Social Media before
Social Media
did I create facebook 15 years before ?
(just a different goal ) / harmonie not exploitation
Beeing all together "Exhibitionists"
Open
sharing our NOW through pictures and status
emotions or personnal opinions
was an artistic format :
When it was a proposition for harmonic coexistence
It was 1988 a year before the 1989 Manifeste Moving
Exhibition
---------------------------------------
!!!!!! this page in in
construction !!!!
Links to Notes
and book by curator Tijana Miskovic
1)in
a news letter sended 25/4/2016 .
2 )some are part of a larger
presentation about my use of photography
"Beyond Photographie d’auteur An artist’s way of using
photography
and engaging in the fields of anthropology and
sociology by Tijana Mišković
https://www.tijanamiskovic.com/visuel-arkivering
Link to the
exhibition at Sprengel Museum Hannover 2011
Museum
catalogue with thext by Inka Schube .
link to TG home page about the exhibition at
Sprengel Museum Hannover 2011http://www.emergencyrooms.org/extracteur.html
-------here some archives documents and clarification by the
artist----------
see
video guided tour by
artist Thierry Geoffroy
( to explain what is written below )
In 1988 Thierry Geoffroy started to work on
shaping a format encouraging " FRIENDS
" to become "EXHIBITIONISTS
by use of self chosen photos
and changing status updates at any wished moment .
The result of this interactif frequently updated moving
exhibitions (images + text ) was also a strategy of collection and
portaying through re use of the collection . The collected materiel was with permission of the exhibitionnistes
to re - use , and re exhibit it .
The exhibitionnists were also using a "wall " and special
conditions of access were done excluding non registrated people
in certain context .
All the concept grounding elements that originate facebook
were there already
(including the appellation "friends "written in the 1989
Manifeste )
This format was aired on some mass medias and also in art
magazines like Katalog in Denmark ( 1989 )
articles were written about it like in Information or
Weekend avisen.
The format from 1988 includes clear descriptions of the use of
photography for social interaction to happen collectively , in
real time .
Changing updated photos are central together with
their frequent changing status updates
this changes depending of mood , interactions and debates of
their owner
- The Manifeste also describe clearly the collection of data's , the change
of ownership
"-the wall "
-the log-in =
obligation to full filled conditions of registering by
obligatory participation ( with different
stage of settings to regulate openness )
-the classification of thematic
groups
-the exhibition and stimulation of the EGO of the exhibitionnists
-the creation of commnunauties
on thematics with their own gathering event meeting
-the design - the frame
( every body having to portrait them self right here
right now but within a similar frame and
design )
Just after participating in exhibitionnist exhibitions the "
friends " were giving their exhibitions ( data's
about themselves )
accepting as well condition of participation to have their
face-status re - shown and re- exhibited ., re- classified
.
This exhibition dispositif from 1988 was often
taking the aspect of what could be now called " flash mob
"
aiming to stimulate the individual to expose his "ME " in groups
( limited / eventually thematic or open groups )
and stimulate the participants to become an " open
person" among other open persons :
" Exhibitionnists " were able to share opinions
and expose deep inside facettes of their
personality ( mise à nue )
This exhibitionist format was part of the Moving
Exhibition
Manifeste ( develop in 1988 and published in 1989 )
under the paragrapher "Moving Exhibition de type
Exhibitionniste ".
The Exhibitionniste format created in its origin as an art
project
as a method to be open together in community using
photography and immediate status updates ( commentable )
exist now on internet under at the name social net
work " called facebook
where "friends" " log in" to become exhibitionists and
voyeurs ,
choosing self representation ( self promotion )
updating constantly status - depending of moods and
circumstances
commenting into each others life in real time
exposing themselves to comment and interactions
remarks ,g reeting , thumbs up or ignore
Their degree of exposure is not the same between their
close friends circle or people they nearly don t know
and this they can regulated .
