24h to refresh the perception of local art.
written by IOANA CRASOVAN design by RÚBEN SANTOS
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To the crazy ones. Because only the ones who are crazy enough to think they can change the world, are the ones who do.
Having a vision is like having a dream theory brand creation brand communication techniques of creating cultural events pre event event post event techniques to communicate with providers exhibition design manager public place path labeling lighting go! evolution of the idea brand creation brand design brand communication brand behavior creation of a cultural artistic event pre event Event post event exhibition design artwork it’s time (photo gallery) results thanks bibliography
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HAVING A VISION IS LIKE HAVING A DREAM -CPB LABS
I opened my eyes and I realized that I just had a dream. I tried to reconfigure every bit and suddenly I realized that what I saw was amazing. People were lying on the floor listening to music attentively. They were drinking liquids from strange strums. I could never imagine that, some hours later, my dream would help me begin this project by inspiring me in pick the subject of my research. I realized that it could be more than a dream. It could become true! As a matter of fact, I’m very amused when I go to places where music or art crafts are exhibited, but I hate being exhausted when I leave. Specially, when you go to huge museums where there is no end, and rooms lead you to more rooms… I felt in love with the idea that I could be relaxed, lying on the floor. I saw myself doing that for hours and hours. When I was two years old my mother took me to the Louvre. It was hateful! I remember I was inside for more than 3 hours in my pink pram, and then I began to cry saying: ‘I want to leave right know!’ I guess if I could have walked freely and didn’t have to be quiet, the experience would have been nicer. I thank god I had the opportunity to enter the Art world when I was a baby, and being surrounded by it ever since. This fact gives me the vision of the evolution of what attracts attendance during different ages But since I’m alive I cannot stand getting tired. Therefore I started to explain my dream to people around me. I wanted to see how they reacted and what what thought came in to their mind The result was dreadful, and the most common answer I got was: You are crazy. I thought you were more rational! Luckily, there were also people who thought it could work out and believed in my vision. And then it all started… A music room was the initial idea. I was planning to create and design a place where people could lay on the floor and listen to the music of the most unknown local artists.
THEORY
Brand Creation
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THEORY BRAND CREATION Every startup project it’s itself a proposal of what could become a new company. That’s why it is very important to define your product and/or service – you are offering. In order to do that, brand creation is essential, because it is what brings producers and consumers into contact. A brand is a set of perceptions and images that represent a company, product or service. It embraces and also has to define the mission of the concern (the activity the firm is developing in this moment) and the vision (how would the company be in the future). Consequently, a brand is composed of:
BRAND DESIGN name: A word that expresses what the company does. There are different kinds of names. initials: A name made of initials. Ex: UPF, IBM… descriptive: Names that describe a product benefit or function. Ex: Whole Foods or Airbus alliteration and rhyme: Names that are fun to say and stick in the mind Ex: Reese’s Pieces or Dunkin’ Donuts evocative: Names that evoke a relevant vivid image Ex: Amazon, Crest… neologisms: Completely made-up words Ex: Wii, Kodak… foreign word: Adoption of a word from another language Ex: Volvo, Samsung… founders’ names: Using the names of real people, (especially a founder’s name) Ex: Hewlett-Packard, Dell, Disney… geography: Many brands are named for regions and landmarks Ex: Cisco, Fuji Film… personification: Many brands take their names from myths Ex: Nike logo: An image related with the activity or offerings of an enterprise.
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RED
Lust Negative Issue Excitement Love
PINK
Sincerity Sophistication
YELLOW colors: the product or the slogan needs to have a coherent color. Our unconscious relates colors with feelings.
GREEN
BLUE
Jealousy Competence Happiness Good taste Envy Masculinity Competence High quality Corporate
VIOLET
Authority Sophistication Power
BROWN
Ruggedness
BLACK
Grief Sophistication Expensive Fear
WHITE
Happiness Sincerity Purity
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slogan or tagline: a sentence which defines the way to the goals through the mission and the vision focusing on the vision, namely what the company wants to be, its goal. shapes: the form of the product, different from company to company. Ex: a bottle of Font Vella does not have the same shape as one of Coca-Cola. sounds: when we define a sound that differentiates enterprises, we are talking about a jingle. A jingle is a short sequence of notes specific of a product or a company. For example: tara-ta- ta-ta I’m loving it of McDonalds. scents: are specific of the fashion industry. Nowadays you can nearly figure which shop you are close to by its specific scent. There is also the perfume industry, where scents differentiate the product itself. tastes: differentiate the food products. movements: are specific of products and make them unique. For example: the doors of a car or the way you uncover a pen.
