Introduction - Revision history

Juju: /* making matters */

2022-04-12T11:51:18Z

making matters

← Older revision		Revision as of 13:51, 12 April 2022
Line 17:		Line 17:
	<span class="page-break"> </span>		<span class="page-break"> </span>

	The roles of artist, curator, <mark class="c3">institution</mark> (museum, Kunsthalle, artist-run spaces, biennial, documenta) and audience may become fused in the production ~~<br>~~		The roles of artist, curator, <mark class="c3">institution</mark> (museum, Kunsthalle, artist-run spaces, biennial, documenta) and audience may become fused in the production of art.
	of art.

	This development raises fundamental questions <br>		This development raises fundamental questions <br>

Karl: /* a vocabulary for collective arts */

2022-04-12T09:56:31Z

a vocabulary for collective arts

← Older revision		Revision as of 11:56, 12 April 2022
Line 3:		Line 3:
	<span class="author">Janneke Wesseling & Florian Cramer</span>		<span class="author">Janneke Wesseling & Florian Cramer</span>

	<span class="no-indent">The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.</span>		<span class="no-indent"><p>The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.</p></span>

	One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.		One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.

Karl: /* a vocabulary for collective arts */

2022-04-12T09:54:02Z

a vocabulary for collective arts

← Older revision		Revision as of 11:54, 12 April 2022
Line 3:		Line 3:
	<span class="author">Janneke Wesseling & Florian Cramer</span>		<span class="author">Janneke Wesseling & Florian Cramer</span>

	<~~div~~ class="no-indent">The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.</~~div~~>		<span class="no-indent">The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.</span>

	One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.		One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.

Juju: /* a vocabulary for collective arts */

2022-04-12T09:24:13Z

a vocabulary for collective arts

← Older revision		Revision as of 11:24, 12 April 2022
Line 3:		Line 3:
	<span class="author">Janneke Wesseling & Florian Cramer</span>		<span class="author">Janneke Wesseling & Florian Cramer</span>

	The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.		<div class="no-indent">The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.</div>

	One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.		One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.

Juju: /* a vocabulary for collective arts */

2022-03-28T12:09:40Z

a vocabulary for collective arts

← Older revision		Revision as of 14:09, 28 March 2022
Line 1:		Line 1:
	==making matters==		==making matters==
	===a vocabulary for collective arts===		===a vocabulary for collective arts===
	<span class="author">Janneke Wesseling, Florian Cramer</span>		<span class="author">Janneke Wesseling & Florian Cramer</span>

	The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.		The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.

Juju: /* making matters */

2022-03-23T10:56:19Z

making matters

← Older revision		Revision as of 12:56, 23 March 2022
Line 31:		Line 31:
	<span class="tighter">The project began with a four-year research project by our <mark class="c6">material practices</mark> workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium. <br>		<span class="tighter">The project began with a four-year research project by our <mark class="c6">material practices</mark> workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium. <br>
	It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of <mark class="c5">artistic research</mark>, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into <mark class="c6">material practices</mark>. This book aims to explicate tacit knowledge from artists’ <mark class="c6">material practices</mark> and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts in the arts.</span>		It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of <mark class="c5">artistic research</mark>, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into <mark class="c6">material practices</mark>. This book aims to explicate tacit knowledge from artists’ <mark class="c6">material practices</mark> and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts in the arts.</span>
			<span class="page-break"> </span>

	~~<span class="page-break"> </span>~~
	The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the <mark class="c6">material practices</mark> workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.		The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the <mark class="c6">material practices</mark> workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.