Sharing " staged -self designed " existences was
requesting some " choreography "
The whole interactif activity were being recorded
-archives and re-classified
Their right given away to the " foundation Moving
Exhibition " and the collection re-organized
and sometimes re-published in other contexts
(In fact Facebook is also meant to be a collecting
machine and reinterpretation of the data's machine )
--------------------------------------------
GIVE
MY FORMAT BACK" They own our history
and the right to change it
Thierry Geoffroy create formats
that can be activated globally .
Their aim is to train the "Awareness Muscle "
and think ways to debate together about today and it s context .
In 1988 Thierry Geoffroy started to work on shaping a
format encouraging " FRIENDS " to become "EXHIBITIONISTS "
meanwhile giving their datas to be collected and re - exhibited
. This exhibition dispositif was aiming to stimulate the
individual to expose his "ME " in groups ( limited / or open )
and make it become an " open person" able to share
opinions and unveil deep inside facette of his
personality ( mise à nue ) : . This format was
integrated to the Moving
Exhibition
Manifeste ( 1989 ) under the paragraphe "Moving
Exhibition de type Exhibitionniste ".
Now the Exhibitionniste format created in its origin as an art
project as a method to be open together through photography and
immediate status ( commentable ) exist on internet under
at the form of " social net work " called face book were "friends"
" log in" to become exhibitionist , choosing self
representation , updating status and commenting into each
others .The whole activity beeing
after copyright giving collected for re-organization .
Facebook is also meant to be a collecting machine .The
important modification of the original M.E. de type
exhibitionist is that the re-reading of the datas
(given
to FB by participants often under addictions )
is used for purpose to exploit them cynically , or even
transfer the files to C.I.A. so more orange people can be
tortured and put in isolation , naked .
Facebook is responsible for spying models ,
repression , apathic chemical war , education .
Here below you can read about Exhibitionist format as
it was originated 1988 -1989 and the dream of an
open society living in a "jam station " able to energize it self
in resonnance .The result create by fb is a society
of rats lying to each others , practicing denunciation ,
delation , and shaping publicly fake life with the appearance of
openness . propulsing us to the highway of hypocrisie , child
abuse ,
entertaining torture and other .
MANIFESTE
1989
(
link with original Manifeste text in french )
MANIFESTE
1989
La Moving Exhibition :
définition
C'est le créateur en
perpetuelle recherche . La Moving Exhibition est mobile dans l
‘espace , et mobile dans son expression puisque 'elle
s‘adapte à la vie .
Son abreviation est M.E. car elle est profondement liée au moi de l’exhibitioniste
. Elle est introspective et autobiographique .
LES DIFFERENTS TYPES DE
MOVING EXHIBITIONS :
La Moving Exhibition de type
bourgeoise :
C ‘est le créateur en milieu
confortable. Seul avec lui-même à l’ abri du public, ou en
compagnie de ceux qui le comprenne .
La Moving Exhibition de type
semi-bourgeoise :
M.E. dans un lieu public
avec accord préalable pour l’utilisation des murs (exposition changeant
constamment,car tenant compte des états d’ame du créateur
confronté à un public) . La M.E. semi bourgeoise peut
devenir conviviale en invitant le public à s’exprimer .
La Moving exhibition de type
offensive:
M.E. dans un lieu d’art
(musée ,gallerie) au moment d ‘un vernissage .Squattage .Utilise
les principes de la guérilla .Accord non indispensable du
responsable du lieu .Cas de ralliement ,cas d’expulsion :La
M.E.. de type offensivese manifeste actuellement sous forme d’
exposition piétonne ou volante ( Flying exhibition )
La Moving de type vagabonde:
M.E. dans un lieu etranger à
l’art (ex ambassade,metro,rue ,supermarché)
La Moving Exhibition de type exhibitionniste :
Elle invite des “AMIS” à
s’exposer une photo d’eux -même dans le dos et devenir ainsi des
“exhibitionistes “
.Les images exposées appartiennent ensuite à la Fondation qui se
charge de les “immortaliser “.