BRAND COMMUNICATIONS (e.g. advertising, public relations) Hitler began more tan a war. He began a communication revolution with the help of his great assistant Goebbles. His strategy was very simple: Fist of all he made sure he could control the radio, cinema, television and literature. This way it was very easy for him to have the control over all and expand his campaign through all them. Than, he applied 19 steps and values to develop social marketing. Those nineteen values were defined for Dr. Leonard Doob professor of psychology at Yale University. 1. The propagandists should have access to information concerning of events and public opinion . 2. Advertisement must be planned and executed by a single authority . This value was in line with the Nazi theory of authoritarian centralization, and the lust for power that was Goebbels. One authority should perform three functions: • Every piece of propaganda should express political content. The authority had to indicate when specific propaganda campaigns were to begin, when to be enhanced or attenuated, and when to stop. The Nazi propaganda machine was subject to constant reorganization. • Explain the propaganda directives to important officials and maintain their rules. • To supervise the activities of other advertisement agencies
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3. The propaganda consequences of an action must be considered when planning this. 4. Propaganda must affect the police and the actions of the enemy. 5. There must be an unrated and operational information about completing a propaganda campaign. 6. To be perceived, advertisement must arouse the interest of the audience and must be transmitted through a medium that call our attention. 7. Only the credibility must determine whether propaganda materials should be true or false. 8. The purpose, content and effectiveness of enemy propaganda, the force and effect of a rebuttal, and the nature of current propaganda campaigns determine whether enemy campaign should be ignored or refuted. 9. Credibility, intelligence, and the possible effects of communicating determine if propaganda materials should be censored. 10. Material from enemy propaganda may be utilized in operations when it helps diminish that enemy ‘s prestige or provide support to the propagandist’s own objective. 11. The black propaganda should be used in preference to white when the latter is less credible or produces undesirable effects. 12. Propaganda has to be delivered by prestigious leaders. 13. Leaders are only useful when they are prestigious. 14. Propaganda must be carefully synchronized. 15. Propaganda must label events and people with different phrases or slogans. 16. The propaganda directed to the rear should avoid creating false hopes that they can be frustrated by future events. 17. Propaganda in the rear must create an optimum anxiety level. 18. Propaganda directed to the rear must diminish the impact of frustration. 19. Propaganda must facilitate the displacement of aggression by specifying the targets for hatred.
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In Catalonia, the banner design revolution began before the Civil War (1936-1939). During the war banners had an important role in the development of the conflict. Even though, the most impressive and visionary artist was Antoni Morillas1. Nowadays the impact of adverting is huge. People see more publicity in a second than a human who lived 80 years ago did in his whole life. Moreover, that is why the creation of a new visionary campaign that attracts the attention of new consumers is tougher. Colors, shapes, slogans, motions are linked up to generate new emotions and interest from buyers. It is important to realize that the development of new machines, software and programs have allowed the boom that Hitler began.
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1,2,3 : Banners related with the Civil War 4,5,6 : Banners designed by Morillas
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3. 5.
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1 Antoni Morillas i Verdura (Barcelona, 1932 – Montpellier, 1983) was an autodidact graphic designer and illustrator. He is well known
because of his work for AgrupaciĂł de Grafistes del Foment de les Arts Decoratives and his great experience as a teacher at Massana & Llotja (Two schools of fine arts in Barcelona).
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Brand behavior (e.g.internal value,rules) Every brand must have values as a base of consolidation. Standards of behavior are needed to build a strong structure and maintain concordance between all the elements that compose a brand. We can take Apple corporation as an example. Their initial tagline was: think different. And they did it! Their employees are always smiling and very helpful. All the shops have the same minimalist structure. They love taking care of the smallest details such as the boxes of all their products‌ All those characteristics are a result of their philosophy. In order to achieve the creation of a new brand there are some tools companies can use. Jßrgen Salenbacher, specialist in creative economy, offers in his book Creative Personal Branding 6 steps in which every enterprise should find a good path to follow for composing his brand.
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reflect First of all we have to know what our reality is, what we are selling and how to face our future. Therefore, he suggests his readers to answer 3 questions: • Which have been the biggest changes in your industry in the last fifteen years? • Which are the changes you predict in the next fifteen years? • Think about opportunities that can affect you and your aim. reframe You have to be aware of the whole reality around you: your business environment, your skills and your social life. create Once you have reflected and reframed, you must crate your own identity which brings your company to life. grow You have to keep reflecting, reframing and creating to always be on the top of your industry. differentiate But, the most important thing is not letting your company be identified with another because of having the same employment structure or corporate identity, for example. go! If you followed all those steps, he believes that you are ready to succeed! After reading all those smart advises and definitions of how to create your own brand and corporate image I could start defining my project. And that is a path that never ends, as we can see in the graphic, because it implies that those who want to be always fresh and survive to their competence have to redo all those steps in order to succeed.
