Rob,
As far as I'm concerned your help would be greatly appreciated. I've had
several looks at Ethereum, but I don't feel at all confident that I
could actually implement something and make it work. Your coloured art
coins look as if they at least halfway there. Do I gather that you
created 13 of each colour, and offered them for sale?
On the presentational side of this, the art listed on Maecenas,
according to their site, 'will be held in purpose-built art storage
facilities that not only ensure that the artwork is safe but also
guarantee that it’s properly looked after', and the ArtReview article
mentions that artworks are 'increasingly bought to be hidden away in
warehouses in the peculiar nonzones known as freeports - tax- and
customs-free spaces where objects are, legally, indefinitely ‘in
transit’ between countries'. So I was wondering if our non-existent
artwork should have some kind of physical location. An empty crate
housed at the Furtherfield gallery might be nice. The other option that
occurred to me derives from Flann O'Brien's novel The Third Policeman.
One of the policemen in the book (MacCruiskeen) has a hobby of making
tiny boxes, each tinier than the previous one, which he keeps one inside
the other. When he unpacks them the tiniest of the lot is completely
invisible, and in fact there's really no way of telling that it exists
at all. 'The one I am making now,' he says, 'is nearly as small as
nothing.' So another option would be to say that our on-existent artwork
was housed inside MacCruiskeen's tiniest box, and perhaps give a
map-reference for it, whilst warning people that unfortunately it's so
small that it can't be seen.
What do other people think?
Edward
On 18/10/17 05:04, Rob Myers wrote:
Yes I can help if anyone is interested.
Precedent-wise there's -
http://interaccess.org/event/2017/bitcoin-ethereum-and-conceptual-art
Or my own -
http://robmyers.org/art-coins-coloured/
But neither of these are *nothing*. :-)
- Rob.
On Sun, 15 Oct 2017, at 10:36 AM, Edward Picot wrote:
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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Co-founder Co-director
Furtherfield
www.furtherfield.org <http://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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