Ccc newspaper #4

CCC

NOVEMBER 2015

#4 GALERIE KRINZINGER KRINZINGER PROJEKTE

Newspaper

Mankind / Machinekind

CONTENTS

ARTISTS

Curators

AIDS-3D Juliette Bonneviot Christophe Bruno Ian Cheng Petra Cortright John Gerrard Jean-Baptiste Michel Manfred Mohr Jon Rafman JODI (Joan Heemskerk and Dirk Paesmans) Tianzhuo Chen Taylor Holland Evan Roth Raphael Rozendaal LigoranoReese UBERMORGEN

Domenico Quaranta 115 Press Werner Rodlauer 119 Roman Gerold 120 Michael Huber 121 Collectors Alain Servais 123 Hampus Lindwall 125 Robert D. Bielecki 126 Collaboration Rafael Lozano-Hemmer 129 Public Discussion 134 Artist Talks 136 Index 138 Colophon 139

EDITORIAL

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� 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.

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Curators Domenico Quaranta — Dear Collector Dear Collector, new set of creation and communication

one of the paradoxes of the weird time

art to respond to these topics and confront

world where politics, economics, social relationships and private life, and with

of communication; in this world the art

a sort of conservative, elitist niche. The label is used to describe it. There are

different levels the tools of their time. Look the collectors that offered pieces for this

more experimental, borderline situations and, of course, online.

software, 3D animations, interactive kind of committed collector who likes to the set of tools available to an artist, but

artists are committed to a set of concerns terms of media, and feel uncomfortable a techno-enthusiast and never will be; but, for betteror for worse, this has happened,

owners, collectors and institutions had

presented and discussed in specialized

This shift is both a culture, with its new set

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CURATORS

will start a discussion with them that will

when it makes sense; and the cultural

to deal with mechanical reproduction,

available on new devices. None of the people who downloaded it from the web owner, the teacher and the student, all in one.

do. If, in the future, it would become a to a mass audience. In this case, the

art auctions. I do research, I talk with

about a website? Or an animated GIF? Or a webcam video? Or a 3D model? Or an

art. As I mentioned before, most artists

circumvented and hacked. Moreover,

dear collector.

The same can be said for a website.

Ask the artist to store it on a device and

online presence, its dissemination and

with traditional and more stable media as

it still a website?

printed objects, installations with custom

the internet is a different kind of public space and communication media.

information is, of course, to support the

are unusual to a restorer in order to be

support the artist and help her develop a

be able to keep this conversation alive drop me an email.

preservation experts that can be of help.

the artwork, to take care of it and of the Domenico edition, whatever. The same GIF is

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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 150 × 100 cm

Christophe Bruno Fascinum, 2001

117

Tianzhuo Chen ADAHA II 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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Digitaltransporter

Publikum“, beschreibt Dirk Paesmans die Aufbruchsituation in den frühen 90er Jahren. Das Internet bot aber nicht nur

Werner Rodlauer, January 19th, 2016 Artmagazine.cc

Daseins, das allein schon in der Fülle der

Dokumentaristen und Hacktivisten an

eben nicht der kuratorische Akt des Künstlers, der diese Szenen als Fotoprints in

erten auch den online Shop von Amazon

voran und umfasst alle Lebensbereiche. Nur bei den KunstsammlerInen

Kunstwerke. des Sammelns von Künstlervideos dis-

Jahr 2015 mit dem Medienkunstpreis der

-

Schweinefarm. Das reale Vorbild dazu

jedoch vom klassischen, manifesten Werk über den Monitor bis zur ephemeren, Website. in denen die nie sichtbaren Schweine bis taucht ein Truck auf, der jeweils eine Stunde an der Laderampe jedes Stalls

daraus zu neuen Bildern zusammensetzt, -

auch darum kümmern, dass sie weiter online ist und sie für die Öffentlichkeit

der Aufzucht der Schweine entspricht.

-

millionenteuren Sammlermuseum – auf SammlerInnen der Wunsch nach einer des Prozesses.