Techniques of creating cultural events
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EVENTS An event is something that happens in a specific time involving several people. There are many types of events: religious Events Baptisms Communions Christmas Easter Religious curses Summer camps Weddings social Events Births Birthdays Weddings New Year’s Eve Runways Halloween scholar events Fairs Beginning of the year Competitions St. Jordi Carnival
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popular events District parties Festivals Runways Competitions Marathons cultural events Festival Cultural Acts Exhibitions Art exhibitions Inaugurations of cultural centers Presentation of a book sport events Championships Summer camps Open classes political events Campaign launch Political trips Tributes Celebrations Work meetings business event Fairs Congress Workshops Brainstormings Team building
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PLANNING DESIGN OF A CULTURAL EVENT Planning conceives the development of a process of decision making focused on reaching a goal. A process gives answers to the following questions: what? how? when? who? with what? Planning is essential to optimize resources and effort. The fact that every company should have a protocol or planning strategy which defines itself is also very important. To understand better what a process is, it is useful to know its structure 1. Previous studies: achievement of information related to the goal of the process. 2. Planning: disposition of the resources needed to reach the goal. A good planning is always simple, concrete, flexible and easy to understand. 3. Execution: realization of the developed plan and supervision. The creation on a process well planned is beneficial. The goals are clear defined There are programs established to make sure the goal is reachable Creativity is stimulated It helps knowing in which stage the process is moving on It unifies efforts An event is divided in three stages that form a unique process. • Pre event • Event • Post event
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PRE EVENT 1. Defining the goal The goal is always to create an event with specific characteristics. 2. Name The name has to be concrete, simple and informative, so that people can easily know to what they are going to attend. 3. Organization committee Of course one single person can organize an event, but most enterprises work in teams specialized in different fields. Logistic Technical Public relations Recreation ‌ 4. Selection of the date Once the goal is defined and the different committees are formed, a time is needed. It requires good searching techniques. In order to do that, it is useful to consult local agendas and cultural center webpages until you have enough information to create a calendar and find a strategic day. It is important to consider different visions to adjust timing. Anything can be a problem or a solution. 5. Number of assistants Organizers must know how many people the event is addressed to. 6. Place When the previous steps are defined it is recommended to elaborate a document with all the information. Once the document is prepared, the proposal must be sent to different places where the event could be located. To chose an effective place is important to know: How many people will attend? What kind of visitors will come? Is the area close to where most of the target attendants lives or hangs out? 7. Planning When the place is selected it is time to structure time. Define which activity will be set in any moment and who will be in charge of his execution.
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8. Resources estimate There are certain resources needed so that an event comes to life. Organizers must know how many resources and services of any kind they require. Nowadays it is very important to introduce: Ecological and recycling concept CSR (corporate social responsibility) 9. Budget and funding sources When the list with all the required resources is defined a budget is needed. There are two ways to obtain the founds: Sponsor: a person or organization that pays for all Specialized sponsors: companies which produce the resources you need and are willing to give some away. 10. Promotion In order to inform visitors about the event it is recommended to promote it some time before. The amount of time depends on the event. For instance, if the event is a medical congress, doctors must be informed one year before, and normally the dates are always in the same period. But when it comes to an art exhibition, a week of promotion is more than enough. There are several ways to do that: Social networks are on top (e.g. Facebook, Twitter, Tumblr, Instagram) Web pages Local newspapers Local journals Specialized journals 11. Banners and flyers The traditional way, however, is still important. Banners and posters are constantly decorating cities with the intention to inform their citizens of what is going on.
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EVENT 1. Reception As the planning marks, there is a starting time – when people begin o arrive. It’s important to have helpful staff for the reception and helping with orientation. 2. Registration Even if it is a free, limited or unlimited event, it’s important to know how many people attended it. In order to do that the organization company can: Count the people who come in Ask for attendants’ e-mails, which allows thanking them later for their attendance Collect tickets … 3. Opening act Once there has ben enough time to recruit all the people in the specific place the beginning of the planning must be announced.
4. Planning realization After the opening act is held, all the other activities can begin. Even if the previous defined process was good, there are always setbacks. Organizers must be always prepared to find quick solutions! 5. Ending act When the time comes, the ending has to be announced. In order to set a progressive farewell, some techniques are used: Final speech Final concert Final Act Final bell or sound … Besides, if staff is at the leaving doors thanking attendance their presence, people always leave with a better impression.
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POST ACT 1. Compilation of all the filed that composed the event When the event is ended it’s important to organize and store all the files used in the whole process. Therefore, if there’s going to be another event with the same name or structure, perhaps some material can be recycled. 2. Evaluations To evaluate the hit of the event, there are some techniques used: Revising the list of registrations Realize surveys to the staff Realize surveys to the attendance Now days, it’s very easy to create surveys that people can answer on his mobile phone or tablet with programs such as Typeform. 3. Follow-up It’s aye important to thank to every body! E-mail is the best tool.
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Techniques to communicate with providers
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TECHNIQUES TO COMMUNICATE WITH PROVIDERS When the internal forces of a business are working toward communicating the same message to vendors, suppliers and customers, good communication can also lead to a boost in sales for the business. Essentially, good communication creates a win-win situation. The customers who can benefit from the company receive the messages they need to make them aware of the company and to make a purchase, which in turn boosts the sales of the company. In order to purchase good communication with the correct message it’s very useful a planed process. 1. Define goals and expectations Managers need to deliver clear, achievable goals to both teams and individuals, outlining exactly what is required on any given project, and ensuring that all staff are aware of the objectives of the project, the department and the organization. 2. Clearly deliver of your message Ensure the message is clear and accessible to your intended attendants. To do this it is essential that you speak plainly and politely. Getting the message across clearly without causingconfusion or offence. To compose a good message there’s a structure STICC Situation: Here’s what I think we face. Task: Here’s what I think we should do. Intent: Here’s why. Concern: Here’s what we should keep our eye on. Calibrate: Talk to me. Tell me if you don’t understand, can’t do it, or see something I do not. 3. Choose the medium carefully Once the message is defined, it’s needful to ensure it’s delivered in the best possible format. While face-to-face communication is by far the best way to build trust with employees, it is not always an option. Take time to decide whether information delivered in a printed copy would work better than an email or if a general memo will suffice. There are different ways to deliver the message: Calling Letter E-mail Event on a social network Announcements in a local agenda Announcements in specific journals…
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4. Keep everyone involved Ensure that lines of communication are kept open at all times. Actively seek and encourage progress reports and project updates. This is particularly important when dealing with remote staff. 5. Listen and show empathy Communication is a two way process and no company or individual will survive long if it doesn’t listen and encourage dialogue with the other party. Listening shows respect and allows you to learn of any outstanding issues you may need to address as an employer.
