SHUUHDOLVP�WKDW�FKDUDFWHULVHV�WKH�PHGLXP��DQG�*HUUDUG·V�FKRLFH�RI�LQGXVWULDO�subjects, has led some to compare his ZRUN�ZLWK�&KDUOHV�6KHHOHU·V�¶SUHFLVLRQ-LVP·��*HUUDUG·V�LQWHUHVW�LQ�PLQLPDOLVP�DQG�SRVWPLQLPDOLVP��LQ������KH�ZURWH�D�SRVWJUDGXDWH�SDSHU�RQ�VDPHQHVV�DQG�GRXEOLQJ�LQ�WKH�ZRUN�RI�5RQL�+RUQ�DQG�)pOL[�*RQ]iOH]�7RUUHV��LV�HYLGHQW�LQ�WKH�SK\VLFDO�SUHVHQFH�RI�KLV�LQVWDOOHG�REMHFWV��ZKLFK�DUH�SUHVHQWHG�HLWKHU�DV�ODUJH�VFDOH�projections that often push the boundar-LHV�RI�H[LVWLQJ�WHFKQRORJ\��RU�DV�FRPSDFW�¶DUWER[HV·��GHVLJQHG�LQ�FROODERUDWLRQ�ZLWK�,QVHT��DQ�LQGXVWULDO�GHVLJQ�ÀUP�LQ�9LHQQD��/LNH�+RUQ�DQG�*RQ]DOH]�7RUUHV��*HUUDUG·V�work can be seen as somewhat undermin-LQJ�WKH�PDVFXOLQH�FRQÀGHQFH�DQG�DJJUHV-sion of minimalism, as it makes explicit the UHODWLRQVKLS�EHWZHHQ�WKH�¶VSHFLÀF�REMHFWV·�RI�PLQLPDOLVP�DQG�¶UHDO�ZRUOG·�SURFHVVHV�of industrialisation and virtualisation. Ref-HUHQFHV�WR�WKH�SKRWRJUDSK\�RI�%HUQG�DQG�+LOOD�%HFKHU�FDQ�DOVR�EH�UHDG�LQ�*HUUDUG·V�aloof treatment of industrial structures.

Taylor HollandDecember 10th, 2015

John GerrardJanuary 22th, 2016

GLVWUHVVHG�WR�PDNH�WKHP�YLVXDOO\�FRPSDW-LEOH�ZLWK�WKH�IUDPH�LWVHOI��)LQDOO\��WKH�DUW�work is installed in the frame to complete WKH�XQLTXH�FRPSRVLWLRQ��7KH�HQG�UHVXOW�LV�DQ�RULJLQDO��RQH�RI�D�NLQG�PHWD�YLVXDO�ZRUN�ZKLFK�FORVHO\�DSSUR[LPDWHV�WKH�RULJLQDO�GLJLWDO�PRGHO�DQG�XQLÀHV�WKH�IUDPH�ZLWK�WKH�interior artwork.

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138 CCC Newspaper #4 Mankind / Machinekind

INDEX OF WORKS

Aids-3D Plato with Biometric Overlay, 2009 LQNMHW�SULQW�RQ�FDQYDV��DFU\OLF 150 × 100 cm

Bonneviot, Juliette Telepathic Jah A Rize, 2009 oil on canvas 120 × 160 cm

Bruno, Christophe Fascinum, 2001 ZHEVLWH��ZZZ�XQEHKDJHQ�FRP�fascinum/

Chen, Tianzhuo ADAHA II���������.�YLGHR����Ⱦ��ɇ

LINKS

Special Thanks to: Collection Famille Servais, Catharine Clark Gallery, Hampus Lindwall Collection, Robert D. Bielecki Foundation, Li Zhen and Long March Space

Cheng, Ian Thousands Islands Thousand Laws, 2013, live simulation, infinite duration, sound

Cortright, Petra Arrows Krystel W Sounds, 2013, flash animation

Gerrard, John Grow Finish Unit (Eva, Oklahoma), 2013, realtime 3D video, plasma screen, artists corian frame

Holland, Taylor 1840s GERMAN NEO-ROCOCO, ������JROG�OHDI��ZRRG��FRPSRVLWH��SDLQW 42.5 × 34.5 × 4 cm

JODI GEO GOO��������ZHEVLWH��JHRJRR�QHW

Michel, Jean-Baptiste I want to be your idea of perfect, 2014 wood, steel, off-the-shelf electronics, code, 7.5 × 97 × 5.5 cm

Mohr, Manfred P-777m, 2004, computer and screen, software

Rafman, Jon Mexico 45, Silao Guanajuato, Mexico, ������DUFKLYDO�SLJPHQW�SULQW�RQ�GLERQG 101.6 × 162.6 cm Calle de Osona, Santa Perpetua de Mogoda, Spain��������DUFKLYDO�SLJPHQW�print on dibond 101.6 × 162.6 cm

Reese, Ligorano I AM I, 2013 ZRYHQ�ILEUH�RSWLF�WKUHDG��DFU\OLF��metall, custom electronic and custom software 96 × 58 cm