Jon Rafman thematisiert die zunehmende -

Jahren entwickelt, ist Lindwalls Netz-

manent für alle Interessierten abrufbar.

-

-

animieren kann, sich für online-basierte nicht online, sondern als Loop-Animation)

sind. Die automatisierte Dokumentation ein surreales Panoptikum menschlichen 119

CURATORS

Weltweites Wollen und Sammlersorgen Roman Gerold, November 21th 2015 Der Standard Haben Sie in letzter Zeit eine Twitter-Nanur ein Seitenthema von Mankind/Machinekind. Als vierter Teil der Reihe CCC ettet zwischen Botschaften wie “Ich will Problemen wie obsoleter Hardware oder veralteten Dateiformaten. Dieses nur

von Jean-Baptiste Michel, die alle paar Sekunden eine neue Wollensbekunderst wieder ein, wenn man etwa vor der In aller denkbaren Nüchternheit und Stille spinnt sich auf diese Weise eine Litanei weltweiten Wollens fort, die unterhaltsam spannendes Feld verweist auch Geo Goo

-

monumentalen Print eines verwischten

oder eh wurscht, weil Kunst?

Brisanz, aber - als Wandbild - optimale Sammelbarkeit attestieren wird.

Spaßig, aber undurchschaubar

en-Aneinanderstoppler ist I want ... dann durchaus wiederum Facebook verwandt.

-

visualisiert.

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Digital ist gut, radikal ist besser Michael Huber, Dezember 10th, 2015 Kurier Wie sammelt man Internet-Kunst? Eine Ausstellung in Wien gibt Anhaltspunkte.

Werk des Künstlers Rafael Rozendaal – werk erstehe, versuche ich zu sehen, was in der Zeit, als es entstand, passiert auch die laufenden Server-Gebühren anschauen kann sie jeder – etwa auf der Website hampuslindwallcollection.com.

Für die Sammler ist mit ihrer Investition auch die Idee verbunden, nicht-markt-

Christophe Bruno, ist noch immer on-

auf unkonventionelle Weise sichtbar und

jekts entsprechen. Dass für derlei Kunst

-

Doch Servais will Kunstfreunde davon -

wir radikal sind.“

Teilhabe statt Trophäenjagd

Paris lebende Schwede Hampus Lindwall.

Screensaver? Warum hast du dafür viel die perfekte Kunst für jemanden wie mich,

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Taylor Holland 1840s GERMAN NEO-ROCOCO 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

JODI GEO GOO

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Collectors Alain Servais First of all, the usual question: when and how did you start collecting?

AS:

dedicated man and I believe we became friends. He is also a radical collector of

to whom as we did not want this to be a celebration of the collectors but rather a

art.

But I became serious about art around 1997.

possible.

Can you explain the project in more detail?

AS: ect space one aspect of the collection. I

mathematics and economics.

I believe that artists and collectors are two sides of the same coin, with similar

Have your collecting preferences changed in the last years?

AS: come clearer and clearer even if it is still

to introduce a less well-known but ten-

ed me and we added Hampus Lindwall and then Robert Bielecki and others to the project in order to broaden the choice

accidents like in

Have you always been involved in contemporary art?

AS: whether art, music, movies, dance,

at the end of the 1990s.

What was your contribution to this project?

AS: I supposed I was the initiator and the

in the project a well-respected curator the pressure, etc.

How did you get involved in this project? And how did your friendship with Hampus Lindwall begin?

AS:

exhibition of a limited number of works Information and education are other link between the art at one point in time nico Quaranta and one or more public conferences related to the exhibition.

Another important point for us is that

context at that same time. It was obvious to me that one development that will -

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COLLECTORS

all aspects of our life. When I discovered -

What could be the next step for net art?

AS: since it sounds broader to me than net. art. It is essential to promote the aspects

that this was one of the art forms I had -

an adolescent that despite their efforts to extract themselves from and pretend to dominate nature, humans are often so

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?

AS: Computers, Internet and the virtual the virtual world will have a different form than in the real world. This is a revolution -

proof of ownership than in the real world.