Each event creation requires communicating with specific providers. In the specific case of a cultural event, those are the one who are usually evolved: • • • •
Material providers Space Artists Media
The procedure is the same. It doesn’t depend of the typology of the provider.
Exhibition design
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EXHIBITION DESIGN In every exhibition there must be respected a design, which involves: the finality defined by the manager, public, place, path, labeling and lighting.
MANAGER The function of the design manager is to know: Why must be the exhibition created, and what makes it special? What does the set out seek? To whom is addressed? Those are the indispensable questions whose answer lead to the best result. Public But as always, what has to be better determined is the people to whom is addressed. In order to do that, there are some distinctions of groups to sort the attendance. There is also a list with the right of the visitors. The division is the following one: primary attendance Children 6-Â10 years old Parents of children between 6 and 10 years old secondary attendance Children under 6 Children passed 12 Teenagers Young adults Once the public is known it’s important to attach or relate to the exhibiton activities related, which allow the group to understand and reflect about the concepts presented. The activities are a research of motivation and are a good source of finding and redirecting interest.
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However, it’s essential to design the set out respecting the eleven rights of the public: 1. Confortable Attend my basics needs 2. Easy to orient Make sure I can find my way through 3. Cozy Make me feel welcome 4. Funny It has to be funny 5. It has to allow socialization I come to spend time with my friend and family 6. Respect Accept what I am and what I know 7. Communication Help me understand and allow me to speak 8. Learning I wanto to learn something new 9. Choice & control Let me chose and give me some control 10. Challenges & trust Give me challenges I can handle 11. Revitalization Help me leave fresh and renewed
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There must be different levels of visitors; therefore the material exposed has to be divided in distinct levels of knowledge. experts The specialists, who know the field very well and want to complement their own map. Maybe they have seen all the pieces of the exhibition fast, or similar ones. They search for new things they have not seen. usual travelers They love to see more and more. Quality is not what they look for, because they want to reach new experiences. explorers They do not know anything about the field, but they want to try to enter in a new world. Therefore, they previously look for lots of specialized information about the pieces that compose the exhibition. lost The disoriented ones sometimes do not know where to go. To help them, it is important to find something that catches their interest, some light to guide their steps. Probably they have come with another visitor, an expert, but they separated.
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And so as to get visitors to learn something, managers have to prepare solutions for three kind of attendance learning. visual learning The information is perceived with the eyes stickling images Video clips with explanations Tables filled with information Timelines Flowcharts listening learning The information is a sound Interactive screens Voice recordings Audio guides Guides kinesthetic learning Hands permit visitors to discover faster. Objects that can be touched
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Place The location influences the design by forcing many of its characteristics. It is important to be aware of what are the different outputs that have an open or a closed space. Besides, space is one of the most important concepts of the set out. For architects and different kind of artists, space is more than a limited place. Semper believed that spatial enclosure is the fundamental part of architecture. Years later, Schwarzer separated interior from exterior space. Therefore, he defined space as the subject of architecture. Louis Khan preferred to think that: architecture is the thoughtful making of spaces. Le Corbusier, in his book Ineffable space, includes some quotes referent to the importance of space: Architecture, sculpture and painting depend specifically of the space and are linked to the need to manage it, each using their own tools. What is said is, essentially, that the key aesthetic emotion is a spatial function. Space, light and order. Those are the things that men need as much as bread or a place to sleep. Pollock changes the typical way of painting, by changing his beliefs about space: On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work on the four sides and literally, be in the painting. But the most clear and complete definition is the one made from Peter Zumthor in his book Thinking architecture: ‌I do not claim to know what space rally is. The longer I think about it, the more mysterious it becomes. About a thing, however, I am sure: when we, as architects, are concerned with space, we are concerned with but a tiny part of the infinity that surrounds the earth, and yet each every building marks a unique place in this infinity. With this idea in mind, I start by sketching the first plans and sections of my design. I draw spatial diagrams and simple volumes. I try to visualize them as precise bodies in space, and feel it is important to sense exactly how they define and separate and are of interior surface from the space that surrounds them, or how they contain a part of infinite special continuum in a kind of open vessel. Buildings that have a strong impact always convey an intense feeling of their special quality. They embrace the mysterious void called space in a special way and make it vibrate‌
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Once the importance is clear, it is also very useful to be aware of the differences between closed spaces and the open ones. open spaces All the places outdoors are considered open spaces. Galleries with big windows, which enable the public to see through them, are also considered open spaces. Advantages Let the attendance relate with the environment Disadvantages Are summited to daylight fluctuations Do not allow the exhibition of fragile objects closed spaces Closed spaces are easier to handle. Advantages Without solar light the designer has a larger control of the final result Permit the creation of an acoustic narration and also other media Objects can be conserved well Disadvantages It is not easy to remain in a closed space more than one hour, which is why the best places are the ones which combine open and closed spaces. However, when we are talking about art exhibitions, for contemporary art, large rooms without divisions are more useful. Another trick is to use old places, which can take in all kinds of proposals.