MOVING EXHIBITION :Manifest 1989 (
unchecked German translation )
Die Definition der Moving Exhibition
Das ist der schöpferische Geist auf ständiger Suche. Die Moving
Exhibition ist mobil im Raum und mobil im Ausdruck, denn sie passt sich an das Leben
an
Die Abkürzung ist M.E., denn sie ist fest verbunden mit dem
exhibitionistischen Ich. Sie ist introspektiv und
autobiographisch.
DIE VERSCHIEDENEN ARTEN DER MOVING EXHIBITIONS
Die Moving Exhibition bürgerlicher Art
Das ist der schöpferische Geist in behaglicher Umgebung.
Allein mit sich selbst, geschützt vor der Öffentlichkeit oder in
Begleitung derjenigen, die ihn verstehen.
Die Moving Exhibition halb-bürgerlicher Art
M.E. an einem öffentlichen Ort mit vorheriger Erlaubnis zur
Benutzung der Wände ( ständig wechselnde Ausstellung, da
Stimmungen des schöpferischen Geistes, der einem Publikum
gegenübersteht, berücksichtigt werden). Die halb-bürgerliche
M.E. kann zu einer Ausstellung mit Gästen werden, indem das
Publikum eingeladen wird, sich auszudrücken.
Die Moving Exhibition offensiver Art
M.E. an einem Ort der Kunst (Museum, Galerie) zum Zeitpunkt einer
Vernissage. Hausbesetzung. Benutzt Guerilla-Prinzipien. Erlaubnis
des Verantwortlichen am Ort nicht unbedingt notwendig. Möglichkeit
zum Anschluss, Möglichkeit der Abschiebung. Die M.E. offensiver
Art zeigt sich derzeit in Form einer Fußgänger- oder
Flugausstellung (Flying exhibition)
Die Moving [Exhibition] wandernder Art
M.E. an einem kunstfremden Ort (ehemalige Botschaft, Metro,
Straße, Supermarkt)
Die Moving Exhibition exhibitionistischer Art
Sie lädt FREUNDE ein, ein Foto von sich selbst auf ihrem
Rücken auszustellen und so zu ‚Exhibitionisten’ zu werden. Die ausgestellten Bilder
gehören anschließend der Stiftung, die sich verpflichtet, sie
zu ‚verewigen’.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
1988-1989 some
characteristiques of the Moving Exhibition de type
Exhibitioniste
-"Friends Exhibitionists
"that have accepted the participation rules
expose themselves with peronnal portraiting images
and text status of them selves to be share in the more or
less locked commauty depending of the privacy setting settings .
-The status ( photos and texts on A4 ) can change and
be visible in real time to the surrounding commauty
-The Exhibitionists exhibit their life in a pre designed
platform .
-They debate and comment each others exhibitionist
profiles on the wall often during the " jam station".
-Groups are shapped during different thematic events
activating communauties .
-The stock of exhibited materiel ( text images ) belong
after to the owner of the format
and can be re used , reorganized .( the human beeing
beeing a sujet d'etude )
EXAMPLE OF EVENTS GATHERING " EXHIBITIONISTS " WITH THEIR IMAGES
AND STATUS ( 1988 -1990) :
MOVING EXHIBITION EXHIBITIONNISTE OFFENSIVE / CENTRE POMPIDOU
1988
FRIENDS EXHIBITION WITH PROFILES PHOTOS AND UPDATE STATUS +
INTERACTION COMMENT .1988
Slideshow, Galerie Billedhuset, Kopenhagen.