Juju: /* making matters */

2022-03-23T10:41:31Z

making matters

← Older revision		Revision as of 12:41, 23 March 2022
Line 30:		Line 30:

	<span class="tighter">The project began with a four-year research project by our <mark class="c6">material practices</mark> workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium. <br>		<span class="tighter">The project began with a four-year research project by our <mark class="c6">material practices</mark> workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium. <br>
	It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of <mark class="c5">artistic research</mark>, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into <mark class="c6">material practices</mark>. This book aims to explicate tacit knowledge from artists’ <mark class="c6">material practices</mark> and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts ~~<br>~~		It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of <mark class="c5">artistic research</mark>, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into <mark class="c6">material practices</mark>. This book aims to explicate tacit knowledge from artists’ <mark class="c6">material practices</mark> and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts in the arts.</span>
	in the arts.</span>

			<span class="page-break"> </span>
	The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the <mark class="c6">material practices</mark> workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.		The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the <mark class="c6">material practices</mark> workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.

Juju: /* making matters */

2022-03-22T20:40:48Z

making matters

← Older revision		Revision as of 22:40, 22 March 2022
Line 29:		Line 29:
	This book aims to contribute to the growing body <br>of literature on the phenomenon of the art collective in its present-day, multidisciplinary, and hybrid form.<br> It aims to provide insight into the subject matter of these collective multidisciplinary practices. Most contributors are practitioners whose work falls in <br>the cracks between the disciplines of art, design, critical theory, research, performance, community organization, social activism, and critical engagement with technology. Even when their work is <mark class="c6">grounded</mark> in one of those disciplines, it usually encompasses at least two others. In the end, these practices and the texts in this book complicate the following questions: What is research when it is done by artists? What is ‘making’ when it is informed by critical theory and turned into activism? What is ‘technology’ when it is articulated by performance artists and in community projects? What happens when their implicit concepts, definitions, and vocabularies, which differ from mainstream understandings of those same concepts, are explicated in a specific vocabulary?		This book aims to contribute to the growing body <br>of literature on the phenomenon of the art collective in its present-day, multidisciplinary, and hybrid form.<br> It aims to provide insight into the subject matter of these collective multidisciplinary practices. Most contributors are practitioners whose work falls in <br>the cracks between the disciplines of art, design, critical theory, research, performance, community organization, social activism, and critical engagement with technology. Even when their work is <mark class="c6">grounded</mark> in one of those disciplines, it usually encompasses at least two others. In the end, these practices and the texts in this book complicate the following questions: What is research when it is done by artists? What is ‘making’ when it is informed by critical theory and turned into activism? What is ‘technology’ when it is articulated by performance artists and in community projects? What happens when their implicit concepts, definitions, and vocabularies, which differ from mainstream understandings of those same concepts, are explicated in a specific vocabulary?

	The project began with a four-year research project by our <mark class="c6">material practices</mark> workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium. <br>		<span class="tighter">The project began with a four-year research project by our <mark class="c6">material practices</mark> workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium. <br>
	It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of <mark class="c5">artistic research</mark>, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into <mark class="c6">material practices</mark>. This book aims to explicate tacit knowledge from artists’ <mark class="c6">material practices</mark> and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts <br>		It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of <mark class="c5">artistic research</mark>, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into <mark class="c6">material practices</mark>. This book aims to explicate tacit knowledge from artists’ <mark class="c6">material practices</mark> and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts <br>
	in the arts.		in the arts.</span>

	The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the <mark class="c6">material practices</mark> workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.		The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the <mark class="c6">material practices</mark> workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.
Line 40:		Line 40:

	The entries are categorized under seven headings, laid out in alphabetical order: bodies, collective, critique, economy, making, matter, and undisciplined. In some cases, entries refer to connected entries.<br> The order of reading is not linear. You are invited to read the entries in any given order.		The entries are categorized under seven headings, laid out in alphabetical order: bodies, collective, critique, economy, making, matter, and undisciplined. In some cases, entries refer to connected entries.<br> The order of reading is not linear. You are invited to read the entries in any given order.