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PATHS According to the place where the event will be developed there are different kinds of paths that visitors can follow.
SIMPLE PATH The simple path is easier to follow for all kinds of attendance. The fist material is shown has a standard difficulty, and every step leads the spectator to the most complicated ones. This process is called scaffolding. The problem that simple path exhibition has are downtimes, which means that it is difficult to manage the public movement.
RADIAL PATH This sort of path was designed by a museologist named Henry Pitt Rivers in the nineteenth century but it had never been implemented until nowadays.
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MULTIPLE PATH In this sort of path the visitors can choose where they want to go. That way respects better than the simple one the right of the public: have some control and freedom to choose where they go.
STAR PATH The star path is designed by knowing very well which are the most important or relevant pieces of the collection. Those ones are exhibited in the middle and the rest of the pieces, less important, are organized around them, at the ends of the star.
AFFINITY PATH AďŹƒnity paths are perfect for collection with no star pieces but related ones. In this case the attendants can have a global look and create their own relations between all that is exposed.
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MAP PATH The essence of this path is having a map in the center of the room which allows attendants to have a global vision, so they can then move around to discover the details.
As we saw, there are different types of attendants, which is why the exhibition can have three heights. The best set outs include them all. To expand On one hand, in European countries people usually follow the walls from the right to guide themselves. On the other hand, people from the Middle East follow left walls, and Japanese go direct to the center of the room to have a full vision.
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LABELING Practically in all kind of exhibitions, but more specifically in art exhibitions, labeling is essential. There are some rules to be respected, which confer a general and uniform design Same font Same size Clear font & good contrast with the walls Besides, texts must: Express complex ideas easily Be written in the spoken language, so that everybody understands it quickly Not have more than 45 words in each line Avoid subordinate sentences
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Long sentences must be avoided
Headlines must always be in a big font and over the small text. Is important that they can be seen from far away so that the public can orientate easily.
It’s important to make sure that the surface where the labeling is applied does not superimpose with other obstacles.
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Lighting focused on the pieces
Walls wash. The light is over the walls.
Contoured lighting
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LIGHTING Remembering that closed spaces are the ones who allow designers to have a full control over the result, there are different sorts of doing it. There is a first division Lighting of the pieces Ambient lighting For every kind of lighting specialists offer different solutions. Lighting of the pieces
ambient lighting Sometimes a uniformed lighting is needed. That can be created by working with a space which has entrance of natural light from the ceiling or by lighting the walls. The visitors is usually more comfortable with ambient lighting than with lighting of the pieces and they can spend more time in a closed space but with ambient lighting.
GO!
Evolution of the idea
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EVOLUTION OF THE IDEA As I visualized it in my dream, I was about to begin my research trying to develop a space where people could lie on the floor and listen to music. The concept had lots of outputs, because there are many different types of music. Developing a place where everything could coexist was a big challenge. On the one hand, I experienced the idea by myself lying on the carpet of my leaving room and it was brilliant. But on the other hand, I began to look around me and then I saw my artwork hanging on the walls. Then I knew that music exclusively was too poor. I had to figure a way to hang different kinds of art from the ceiling. After holding lots of meetings with people with whom I wanted to work I could finally define my own idea and express the final concept. I decided that the most important part was the experimentation with all the calibers by changing them.
In the first edition the game has been pulled by moving these strings: • Artwork hanging from the ceiling • Visitors lying on the floor • 24h exhibition • Local and emergent Art
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Artwork hanging from the ceiling Once I went to a concert performed in a wine shop. The owner of the place explained to me that if you put the same wine in different glasses the composition of the product changes. I thought about it and then I realized how important is the concept of space. Hanging the art from the ceiling changes the whole usual conception of an exhibition and allows conceiving a new space and environment for the artwork. That change had some side effects, which I considered to encourage the artists to create something new: • • •
Bigger sizes New visualization: it has to be worth being seen from under New platforms of exposing: fickle materials
Visitors lying on the floor In a class of Alexander technique my teacher told us the fundament of the beliefs of F. Matthias Alexander: he believed that our bodies are only truly relaxed when we are lying on the floor with a couple of books under our neck, so that our spine is perfectly straight. In that position our body does not have to do any effort to compete with gravity. Therefore, our bodies are more relaxed and can be focused to perform an action without any effort. Consequently, if the attendants are lying on the floor, they can focus on the artwork they are observing easily, as they would be if they were staying up and the artwork was in front of them. For this reason, having the visitors lie on the floor is not only a new idea of planning an exhibition, but it is also a way of satisfying the public by not making them tired. Local and emergent art.
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By supporting local art we understand working with artists from only one place. In my case, I selected artists from Barcelona. I did not pick only the ones born in Barcelona, but I also selected artists who develop their artwork in the city and the ones who have a relationship with it. When we talk about emergent art we have to start by understanding the reason of its creation.
The postmodern situation results from the logics of excess of information, images and individualism.
marc augé
On account of that, most people believe that emerging art has a strong relation with people of a young age, but as we will see that is not true. What the term designates is the artwork resulting from rebelliousness, subversion and radicalness. But here is the thing: it is not rebelled against what is established. It shows a succession of changes. That is why we can think that it is related with youth and a fresh thinking, but it is not limited to that. Every artist whose work show changes and a new vision or technique is considered an emergent artist. Another characteristic is that emergent artists last a short period of time before their craftwork is submerged and loses its value. But it also seams that lately EMERGING ART is like a new label, which allows creators to be a part of it for their whole life. Consequently, I believe that this exhibition itself is a result of an emergent vision of showroom supported by emergent artists with their craftwork.