Roth, Evan Slide to Unlock, 2013 ODPEGD�SULQW�RQ�DFU\OLF�RQ�GLERQG� 73 × 117 cm

Rozendaal, Rafaël fallingfalling.com, 2011, website

UBERMORGEN Oldify™ Laiwa and Oldify Sarah, 2013 direct print on aluminium composite, CCTV Camera each 186 × 140 cm

aktnz.com/aids-3d — Aids-3D

juliettebonneviot.com — Juliette Bonneviot

christophebruno.com — Christophe Bruno

tianzhuochen.com — Tianzhuo Chen

LDQFKHQJ�FRP� ³�,DQ�&KHQJ

SHWUDFRUWULJKW�FRP� ³�3HWUD�&RUWULJKW

MRKQJHUUDUG�QHW� — John Gerrard

WD\ORUKROODQG�FRP� ³�7D\ORU�+ROODQG

ZZZZZZZZZ�MRGL�RUJ� — JODI

jeanbaptistemichel.com — Jean Baptiste Michel

emohr.com — Manfred Mohr

jonrafman.com — Jon Rafman

OLJRUDQRUHHVH�QHW� ³�/LJRUDQR�5HHVH

evan-roth.com ³�(YDQ�5RWK

newrafael.com — Rafael Rozendaal

XEHUPRUJHQ�FRP� — Lizvlx and Hans Bernard

twitter.com/aservais1

hampuslindwallcollection.com — Hampus Lindwall Collection

UGEI�RUJ�— Robert D.Bielecki Foundation

GRPHQLFRTXDUDQWD�FRP�ERRNV

aldalacollection.com — David Diamond Collection

Les gardiens de la mémoire KWWS���JRR�JO�0X\$=D�

What is Digital Art? KWWS���JRR�JO�+�+L:7

The History of Digital Art 1949 onwards #WTFisDigitalArt? KWWS���JRR�JO��/:'��

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This newspaper is published on the occasion of the exhibition Mankind / Ma-chinekind �����������²�����������FXUDWHG�E\�'RPHQLFR�4XDUDQWD�LQ�WKH�FRQWH[W�of CCC (Collectors Curators Collaborations).

Idea for the project:�'U��8UVXOD�.ULQ]LQJHU�Curator: Domenico Quaranta

([KLELWLRQ�RIÀFH��6RÀH�0DWKRL��%DUEDUD�6LHJHO��6WHOOD�5HLQKROG�5XGDV�� &RQVWDQWLQ�6FKHLEOHU��3HWHU�+RLVV��-DVKD�*UHHQEHUJExhibition technique:�6WDQLVODZ�3LZRZDUF]\N��6RÀH�0DWKRL��3HWHU�+RLVV��-DVKD�*UHHQEHUJ��/XDQ�%DMUDNWDUL��%DVWLDQ�6FKZLQG�VXSSRUWHG�E\�0LW�/RLGO�RGHU�&R��*PE+��*UD]Editor:�*DOHULH�.ULQ]LQJHU��.ULQ]LQJHU�3URMHNWH�Graphic design: Florian Hulan Photos:�.ULQ]LQJHU�3URMHNWH�Translation: Camilla Nielsen

Cover image: Aids-3D, Plato with Biometric Overlay, 2009, inkjet print on can-YDV��DFU\OLF�����ð�����FPBack cover image:�/LJRUDQR5HHVH��I AM I��������ZRYHQ�ÀEUH�RSWLF�WKUHDG��DFU\OLF��PHWDOO��FXVWRP�HOHFWURQLF�DQG�FXVWRP�VRIWZDUH����ð����FP�

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Curators Collectors Collaborations

8QGHU�WKH�&&&��&XUDWRUV�&ROOHFWRUV�&ROODERUDWLRQV��project collectors and curators are networked with the DLP�RI�GHYHORSLQJ�H[KLELWLRQV�EDVHG�RQ�WKH�YDULRXV�FROOHFWLRQV��RI�RSHQLQJ�XS�QHZ�SURVSHFWV�IRU�FROOHFWRUV�DQG�RI�DVVLVWLQJ�WKHP�LQ�WKH�DFTXLVLWLRQ�RI�ZRUNV�RI�DUW�IURP�*DOHULH�.ULQ]LQJHU��DQG�RWKHU�JDOOHULHV���7KH�JDOOHU\�VXSSRUWV�FROOHFWRUV�LQ�WKH�SURIHVVLRQDOL]DWLRQ�RI�WKHLU�SXUFKDVLQJ�SROLF\�DQG�WKXV�KRSHV�WR�FUHDWH�D�

ODVWLQJ�EXVLQHVV�UHODWLRQVKLS�ZLWK�WKHP��7KHVH�DFWLYLWLHV�VKDOO�FRQWULEXWH�WR�EXLOGLQJ�XS�D�VWURQJ�market which in turn attracts new collectors. Galerie .ULQ]LQJHU�LQYLWHV�QDWLRQDO�DQG�LQWHUQDWLRQDO�FXUDWRUV�WR�GR�UHVHDUFK�RQ�SULYDWH�FROOHFWLRQV��ERWK�QDWLRQDO�DQG�LQWHUQDWLRQDO���WR�VWXG\�WKHVH�FROOHFWLRQV�IURP�DQ�art historical point of view and to develop exhibitions in WKH�SUHPLVHV�RI�.ULQ]LQJHU�3URMHNWH�WRJHWKHU�ZLWK�WKH�

collectors. Based on this cooperation the collectors themselves shall be able to assume the role of curator, WR�UHÁHFW�XSRQ�WKHLU�RQ�DFWLYLWLHV��WR�LGHQWLI\�WKHLU�SUHI-erences and to create visions. The curators have the RSSRUWXQLW\�WR�JDWKHU�H[SHULHQFH�DQG�WR�GHYHORS�KLJK�class exhibitions while the collectors are provided with VXSSRUW�DQG�FRQVXOWDQF\�IRU�HQODUJLQJ�WKHLU�FROOHFWLRQV�

6FKRWWHQIHOGJDVVH���1070 Vienna, Austria3KRQH���������������NULQ]LQJHUSURMHNWH#JP[�DWZZZ�JDOHULH�NULQ]LQJHU�DW�SURMHNWH

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COLOPHON

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