Während der Ausstellung der Fotografin Ann Nordans in der
Galerie Billedhuset, Kopenhagen, erscheint T.G./C. mit vier
Freunden zu einer Moving Exhibition Offensive. Im Rhythmus von 15
Minuten wechseln die vier Protagonisten die Bilder der Moving
Exhibition, die sie auf dem Rücken tragen. Es sind Aufnahmen
T.G./C.s, die Militärs in Uniform zeigen und mit dem SchriftzugWAR
unterschrieben sind. Die Moving Exhibition Offensive wird zur
Moving Exhibition Exhibitionist, indem die Teilnehmer die
Fotografien mit eigenen privaten Aufnahmen ergänzen. Anschließend
wird die Ausstellung durch die Stadt getragen: Sie wird zur
Moving Exhibition Vagabonde.
Im Café TICTAC zeigt T.G./C. I want to be King – Ausschnitte
aus dem Burger King Projekt. Eine Arbeit aus dieser Serie wird als
Transparent erneut in einer Moving Exhibition Vagabonde gezeigt.
Abschließend führt T.G./C. mit den Teilnehmern Tonbandinterviews.
from Chronologie Thierry Geoffroy / Colonel by Inka Schube.
Sprengel Museum Hannover. ( 2002) <a
href="http://www.emergencyrooms.org/texts/chronologie_Thierry_Geoffroy.html"
rel="noreferrer
nofollow">www.emergencyrooms.org/texts/chronologie_Thierry_Geoffroy...</a>
1988 Ehibitionists / Fiac Paris Historic
L’art est un cadeau (Kunst ist ein Geschenk), anlässlich der FIAC,
Paris.
T.G./C. kooperiert mit den Radiostationen Europe 2, Radio Tour
Eiffel, Radio Enghien, Radio Latino und Radio Beaubourg. Er fordert
die Hörer auf, Fotografien aus dem Privatbesitz auf ihrem Rücken zu
dem jeweiligen Sender zu tragen. Ca. 30 Hörer kommen.
T.G./C. krönt sie mit Burger King Kronen paris fiac
chronologie by Inka Schube.Sprengel Museum Hannover.
<a
href="http://conclusionism.com/dictionary/exhibition_vieuw/0_1988_fiac_exhibitionists.html"
rel="noreferrer
nofollow">conclusionism.com/dictionary/exhibition_vieuw/0_1988_fiac...</a>
SPORT ART / MOVING EXHIBITION EXHIBITIONNISTE VAGABONDE 1990
Sport Art / 1990 Moving Exhibition de type Exhibitionniste (
vagabonde ) on Karate
1990
Sport Art Show, Roskilde Festivals, Roskilde.
Die Aktivitäten der seit November 1989 bestehenden Sport Art Group
finden, unter Mitwirkung von 200 Kendo- Tae-Kendo-, Karate- und
Roller Skate-Sportlern ihren finalen Höhepunkt.
Präsentiert werden, fixiert auf der Kleidung der Teilnehmer,
Fotografien aus der Sammlung “Goodie‘s Live” und, in der Moving
Exhibition Exhibitionist, private Bilder der Teilnehmer (die
anschließend in die Stiftung übernommen werden).
Die Winston and Lincoln Art Police kontrolliert die Einhaltung der
Regeln.
Der TV-Sender tv2 berichtet über dieses Ereignis in den
Abendnachrichten.
from Chronologie Thierry Geoffroy / Colonel by Inka Schube. Sprengel
Museum Hannover. ( 2002) <a
href="http://www.emergencyrooms.org/texts/chronologie_Thierry_Geoffroy.."
rel="noreferrer
nofollow">www.emergencyrooms.org/texts/chronologie_Thierry_Geoffroy..</a>.