24h exhibition Changing the rules is always funny, but there must be a reason for it. On my experience as an attendant to art exhibitions, the opening party is the only time when the showroom is really crowded. If you visit the set out during the rest of his extension you are probably not going to see more than 3 people each day1. On top of that, nowadays ecology is a very important matter to keep in mind. Wasting electricity and other resources for a whole month makes no sense, considering that visitors will mainly come during the first day. For this reason, a 24h set out has lots of advantages: • Reducing the use of all kind of resources • Providing a taste of exclusivity • Improving the assembling process by making it easier
1 It is important to realize that I am always
referring to a certain kind of exhibitions, which are not held in big museums with classical paintings.
Brand creation
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BRAND DESIGN name I did not have much of an idea of how to create an attractive name, but I knew very well how my project would be. For that reason, I was aware that the most important feature of it is that people would be resting.
RestART ReSTART I thought the name was very ingenious because it encompasses two ideas essentials of what I was trying to express. ReStart - with my project I tried to start again and renew the idea that people had in mind when they were thinking about a set out. RestArt - as people would be lying on the floor, resting art made a lot of sense. I’m not adding another options and variety of names because I did not have to choose among any. I only had one idea and it seemed terrific.
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Slogan
A slogan is a short sentence the purpose of which is to make people aware of what you are presenting. It also has the role to attract them! I had to compress in one sentence the components of RestArt: Artwork hanging from the ceiling Visitors lying on the floor  24h exhibition Local and emergent Art 24h to refresh the perception of local art
Logo
For me that was the hardest part, because I did not the knowledge needed to create a shape which expressed what I was trying to say through the name and the slogan. I started creating a first sketch myself. As I wanted to make sure I expressed all I wanted I put me in contact with a designer to obtain some advice. There were some issues that had to be resolved. First of all, there was a problem of the color, since it was very pretentious. Golden has a lot of connotations but not the ones related with my project. Therefore, Roman Proubasta (designer) sent me some sketches with some examples of something it was closer in meaning. He suggested that the space had more importance than the fact that people would be lying on the floor. Due to that, he insisted on the fact that the warm colors had to be for the floor, and the cold ones for the ceiling.
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Black and withe turned out to be the best choice I got. Those colors represent lots of concepts I wanted to express with my project:
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The second possibility was to sketch some of the artwork by using a combination of different colors of the same palette. When I saw his proposals I knew I needed professional help, because I could not do it on my own. As I am very interested in design, I knew a graphic designer, Olga de la Iglesia, of Barcelona who developed logos I really liked. I decided to write to her and see if she could help me. She was very friendly from the beginning, and in less time than I thought I had her first sketch on my inbox.
white Happiness: it is a special day where everybody can enjoy in its own way Sincerity & Purity: the artwork and the RestArt project are the result of the research of sincerity in the expression of Art.
The colors she suggested were quite different of the ones of the first feedback I got, but the space concept was in it, more than in my proposal. Besides, for a nonprofit exhibition, printing in black and with is much cheaper than in color. Observing the evolution was very constructive, because I realized how important production is. The two designers conceived the final result in a same direction, in a way very distinct of my vision.
black Sophistication: the quality of the artwork is high. Fear: everybody can have access to it. There will be no entrance payment and all the artists that wanted to participate could do so.
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Viral Videos To introduce the RestArt concept I worked hand in hand with Julieta Averbuj who developed three viral videos, which presented how things work at RestArt.
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BRAND COMMUNICATION In order to present the project to the providers and the attendance, there were different kinds of essential tools: The most important was the e-足mail: restartbarcelona@gmail.com This tool allowed me the contact with the providers related with: Material Space Artists Media But for them the presentation to the public was also very important.
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All those links could also be found in the webpage.
www.optimpro.cat/restart
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BRAND BEHAVIOR ResArt is the product of lots of values that are synchronized witheach other: Beauty: by admiring gorgeous creations Care: of the art existence and creation Curiosity: wanting to be aware of all the emergent artists Desire: of wanting to admire things Excitement: by changing the rules Fearlessness: we want to evolve Gratitude: thankful to cooperate with people who shares our interest Ingenuity: our imagination leads the rule Integration: of all kind of arts Partnership: between all our artists and partners Respect: between the team, artists and visitors Spirit: we create our own Vision: there are no limits Vitality: always refreshing
Moreover, we want to respect our environment. In order to do that, we take ecology very seriously. The extension of our events is limited by it and our resources are recycled or well used. We are also interested in giving something to our society in return for their curiosity of coming to our art events to discover new experiences. We want to be a source of desire, partnership and integration thanks to our vision. We release unknown artists and give them the chance to perform side by side with famous ones.
The result is a grateful experience for all who believe in those values and want to be a part of something new without limits, adopting a new vision by being fearlessness!