To be continued...

implies violence, instincts, sexual drives, etc. This book can explain that there is

all stakeholders to collaborate towards

them like I experience the Rosetta Stone

Is it important for you to talk to the artist, or do you fall in love with the work itself?

AS: collect artists and their ideas rather than pose but it is not a must and I am careful is a commercial transaction of the collec-

always accessible for anyone, at any time and everywhere?

AS: production of a public work of art.

their rent.

How would you describe your collection?

AS:

What are the responsibilities of a collector of Internet art?

AS: -

collection? On the Internet, at fairs, in museum, galleries, studios?

AS:

Within that context, there are a number of themes that overlap in various works

the internet.

-

nature. I would hate for the collection to

Do you think the role of net art will increase within the next years?

AS:

ized world but also in a deep interest for opment of computers and the Internet. It

I believe it is in their treatment one can

Museum Triennial, to name some of the most important.

124 CCC Newspaper #4 Mankind / Machinekind

-

What do you think is the role of a contemporary art collector?

AS: See above.

Hampus Lindwall First of all, the usual question: when and how did you start collecting?

HL:

Do you think the role of net art will increase within the next years?

HL: that it will become a natural element of

me to exhibitions and auctions and I express in a marble sculpture‌.

What could be the next step for net art?

HL: Is it important for you to talk to the artist, or do you fall in love with the work itself?

HL: a musician, I have had the chance of be-

How did you get involved in this project? And how did your friendship with Alain Servais begin?

HL:

of them of which I collect. It is sometimes a help to understand the importance of a

friends also outside the art world and we -

with the artist.

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

How would you describe your collection?

HL: culture from the 2000s and onwards.

Internet is one of the most representative

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:

What do you think is the role of a contemporary art collector?

HL:

-

-

What are the responsibilities of a collector of Internet art?

HL:

of the internet denatures the work.

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COLLECTORS

Robert D. Bielecki First of all, the usual question: when and how did you start collecting?

RB:

ers and responses to an online emo-

collectors and curators can contribute to the discourse.

massive transformation of the metropolis

information. The piece is also about how we shape and construct our persona now

What could be the next step for net art?

RB: environments and embeddable technol-

Why do you collect net art? Why is it interesting for you to collect net art?

RB:

Netropolis series.

Is it important for you to talk to the artist, or do you fall in love with the work itself?

RB: First, I feel a connection to the work.

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-

Have your collecting preferences changed in the last years?

RB:

helpful for technical support.

How would you describe your collection?

RB: -

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: -

-

keen aesthetic and philosophic interest

Have you always been involved in contemporary art?

RB: -

always accessible for anyone, at anytime and everywhere?

RB: portune for a stewardship model based

Do you feel your collection changes as you change? Or when you review your collection do you feel that you have altered, that what you like has changed?

RB: -

collection? On the Internet, at fairs, in museum, galleries, studios?

RB: All of the above. The antennae are

cultural interests. Music continues to be a relationship with an artist based on What was your contribution to this project?

RB: -

pensates the artist to produce more work

with broad implications, not just in terms of the production of art but also in its 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

demands further exploration.

Do you think the role of net art will increase within the next years?

RB:

this exhibition. It manifests net art from

126 CCC Newspaper #4 Mankind / Machinekind

What do you think is the role of a contemporary art collector?

RB:

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, 101.6 × 162.6 cm Calle de Osona, Santa Perpetua de Mogoda, Spain 101.6 × 162.6 cm

127

LigoranoReese I AM I, 2013 custom electronic and custom software 96 × 58 cm Evan Roth Slide to Unlock, 2013 73 × 117 cm

Rafaël Rozendaal fallingfalling, 2011 app. 180 × 300 × 150 cm UBERMORGEN Oldify™ Laiwa and Oldify Sarah, 2013 direct print on aluminium composite, CCTV Camera each 186 × 140 cm

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Collaborations Best practices for conservation of media perspective.

Rafael Lozano-Hemmer

at peace with the contradiction that is at the work in retrospect, as a snapshot of time.

This text is written to outline what artists not as a fossil, we are often unsure if a

the future. I welcome variations, additions we are resentful that institutions are not on with it.

