Great! - I'm not sure where you go with it after that, though.
You could offer something non-existent for sale on OpenBazaar easily
enough. That would be one option. What appealed to me, though, was the
idea of selling shares in a non-existent work of art, in the hope that
the shares would keep changing hands and their value would keep
increasing, so that if you retained something like a 25% stake in the
work, that stake would keep increasing in value too.
The paradox, of course, would be that by announcing that you were
creating a non-existent work of art, and offering shares in it, you
would in effect be creating an actual conceptual work of art about the
marketing and the market value of art. That's why I thought the images
from Curt Cloninger's essay about nothing would be appropriate (for
advertising the existence, or rather non-existence, of the work and the
availability of shares), because he's investigating the paradox that you
can't create a representation of nothing without that representation
being a something.
I expect Rob could advise about how to set up the shares thing.
Edward
On 15/10/17 16:22, ruth catlow wrote:
Not sure this is the best tool
https://etherpad.net/p/MarlyStudiedTheQuotations
but a place to start
On 15/10/17 16:15, ruth catlow wrote:
I'd be up for thinking this one through.
Let's do it.
On 13/10/17 20:34, Edward Picot wrote:
Oops! Apologies for posting this twice. I thought the first one
hadn't worked.
On 13/10/17 19:10, Edward Picot wrote:
Can't we do something with this? Couldn't we create a conceptual
work of art that didn't actually exist at all - we could use some
ideas from Curt Cloninger's 'Essay About Nothing' to represent it -
and market shares in it via the Blockchain? Proceeds to
Furtherfield, unless the value went above a trillion dollars, in
which case I want a cut.
Edward
On 11/10/17 18:56, Rob Myers wrote:
On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:
Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't
my idea of utopia.
"""Marly studied the quotations. Pollock was down again. This, she
supposed, was the aspect of art that she had the most difficulty
understanding. Picard, if that was the man's name, was speaking
with a broker in New York, arranging the purchase of a certain
number of "points" of the work of a particular artist. A "point"
might be defined in any number of ways, depending on the medium
involved, but it was almost certain that Picard would never see
the works he was purchasing. If the artist enjoyed sufficient
status, the originals were very likely crated away in some vault,
where no one saw them at all. Days or years later, Picard might
pick up that same phone and order the broker to sell. """
- William Gibson, "Count Zero", 1986.
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Furtherfield is the UK's leading organisation for art shows, labs, &
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around critical questions in art and technology, since 1997
Furtherfield is a Not-for-Profit Company limited by Guarantee
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Co-founder Co-director
Furtherfield
www.furtherfield.org
+44 (0) 77370 02879
Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i
Furtherfield is the UK's leading organisation for art shows, labs, &
debates
around critical questions in art and technology, since 1997
Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand Arcade,
Tally Ho Corner, London N12 0EH.
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