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reflect Our aim is to become an international reference by developing new design experience in art exhibitions. In order to reach that goal our strategy is to conserve our events in the places where we locate them, and perform them once a year. Besides, each year we will be adding a new city to our map. Who wants to be next? reframe Nowadays there are lots of crazy artists and managers. However, we have to be crazier than them to become an example and reference for all. As we said, it is not going to be easy. create We have developed our values but our future is a mystery. There are no insurances that what we do is safe. We follow our mind, our instinct. grow Good planning is essential for growing. We want to be an interest for the artists and more than that, for the public. We will always have to bring something new up, in different cities, with different people. As we respect everyone, we think our attendants have a lot to say. That’s why after every event we will ask them how they want to live the next experience. differentiate Respecting our essence is the way we can differentiate ourselves. Otherwise, we will fall in the strategy of somebody else. Working all side by side - managers, artists and visitors - is the way we all would reach our goals. go! Every year you will be wondering when you will hear our sign: RestArt
Creation of a cultural artistic event
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PRE EVENT 1. Defining the goal Creating new experiencing events 2. Name Our brand name RestART 3. Organization committee Management and event design: Ioana Crasovan Graphic design: Olga de la Iglesia Media: Julieta Averbuj Web programmer: Lucian Crasovan 4. Selection of the date As we wanted to create a 24h experience, we needed a location for two days, and we decided that a weekend was the best option. We knew that July had to be the month, so we developed a calendar with all the events of that month and strategically picked the weekend with less activity. Since Barcelona was our chosen location, there was no way to find two days during which nothing happened! There is always something on. Our decision 13th & 14th of July 5. Number of assistants We estimated that 70-150 people were going to come. 6. Place We needed a location for 24h non-stop, which was why our list of option was limited. We supposed that the place is one of the most important areas of our event. And we found two solutions: • Create a simple, ecologic module • Rehabilitate an old and unlived house
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The decision was tough and we could not pick one without having a serious reason. That is why we designed a list with good and bad reasons for every option and we also started a small local research taking pictures of old inhabited houses. module old house More movement Stable No space and form limitation Reuse of an existing structure Easy to build Cheap
After considering all the variables and having a serious meeting with our architect we decided that a “module” was the best choice. The easiest solution for a space was to rehabilitate an old one. This option had some disadvantages. The first and most considerate was the fact that it was impossible to make the project real. It is practically impossible to get a place in Barcelona because they are too expensive. Even if the place had been found, the rehabilitation would also be very important as an expense. I did my research in “Poble Nou”, which is an area of Barcelona with lots of old factories and buildings which could have been used as a location. Therefore, I thought that an existing module would be easier to handle and it had more advantages. But this option was also very expensive and did not allow the development of the project. That is why the final option was to create a module with a specific design perfectly fit able with my idea. The next step was harder. I had to visualize the form of my gallery and clinch the materials I was planning to harness. The rules where clear. All the materials had to be recycled and cheap. It was also very important to visualize a simple form for the walls, which could be assembled quick and easy. As I started trying different materials I also got to the conclusion that I could not get enough materialswhich enabled me to construct a module as big as I wanted. It was time to stop and think because it seemed to me that I running out of options. My tutor came with the idea to search for an existing place where I could work up my whole plan. Because of this, I sketched a list with all the public places where it could be been done.
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picasso museum http://www.museupicasso.bcn.cat design Hub http://www.dhub-足bcn.cat/es macba http://www.macba.cat/es/ cccb http://www.cccb.org/ca/ poble espanyol http://www.poble-足espanyol.com caixa forum http://obrasocial.lacaixa.es/nuestroscentros/caixaforumbarcelona/caixaforumbarcelona_es.html centro de arte mutuo http://mutuocentro.com bookshop mutt http://www.mutt.es hartmann gallery http://www.galeriahartmann.com pati llimona http://patillimona.net mitte http://mitte-足barcelona.com/mitte_Barcelona/Mitte_Barcelona.html
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But finally I ended up developing RestArt in a place I would not have found without the help of my research tutor.
Nau Ivanow http://www.nauivanow.com/es The space is an old factory. It is not rehabilitated, but the old style was perfect for taking in different kinds of art expressions, and its size is generous. Some features were different: the artwork had to be hanging from the ceiling; the different pieces had different dimensions, mostly bigger than usual. That is why more space was needed. It was also very hard to find a place that could be open for 24h.
Thus, this was the right place.
Espai 30 e:1/125
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7. Planning We had 24h ahead and our plan was this
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8. Resources estimate We planned to work without investors. That is why we adopted another strategy. We want to be close to our helpful companies. By creating a list of what we needed, we searched for the best local companies which could offer us what we needed. Espai 30: our location Optimpro: hosting of our web page Fruit of the loom: t-足shirts for our artists and staff Tattoonies: our gift to the visitors Barna Art: the best shop for artistic material
9. Ecological and recycling concept Our timing does not waste resources, and our materials will be recycled for our upcoming events! 10. CSR (corporate social responsibility) Our responsibility is ensure that art has a fun platform where everybody is interested in it.
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11. Promotion We believed in our local sources and that was how we promoted our event. We created a press release, which we seeded to all the blogs, agendas and journals we believed would be interested.