Manifeste Moving Exhibition : <a
href="http://www.emergencyrooms.org/manifeste/1989.html"
rel="noreferrer
nofollow">www.emergencyrooms.org/manifeste/1989.html</a>
the exhibited photos and status are then part of the fondation
Moving Exhibition de type Exhibitionniste
from the book STRATEGIES d'EXISTENCE" by
Thierry Geoffroy / Colonel
ISBN877245456949 Rhodos Publishing h
1990 Moving Exhibition
Exhibitonniste on Dogs
film kendo
additionnal text : see
sport art manifeste from Katalog / Brandts Museum Denmark . 1991
https://www.flickr.com/photos/emergencyrooms/2395586850/in/photostream/
( In french )
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Some
of
: "LES TRESORS DE LA FONDATION MOVING EXHIBITION de type
EXHIBITIONIST " ( Images with status collected after the
Exhibitionists Gathering or Jam Stations . )
from
Katalog
/ 1989
from MANIFESTE MOVING EXHIBITION in art magazine KATALOG 1989
published in 1989 , the original was in french and then translate by
Niels Olaf Gudme
5 pages were published
Katalog was the magazine for the Museum
BRANDTS KLÆDEFABRIK in Odense .
Photography Museum
Henning Hansen was the redactor
-----------------------
--------------- -
-----------logg in
---- = condition of partipation----
Conditions
of Participation
To participate and be part of the Moving Exhibition Exhibitionist
the FRIENDS must fullfilled participation conditions .
for example voyeurs are not accepted in some of the gathering
events ( " jam station " )
non particiapting people are refused at the door .
only people exhibiting photos of them selves with appropriate
status can join
Rules like : accepting to give their photo + text status to
the fondation Moving Exhibition
fullfilled the thematic of the exhibition
be part of an exhibition choregraphy etc .....
necessity of beeing register
"
Come at Billedhuset ..with one or more of your tourist photos
exhibited in your back , on your stomach , or where you want .
Remember the entrance is only for people taking part of the
Moving Exhibition " from Foto film and video magazine by
Finn Neesgard 1990
t-shirt
catalogue : "People not participating will stay outside
. This is a jam station .This is the new generation . Family Picture are
better " 18 / 5 / 1990 "
The entrance is loked for the people not
participating
The valuable act is to see at the same time the Moving
Exhibition and it 's owner : LIFE
and be able to communicate with her , him in real time
( like a chat )
for example in the exhibition :
" What about tourism "( 1990 )
the participants are asked to practise self critic about their
behaviour as tourist ( often i third world countries )
they come with self critic images and text and give a chance to
other participants ( doing the same ) to start a
collectif introspectif debate
All are present in the same space with their self critic and
debate together .
Limited access incourage further ( deeper )
exhibitionism
( as everyone is bathing in the same bath )
often discovering sharing the same shame - becoming collectif
shame
so becoming disfunction to solve collectvely instead of
developping personnale angoisse
Making able development of collectif energy
Facebook regulated ( educated ) exposure through
immediate cencureship unplugging of account
generating that with those " education methods "
and in real time censure ,
the " exhibitionist " in facebook is always a fake one
a construct
a perfect one
and not really a open one
"Exhibitionism " . I mean openess
as to come as a trustable act
deep
en confiance
en commnauty
authentique
no in front of the C.I.A and consummeurs spy machine
VISAS and JAM SESSION /
LIMITED ACCESS TO REGISTERED PEOPLE
fullfilling acceptance to some conditions
al welcome if they are not voyeur but are also open
to limit the access of the exhibitionist space where every one is
going to share life
through images , status and debate
in the MOVING EXHIBITION de type EXHIBITIONIST "
there is allready lay out tool like the A4 format , plastic and
needle
you face is not put in a blue square but a whole with a needle is
fixing the participation
le mur est le lieu de tous les partages
-------------------------------------------------------------------------
EXEMPLE
EXEMPLE EXEMPLE EXEMPLE
--------------------------------------------------------------------------------------------------------------
1990
What about Tourism? Forbidden for Voyeurs, Einzelausstellung, Billedhuset,
Kopenhagen.
Gezeigt wird eine Sammlung
von Urlaubsbildern, die T.G./C. vor einem Fix-Foto-Labor in
Bangkok von Touristen erbittet. Von den jeweils 4 Fotografien
zeigt jeweils eines den jeweiligen Touristen. Beigestellt sind
die Name und Angaben zu Beruf und Dauer der Reise.
