Jonas: Thank you for your introduction : ) Let me firstly apologise for my typo in your name when I first introduced you! I'm delighted you could join us. I think your net.art background brings a valuable perspective to this conversation. While the relationship between arts and digital is seen by many in the contemporary art sector as something fairly new, your fluency, craft and critical understanding of code, digital culture and networked contexts highlights the long established relationship between new media artists and new technologies, known to everyone on this list.
In projects such as FOMO, The Top 100 Highest Ranked Curators In The World and Flip City you expose often hidden mechanisms and behaviours at play in the art world and commercial art market, while simultaneously utilising those mechanisms, mobilising those behaviours and accessing its infrastructure. By critically interrogating art production, the practice of curation and the art world more generally through the lens of algorithms and big data (the language, practices and culture of digital), you provide a deeply informed yet 'outside' perspective of the contemporary art field. I am reminded of Tatiana's descriptions of disruptive artistic practices and interventions, (interview highlighted by Heather), it feels like you are doing something similar within an arts framework? Learning and working within the arts in order to critique and suggest other, as you say, potentially better systems?
As art worlds proliferate and collaborate more with each other and other sectors via technology based programmes and projects, I wonder how self aware we are of these evolving behaviours and mechanisms as a sector? The impact of digital technologies has heralded a radical reconsideration of the theoretical and practical role, function and value of art and the wider art ecology in civic society. I am interested in hearing how satisfied are we in how we are articulating our motivations, values, working practices and role both for ourselves and to our collaborators?
You explore our constantly evolving online (browser) behaviours online with projects such as Pubic Access Me. The project also exposes issues around online privacy and reveals the tightly controlled formats and platforms made available to us by corporate providers. I was very interested in hearing more about your experiences of the Seven on Seven event, organised by Rhizome. You worked with Michelle You (Co founder of Songkick) for 24 hours to 'develop something new'. This something new was the project eeeeemail.com. Using an existing, email service provider, eeeeemail.com randomly pairs logged in participants and exchanges sent emails from their account outbox between them. The work attempts to counter the tight, algorithmic, filtering infrastructure of social media platforms by searching for a way to create a sense of chance and serendipity in online interactions.
It would be interesting to hear more thoughts around the arts and commercial partners collaboratively creating 'authentic' experiences online.
Introduction: I am delighted to introduce Rachel Falconer to the conversation - another important voice in our developing field. Rachel is a curator and writer operating at the intersection of art, technology and networked behavior. She is currently Head of Art and Technology at SPACE. It would be great if you could say a few words about your interests and work at the Space and perhaps respond to some of the themes and ideas that have come up so far?
Looking forward to hearing more of the list's' thoughts, comments and experiences. : )
Suzy O'Hara
e:[log in to unmask]
t: 07891719319
twitter: @suzy_o_hara
PhD Researcher
www.crumbweb.org
www.intopractice.com
Curator & Arts Producer
Thinking Digital Arts
www.thinkingdigital.co.uk/arts
On 7 Mar 2015, at 00:39, Jonas Lund <[log in to unmask]> wrote:
> Hi everyone!
>
> Thanks so much for the invitation Suzy, looking forward to seeing how
> the conversations develop.
>
> Here's an intro & links to my practice & works
>
> For an overview – my favourite interview as of late with Annet Dekker
> published on Furtherfield a while back
> http://www.furtherfield.org/features/absurdity-art-speak-art-worlds-and-what-we-can-learn-big-data
>
> Studio Practice, 2014
> http://jonaslund.biz/works/studio-practice/
>
> For Studio Practice, Lund has transformed the gallery into an art
> production line by hiring four assistants who will work full time
> during the gallery’s open hours throughout the run of his exhibition.
> Their task is to produce work inspired by the guidelines set out in a
> 300 page book that Lund created expressly for them. Once a work has
> been completed, it will be reviewed online by an advisory board
> consisting of artists, art advisors, gallerists and collectors. The
> board will assess the work so that Lund can better decide whether the
> work should be signed or destroyed. The entire process will be
> publicly accessible in the gallery space and on a dedicated website
> (studio-practice.biz). The website will include live footage of the
> gallery, assessments of the advisory board as well as Lund’s final
> decision and comments regarding specific works.
>
>
> Flip City, 2014
> http://jonaslund.biz/works/flip-city/
>
> Steve Turner Contemporary is pleased to present Flip City, a solo
> exhibition by Amsterdam-based artist Jonas Lund, who will present a
> group of paintings that are inspired by the current appetite for
> process-based abstraction; the related trend of collectors/investors
> buying such works to flip them quickly for a profit; and the central
> role that Los Angeles has played in both realms.
>
> For Flip City, Lund will create forty digital paintings, of which a
> selection will be on view during the run of the exhibition and the
> others will be presented at art fairs in Europe, Latin America and the
> United States during the next twelve months. Each work has elements
> sampled from paintings by other emerging artists, yet Lund’s works are
> so thoroughly remixed that only a very astute observer might see
> familiar passages. Lund will install a GPS tracking device on the
> stretcher bar of each painting so that he can track its movements and
> approximate whereabouts. He will also maintain a website with this
> information in the years to come.
>
> See full documentation on http://flip-city.net
>
>
> The Fear of Missing Out, 2013
> http://jonaslund.biz/works/the-fear-of-missing-out/
>
> MAMA presents The Fear Of Missing Out, the latest exhibition by
> Swedish artist Jonas Lund (SE, 1984). The title derives from a social
> network induced anxiety condition. One brought on by trying to keep up
> with a rapidly moving world. A fear of constantly being one-step
> behind, in the wrong place, and missing out on the most exciting
> events. The Fear Of Missing Out proposes that it is possible to be one
> step ahead of the art world by using well-crafted algorithms and
> computational logic.
>
> The works in the show are the result of a computer algorithm written
> by Lund. By analysing and categorizing a wide range of artworks, by
> the most successful contemporary artists, a set of instructions were
> generated explaining, step by step, how to make the most successful
> works of art. The artist then simply made the work following the
> instructions. In The Fear of Missing Out, important categories from
> the art world such as authenticity, artistry, talent, and creativity
> are questioned. The title also refers to the urge to be a part of a
> transparent information society made up of an overarching digital
> network.
>
>
> Best,
>
> JONAS
> --
> http://jonaslund.biz
> http://twitter.com/jonas_lund
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