Before making an obsessive-compulsive vampiric culture of suspended animation and

• to preserve media artworks, but these institutions that collect them. While most artist-oriented components like interviews

ods, constraints and dependencies that

129

COLLABORATIONS

tips, wait for an artist to prove those tips useless, and then review the tips.

hold all of their software collections, in the future all Museums will have to have -

While making

•

• Keep a notebook and/or electronic

the project. instructions of established artists who •

•

of the art of instructions like Sol LeWitt,

tion with hardware, software, manufactured and found components, prepare a -

for information, and a small picture.

• •

whether the element is replaceable or irreplaceable. An irreplaceable element is

tal traditions is much more productive

•

an exact replacement the piece should have an honourable death. A replace-

that allow the collector to contextualize information on how a project evolves.

Of course code can and should have comments to help follow the code, but Git

•

in the next section. will be a one-off ephemeral performance, •

-

-

stand the vibration, please do not use

then do not ever think about conservation, not once, and work with reckless

• are the parts that tend to fail most over studio and one at home. I do recommend a cloud-based solution as it can scale

person who can be described with a

feel comfortable that a corporation has

rather than a motorized pan/tilt camera.

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• studio we developed our own computer

ments, etc.

•

moved to Microsoft Kinect2 whenever

• -

Another example is microcontrollers, as duinos, which are widespread, open and

THING. Then add all the installers for the dependencies from the previous point.

-

a time capsule that hold all the instrucinclude a document that explains that •

tions so that she can reproduce the work • the colours out or when a child takes a concepts and elements of the piece and how it works; ii) a detailed set-up like the instructions of a Sol LeWitt or a

• maintenance section on how to clean the piece and turn it on and off; iv) preservation section with the Bill of materials, all schematics, comments to the code.

Collectors sometimes just leave a piece

•

has interacted with the piece for a certain •

-

stops or slows down motors, shuts down

from reckless reproduction. The answer -

the piece. An auto shutdown is anoth-

and java for example, no virus checkers, monitor temperature inside boxes or

-

After making • •

-

-

cial tools, adapters and with spares of watermarks and soon it will also have a

•

Dealing with a collector -

• manual, the toolkit and the spares and make a BOX. Give the box to the col-

of the BoM for hardware. Bundle the -

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COLLABORATIONS

•

technicians or AV companies. In our case here is what we ask the collectors to do

-

i) er is often a tedious and expensive job and the collector is in possession of the

ii) Contact the installer who was trained • Talk about maintenance. To the best of

should be able to troubleshoot at a

• iii) a technician who can help. iv)

the number of hours that it will work

available. v) If the problem is not solved, we are

the collector that their installers need to explain maintenance on a media artwork,

-

more it will it cost to preserve; and 2) • the work, show it to the collector, teach them how to turn it on and off and clean

a capital investment but then there is a

rect support from the artist studio even

•

the studio maintain operations and there is on the individual components of the piece, for example a computer usual-

the conservator of the collection, etc. Do

• this person and show them the manuals, spare parts, and so on. This person will to when the work malfunctions so he or

not control the conditions of the exhibiarts commission than a traditional visual -

collector and the technical person, make

all schematics, software and code, plus

that the work has been installed to their

vation to his or her collection. When the collector is uncomfortable about the lack

operation, maintenance and preservation of the piece.

•

• problems if needed. Show the collector how to disconnect the piece to the net

132

what Media Art should aspire to do. In an epic conversation with Tate expert and friend Pip Laurenson, I realized that what

even worse. If a piece fails the collector

CCC Newspaper #4 Mankind / Machinekind

or her. The project was written in Delphi,

-

and comprehensive method Pip ensured that the piece that is at Tate can be -

radical. We want to make software and less precious, more open, more viral. If

Final notes is dead, projectors now have over 10x the pixel resolution and Kinect2 track-

the forks of dozens or hundreds of other

• -

accurate and easier to install. I am now -

used but about the experience of words

hensive art show will be made available with an open source code.

Version 0.9.1 PS.

the project in a second version because the experience will be more ominous. a future conservation problem).