Zusätzlich werden die während der Reisen entstandenen
Farbfotografien T.G./C.s und Aufnahmen aus dem Familienalbum
Geoffroy gezeigt, die in den frühen1960er Jahren entstanden.
Zutritt zur
Ausstellung gewährt die Art Police nur denjenigen Besuchern, die
auf ihrem Rücken schriftliche und / oder fotografische
touristische Selbstkritik üben.
" people not participating will stay outside " says the t shirt -
catalog from the exhibition " what about tourism "
to avoid voyeur
non participant are kept outdoor
must remain outside
there is
rules of visibility and rules of exhibtions
there is a classification between voyeur and exhibitionist
Moving exhibition
border " FORBIDDEN FOR VOYEURS "
at the entrance the Art Police is controlling
:
In order to access the exhibition space
visitors muss come having fullfilled a condition
Come with a picture
condition de participation
CONTROL /BORDER CONTROL / Exhibitionniste with selfbiografic photo
about tourism behaviour obligatory to get in the exhibition
this image was collected then :1990
What about Tourism? Forbidden for Voyeurs, Einzelausstellung,
Billedhuset, Kopenhagen.
Gezeigt wird eine Sammlung von Urlaubsbildern, die T.G./C. vor einem
Fix-Foto-Labor in Bangkok von Touristen erbittet. Von den jeweils 4
Fotografien zeigt jeweils eines den jeweiligen Touristen.
Beigestellt sind die Name und Angaben zu Beruf und Dauer der
Reise. Zusätzlich werden die während der Reisen entstandenen
Farbfotografien T.G./C.s und Aufnahmen aus dem Familienalbum
Geoffroy gezeigt, die in den frühen1960er Jahren entstanden.
Zutritt zur Ausstellung gewährt die Art Police nur denjenigen
Besuchern, die auf ihrem Rücken schriftliche und / oder
fotografische touristische Selbstkritik üben.
from Chronologie Thierry Geoffroy / Colonel by Inka Schube. Sprengel
Museum Hannover. ( 2002) <a
href="http://www.emergencyrooms.org/texts/chronologie_Thierry_Geoffroy.html"
rel="noreferrer
nofollow">www.emergencyrooms.org/texts/chronologie_Thierry_Geoffroy...</a>
Manifeste Moving Exhibition : <a
href="http://www.emergencyrooms.org/manifeste/1989.html"
rel="noreferrer
nofollow">www.emergencyrooms.org/manifeste/1989.html</a>
the exhibited photos and status are then part of the fondation
Moving Exhibition de type Exhibit
art police control
page from the catalogue
produce for the exhibition " What about tourism "
"
Come at Billedhuset ..with one or more of your tourist photos
exhibited in your back , on your stomach , or where you want .
Remember the entrance is only for people taking part of the
Moving Exhibition " from Foto film and video magazine by
Finn Neesgard 1990
il s agit d un public de confiance willing to open up
------------------------------
"the Exhibitionniste wall "
was a wall made to present the
"Exhibitionnists "- exhibition
that they exhibited mobile during the "jam station
" ( event were everyone participate in the
introspection )
the hanging on the "wall " give the possibility of
an extra comments
Published
1989 in the photography art magazine Katalog:
the fondation had collected the photos of 92
exhibitionists
the stock is carefully registered
the place and the date it has been colected was of importance
as the moving exhibit will be very sensitif to the context
reacting like a nerf
following the mood of the exhibitionist
and the surrounding he is in
The
collected materiel can be reorganised ,
reassembled to be interpretated throught the collection ( for
example "TOURISM " )
( FB
collect people life , photography , status , preference
to reinterprate them for control ( CIA ) or sell them target
add , or selling the data to publicist
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
------------------------------------------------------------------------------------------APPELATION
"FRIENDS
"--------------------------------------------------------------------
MANIFESTE
1989
/
appellation " FRIENDS "
In 1989 the MOVING EXHIBITION Manifesto was
published as a poster and as an exhibition , some months later it
came as an expanded version in the art magazine Katalog( from the
Brandts foto museum with redactor Henning Hansen ) . The manifeste
describe the 5 type of moving exhibition .
