tentoonstellingen

Jonas Lund - Artist in Residence

  • Project van Baltan Laboratories en Eyebeam
  • Van: 20-11-12 tot: 18-12-12

Solotentoonstelling - Extra Muros : Van Abbe buiten de muren - Opmerkingen: Locatie: Studio NB. - Opening: 14/15-12-12 tijdens het symposium 'Collecting and presenting born-digital art'

De van oorsprong Zweedse kunstenaar Jonas Lund gaat tussen 20 november en 19 december aan de slag als artist-in-residence in de Studio van het Van Abbemuseum. De residency is georganiseerd door Baltan Laboratories (Eindhoven) en Eyebeam (NYC) met als thema "Cultural Economies". - For artists, shared residencies offer a context that's more than simply time and space to work. By residing at each partner organization, time and space is multiplied across locations and each location brings its own culture to the work. In this case, the collaborative potential between Baltan Laboratories in Eindhoven, the Netherlands, and Eyebeam Art + Technology Center in New York City is exponentially increased - both organizations are deeply committed to supporting the process of artistic creation from early stages through to the end project. This collaborative residency is organized around the theme of "Cultural Economies" with the goal of instigating new work that critically examines the ability of artists and artistic production to maintain large cultural relevance in an age of increasingly limited resources. Born in Sweden, Jonas Lund graduated from the Gerrit Rietveld Academie in 2009 and is currently pursuing a master at the Piet Zwart Institute in Rotterdam. His latest projects include The Paintshop. biz, Selfsurfing and an attempt to break the Guiness World Book Of Records of most comments on a Facebook post. 'There are five major ways for companies (and individuals) to make a profitable model; Advertisement, Subscription, Royalties, Freemium and Crowd Sourcing, all coming with their own set of problems and benefits. Looking at the art world at large, artists make money by Sales, Commissions and Sponsorship (private or governmental), which is hard for any artist and even more for artists working with net art, as it's less probable that any of the above methods will generate a steady income until you've reached a certain level of success.' 'The background to my interest in monetization of net art is connected to the outcomes of The Paintshop, which is successful in the collaborative creational process; since its launch, it has produced over 2,500 paintings but it performs rather poorly in regards of sales. So instead of looking into how I could optimize the market aspect of the Paintshop, I will explore the larger context. What's the incentives for purchasing net art online? What's the value of such purchase and what's the most important parameters to the value/incentive ratio?'

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