• Trust curators, but not as much as conservators. In the future the curator is the -

-

software for an initial amount, then the new initiative from the Museum and I the artist provides a Conservation path

can also be a source of income for the studio. Of course in the future Tate can choose to exhibit either version or both.

more.

PS2.

•

to think that both these approaches are

-

-

the work in PDF and a list of credits of the people who worked on the proj-

helped me put some order to it all; but also Steven Sacks, Patricia Ortiz Mon-

the work.

Laurenson, Glenn Wharton, Christiane Paul, Ben Fino-Radin, Kate Lewis, Sarah -

• • • A collector should be free to decline

Huhtamo, and other artists, collectors, historians, curators and conservators the new owners can decide to pursue a

133

COLLABORATIONS

Public Discussion How to collect digital art?

January 13th, 2016

Participants Johannes Grenzfurthner Dirk Paesmans Axel Stockburger Hampus Lindwall

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

JG:

the art market and the art context as such? to the panel?

furthner and I am the founder of “mono-

AS: share this with most people here. We are

-

does it mean to own an artwork that can

DP: view as an artist is that back at the time

hands on the archives, because there is -

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CCC Newspaper #4 Mankind / Machinekind

DP:

-

excited to have access to a mass medium.

People from all over the world were react-

online also becomes a voice. It is interest-

HL: -

HL:

wilder and wilder. conservator.

-

print it out on paper. I believe in a website, it is the easiest medium to collect and to

piece. It is linked from a website, that is called “the useless web“. This website is

DP:

-

pieces. (everybody So what does this mean? It is not just forever.

JF:

AS:

DP: HL:

these works that are ephemeral or online? one.

I want to possess art that makes me think HL: portant to me. I am not a fetishist in terms

ourselves. This was liberation out of frus-

because it is online. I like it for what it is.

-

more or less for the production methods, which are used for most of the art pro-

all this art. Museums are like libraries that

We could never show our videos on TV channels, except in the 1960s and 1970s on some local TV channels.

The sterdam, but visible on the whole planet.

particular is what it is like to own some-

time. I want to contribute to that. I think this

AS:

is different than a conceptual work from the 1960s. When it is online, it becomes

website.

of public collections of these works. These -

AS: This show would not have happened if

AS: HL: HL: a jealous person.

HL:

DP: the Mona Lisa at the Louvre who has that HL:

JG: We will see how this all will develop in AS: No

-

Rozendaal. He developed a certain conprice has to do with value of the work. But I

do updates.

creation of the price. This amount of hits

135

COLLABORATIONS

Artist Talks UBERMORGEN Donnerstag, 26.November, 2015

Taylor Holland December 10th, 2015

Teilnehmer: Lizvlx Ruth Schnell

-

animations, and screenshots. In addition to his art practice, he is a professor at the mit Installation, Foto, Video, Code und Performance arbeiten und das Kollektiv

-

Arbeit des Duos kann in der Tradition der Konzeptkunst, des Dadaismus und Die Arbeiten zeichnen sich durch kontinuiHierbei wird das Prizip des Aktionismus Wide Webs und Social Networks als Plattform dienen. Die Arbeit der Beiden wird

Paris, where the artist came to appreciate

sowohl im realen als auch im virtuellen

Kunst, Newspeak, Installation, online Performances und Aktionismus bezeichnet,

-

from its conventional use as decoration

felder wie der zunehmende Verfall der demokratischen Strukturen, die Veran-

Wahlkampfs im Jahr 2000 die Webseite -

in Haarlem, Netherlands, whose clients include art dealers, private collectors and museums such as the Rijksmuseum and

meistbietenden Partei verkaufen konnten.