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EVENT 1. Reception Began at 7 o’clock in the evening 2. Registration 3. We wanted to thank to all our visitors, but we needed their e-mails. That is why we gave a “tattoonie” to everyone who e-mailed us a photo of the pillow they were going to bring on the 13th or the 14th. 4. Count the people who comes in We released a small paper with a test to everybody who came in. We reached 120 visitors! 5. Opening act Our opening art was developed by the most cheerful Dj in town: Hernán Lagos! 6. Ending act We decided to say goodbye accompanied by four wonderful musicians.
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POST ACT Evaluations With help of local creations as Typeform1 we could make it easy for our attendants to tell us how the experience was. Â
1 Typeform is a program which allows to his users to create well designed surveys.
Exhibition design
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Visitors We addressed our event to people between 16-足45 years old. Place & Lighting Our place was a closed space, with some light entrances and a static lighting. It was hard to have a good lighting, but we did our best. Revising the final result, lighting was the only thing that should have been more studied.
Path We choose a simple path, but there was no clear beginning and neighed a difference of quality.
Labeling Our labels were small cards we paste on the walls with the same font and size.
Artwork
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1 | ANDREA ALLEN Acuerdo transitorio nº3 2 | BAAS ARQUITECTURA & CARLOS HERNANDEZ (PHOTOS) MUHBA 3 | CHAMO SAN Reskate 4 | CARME ROCA Escena del cicle vital 5 | BAAS ARQUITECTURA & CARLOS HERNANDEZ (PHOTOS) MUHBA 6 | DENISSE GARCÍA Refied 7 | CARME ROCA Coming 8 | BAAS ARQUITECTURA & CARLOS HERNANDEZ (PHOTOS) MUHBA 9 | CHAMO SAN Tv Fashion 10 | ESTER FERRUZ Reskate 11 | PAULA BONET La Caverna 12 | GUIM TIÓ Reskate 13 | PAULA BONET Ossa Polar 14 | DANIEL MOLINA Croacia VI 15 | OLGA DE LA IGLESIA 16 | MIL VIETNAMS Reskate 17 | PAULA BONET Mujer Armiño 18 | CHAMO SAN Back II 19 | CHAMO SAN Sketch Mole 20 | PAULA BONET Plural Inclusivo
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Let's GO Photo gallery
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Results
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RESULTS I based the results of this whole project on the survey all the visitors answered. There 5 questions and this were the results: 1. How did you fins out about restart
63% Amics
21% Facebook
13% Altra
4% Agendes culturals
0%
Tumblr/ Twitter
It’s interesting to remark that our friends are a huge influence in the activities we choose to do. The second conclusion shows that Facebook has more online influence as the other two social networks: Tumblr & Twitter. 2. Which was your favorite piece of art? To this question all the answers sere different. 3. What did you find more curious?
67% Obres al sostre
14% Portar el coixí
14% Les 24h
5% Només els artistes barcelonins
4. How much did you love the experience?
4.67 Puntuació mitja
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5. RestArt is playing, changing the rules‌ how do you imagine our next edition? This was also an open question, so I decided to enunciate the answer I find crazier: In a swimming pool where you have to find out where the art pieces are exposed
As I have to evaluate this experience I would conclude saying it was a huge success, because everyone enjoyed it, and I believe all the visitors leaved having a new idea about what en exhibition can be. I look forward to develop the annual edition in Barcelona, but in different locations, and also in other countries and cities. The final goal is to create a network of artists all over the world who are willing to conceive more than their artwork. Their aim will be to create a show while they are exposing it.
Thanks to:
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My parents and my sister, who where by my side all the time, helping with everything they could. Roger Sempere, because he was the first to believe in my project. Anna Carbonell, for revising all my work! place Xavier Basiana – Espai 30, without him RestArt would not have had a location. artists Julieta verbuj La Pecera Paula Bonet Martí Andiñach Cálido home Carla Grau Flor Morales Gioia Guidazzi Sebas Tlk Staful Lacard Ninu Lopez Hernán Lagos Reskate Paul Henry LMNACD Carme Roca Denisse García Dani Castro Chino Cob Alejandra Marly Daniel Molina Gabi Lecup Lucia Seguramente, she created the lovely artist portraits. Olga de la Iglesia Laura Alcala BAAS Vora arquitectura Chamo San Andrea Allen
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architecture Albert Montilla, for the faith he had in me and the help with architectonic problems. Pablo Puyuelo, for the comprehension with the research of the space concept. Ignasi Bardera Oriol Vidal design Olga de la Iglesia, essential for the development of RestArt. Thank you for loving this and making it happen. Roman Proubasta for all the orientations. Rúben Santos/Enzo Iaccheo, for the beauty lovers and design experts that made this book possible. media Julieta Averbuj, for our Skype conversations (BCN- Buenos Aires)She made the best video clips. Iara Bouhid Milenia, for all the gorgeous photos, the help and the excitement! communication Nal3, for all the time invested, books, smiles and support in this field. Management Jürgen Salanbecher, first orientations in event design. Javier Ferreiro, for being the crazy one to come up with the pillows idea. Jamel de Castro, location and lots of support. Raija Oosterhoorn Daniela Maccarrone staff Dani Climent, for the smiles he shared with all the attendants. Thank you. Wendy Erlich, the best guest receptionist ever. Guillem Lluís, for loving me and being by my side all the time. Xavier Güell, because I loved your curiosity, help and admiration. Martín Cena Sebas Romero, for being the craziest one. Penique productions Elias CarMax for coming to see how all went and be there as a wonderful compa
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