	~~<references />~~

Juju: /* making matters */

2022-03-22T20:13:55Z

making matters

← Older revision		Revision as of 22:13, 22 March 2022
Line 14:		Line 14:
	Material artistic <mark class="c6">practices</mark>, i.e., ways of concrete making and doing, often go hand-in-hand with <br>a theoretical inquiry. The textual and visual contributions in this book embody this intertwinement of conceptual and material thinking. The authors share an interest in <mark class="c5">artistic research</mark>, a relatively newly institutionalized research field that connects doing and thinking, making and theorizing, in a reciprocal exchange that does not prioritize one over the other. In <mark class="c5">artistic research</mark>, practical action (making) and theoretical reflection (thinking) go together, action and thought are inextricably linked.		Material artistic <mark class="c6">practices</mark>, i.e., ways of concrete making and doing, often go hand-in-hand with <br>a theoretical inquiry. The textual and visual contributions in this book embody this intertwinement of conceptual and material thinking. The authors share an interest in <mark class="c5">artistic research</mark>, a relatively newly institutionalized research field that connects doing and thinking, making and theorizing, in a reciprocal exchange that does not prioritize one over the other. In <mark class="c5">artistic research</mark>, practical action (making) and theoretical reflection (thinking) go together, action and thought are inextricably linked.

	Art contests the age-old dichotomy of theory and practice. Since Modernism, it has involved a constant questioning of the role of art and artist. The practices presented in this book put these questions on the table once more. They exemplify the attempt to bridge the distance between theory and practice, or even (in some cases) to obliterate the distinction between art production, critical reflection, and everyday life. <br>		Art contests the age-old dichotomy of theory and practice. Since Modernism, it has involved a constant questioning of the role of art and artist. The practices presented in this book put these questions on the table once more. They exemplify the attempt to bridge the distance between theory and practice, or even (in some cases) to obliterate the distinction between art production, critical reflection, and everyday life.
			<span class="page-break"> </span>

	The roles of artist, curator, <mark class="c3">institution</mark> (museum, Kunsthalle, artist-run spaces, biennial, documenta) and audience may become fused in the production <br>		The roles of artist, curator, <mark class="c3">institution</mark> (museum, Kunsthalle, artist-run spaces, biennial, documenta) and audience may become fused in the production <br>
	of art.		of art.

Juju: /* a vocabulary for collective arts */

2022-03-22T15:04:01Z

a vocabulary for collective arts

← Older revision		Revision as of 17:04, 22 March 2022
Line 5:		Line 5:
	The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.		The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.<ref>The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.</ref> ''Making Matters'' asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.

	One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally ~~as well~~ <br>as globally.		One of the main departure points of ''Making Matters'' is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally <br>as well as globally.

	A new perspective on ‘making’ becomes apparent here. When practices shift towards collaborative making processes instead of individual products, what does ‘making’ and the production of concrete, material ‘things’ mean? Artists collaborate with non-artists and in doing so may take on other identities, such as researcher, community activist, computer hacker, or <mark class="c4">business</mark> consultant. The research done by these artists departs from the most diverse areas, from <mark class="c6">logistics</mark> and biotechnology to geology or dance. As a result, the distinction between art, design, research, and activism is dissolving. It follows that these practices may hardly be recognizable as art or design practices any longer, nor are their outcomes necessarily identifiable as artistic outcomes, let alone as specific art works. Some of these practices no longer conform to a conventional Western idea of art and art making. This book aims to identify some of their key concepts and to make their vocabularies accessible to a larger public.		A new perspective on ‘making’ becomes apparent here. When practices shift towards collaborative making processes instead of individual products, what does ‘making’ and the production of concrete, material ‘things’ mean? Artists collaborate with non-artists and in doing so may take on other identities, such as researcher, community activist, computer hacker, or <mark class="c4">business</mark> consultant. The research done by these artists departs from the most diverse areas, from <mark class="c6">logistics</mark> and biotechnology to geology or dance. As a result, the distinction between art, design, research, and activism is dissolving. It follows that these practices may hardly be recognizable as art or design practices any longer, nor are their outcomes necessarily identifiable as artistic outcomes, let alone as specific art works. Some of these practices no longer conform to a conventional Western idea of art and art making. This book aims to identify some of their key concepts and to make their vocabularies accessible to a larger public.