-

the Orientalist Museum in Doha, Qatar.

der Wahlstimmen-Verkaufsplattform als of the artwork. The frames come from a private collection via auction houses. The -

der Person. Die Arbeit ist als kritischer Diskurs mit der manipulativen Selbstsional work. Composite pieces are then made from custom molds, which replicate the ornaments of the frame. The pieces

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John Gerrard January 22th, 2016 work is installed in the frame to complete

na, best known for his sculptures, which -

work has been noted for its resistance

medium that enables him to work with time include time as one of their dimensions allows time to become a sculptural com-

interior artwork.

medium in which one can manipulate and characterized the massive expansion and

also said that the works constitute a con-

isolated industrial facilities that are a hid-

life possible. subjects, has led some to compare his variations on the theme of the virtual. The to mind, of course, virtual worlds, video

projections that often push the boundardiscomfort of this admission is part of the arrival of food in our markets and the availwe think about them at all. Their existence remains provisional – more or less virtual

work can be seen as somewhat underminsion of minimalism, as it makes explicit the

computer chip. of industrialisation and virtualisation. Ref-

aloof treatment of industrial structures.

-

137

INDEX OF WORKS

Aids-3D

Cheng, Ian

JODI

Reese, Ligorano

Plato with Biometric Overlay, 2009

Thousands Islands Thousand Laws,

GEO GOO

I AM I, 2013

Michel, Jean-Baptiste

metall, custom electronic and custom

I want to be your idea of perfect, 2014

software 96 × 58 cm

2013, live simulation, infinite duration, 150 × 100 cm

sound

Bonneviot, Juliette

Cortright, Petra

wood, steel, off-the-shelf electronics,

Telepathic Jah A Rize, 2009

Arrows Krystel W Sounds, 2013, flash

code, 7.5 × 97 × 5.5 cm

oil on canvas

animation

Roth, Evan Slide to Unlock, 2013

120 × 160 cm

Mohr, Manfred Gerrard, John

P-777m, 2004,

Bruno, Christophe

Grow Finish Unit (Eva, Oklahoma),

computer and screen, software

Fascinum, 2001

2013, realtime 3D video, plasma screen, artists corian frame

fascinum/

73 × 117 cm Rozendaal, Rafaël

Rafman, Jon

fallingfalling.com, 2011, website

Mexico 45, Silao Guanajuato, Mexico, Holland, Taylor

Chen, Tianzhuo

UBERMORGEN

1840s GERMAN NEO-ROCOCO,

101.6 × 162.6 cm

ADAHA II

Oldify™ Laiwa and Oldify Sarah, 2013 direct print on aluminium composite,

42.5 × 34.5 × 4 cm

Calle de Osona, Santa Perpetua de

CCTV Camera each 186 × 140 cm

Mogoda, Spain print on dibond 101.6 × 162.6 cm

LINKS

aktnz.com/aids-3d — Aids-3D

— JODI

juliettebonneviot.com

jeanbaptistemichel.com

— Juliette Bonneviot

— Jean Baptiste Michel

christophebruno.com — Christophe Bruno

— John Gerrard

evan-roth.com

emohr.com

newrafael.com

— Manfred Mohr

— Rafael Rozendaal

tianzhuochen.com

jonrafman.com

— Tianzhuo Chen

— Jon Rafman

twitter.com/aservais1

— Lizvlx and Hans Bernard

aldalacollection.com — Robert D.Bielecki Foundation

— David Diamond Collection

What is Digital Art?

The History of Digital Art 1949 onwards

hampuslindwallcollection.com — Hampus Lindwall Collection

Les gardiens de la mémoire

#WTFisDigitalArt?

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

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COLOPHON

This newspaper is published on the occasion of the exhibition Mankind / Machinekind of CCC (Collectors Curators Collaborations).

1010 Vienna, Austria

Idea for the project: Curator: Domenico Quaranta

Exhibition technique: 1070 Vienna, Austria Editor: Graphic design: Florian Hulan Photos: Translation: Camilla Nielsen Cover image: Aids-3D, Plato with Biometric Overlay, 2009, inkjet print on canBack cover image:

I AM I

Curators Collectors Collaborations collectors. Based on this cooperation the collectors project collectors and curators are networked with the

themselves shall be able to assume the role of curator, market which in turn attracts new collectors. Galerie

erences and to create visions. The curators have the class exhibitions while the collectors are provided with

art historical point of view and to develop exhibitions in

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CCC Newspaper #4 Mankind / Machinekind