The moving exhibition de type exhibitionniste is the one
that is claim to have highly inspired facebook ,( but all
the the type are bounded in the general definition ) .
The exhibitionniste type introduce the word " friends " as
well to name the participants
Publish only in 1989 , most of the grounding was done in
1988 .
Die Moving Exhibition exhibitionistischer Art
Sie lädt FREUNDE ein, ein Foto von sich selbst auf ihrem Rücken
auszustellen und so zu ‚Exhibitionisten’ zu werden. Die
ausgestellten Bilder gehören anschließend der Stiftung, die sich
verpflichtet, sie zu ‚verewigen’.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Also was developped
- the " jam session " private
group
events of individu ( exhibionists friends ) exposing
only among their " friends " /
this is what can be
consider as log now on FB culture you need to be
joining in , register and accepts rules and control and
framing
-the notion of debating around those photos , opinions scenarios
of debating those image were organized in the exhibionist
shows
( in FB posts give
stimulation for commenting the interconnection is encouraged)
- the
changing text , friends Exhibitionist were asked to write a status
under their images
about them selves or their opinion , as well their perception of
the context surounding them
-
- 
Format lay out , was given like
A4 paper with needles , or Burger King crown
( in FB everyone has a design
page , every one has to fit in a special frame )
-The groups : group
thematics are made to gather "exhibitionists in a group by
affinity , preferences , opinions , researches thematics ( in FB once you respond to
the log in condition you can join special groups )
Celebration of normal people :
Normal people are on " stage " and expose themselves who
they think they are
waht do they think
Disparition de l intimité personnelle et familiale ...
1989-1990 Sport Art . " la mise a nue "
la FONDATION moving exhibition // COLLECTING STRATEGY and IDEA
about RE-EXHIBITING the collection
Organising scenario and scenographie of shaping a
collections is very important
it is a gesture , a method ,
a strategy gloutonne
could some times be the alibi
The fondation Moving Exhibition collect
images and writen status from private individual after
they have interact together
in exhibitionist shows
(FB
collect
people life , photography , status , preference to
reinterprate them for control ( CIA ) or sell them target add
, or selling the data to publicist
collection .
extraction and involvement as artistic mehtodes in general (
from touristes in Thailland / the bishop driving school /
protest underwear / self measurement of danishness /extracteur /
) s exprimer avec les datas des autres
---------------------------------------------------------------------------------------- tresor of the fondation ---------------------------------------------------------------------------------------------------------
from Katalogue
1988
Slideshow, Galerie Billedhuset, Kopenhagen.
Während der Ausstellung der Fotografin Ann Nordans in der Galerie
Billedhuset, Kopenhagen, erscheint T.G./C. mit vier Freunden zu
einer Moving Exhibition Offensive. Im Rhythmus von 15
Minuten wechseln die vier Protagonisten die Bilder der Moving
Exhibition, die sie auf dem Rücken tragen. Es sind Aufnahmen
T.G./C.s, die Militärs in
Uniform zeigen und mit dem SchriftzugWAR
unterschrieben sind. Die Moving Exhibition Offensive wird
zur Moving
Exhibition Exhibitionist, indem die Teilnehmer die Fotografien mit
eigenen privaten Aufnahmen ergänzen. Anschließend
wird die Ausstellung durch die Stadt getragen: Sie wird zur
Moving Exhibition Vagabonde.
Im Café TICTAC zeigt T.G./C. I want to be King – Ausschnitte aus
dem Burger King Projekt. Eine Arbeit aus dieser Serie wird als
Transparent erneut in einer Moving Exhibition Vagabonde
gezeigt. Abschließend führt T.G./C. mit den Teilnehmern Tonbandinterviews.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
1988
L’art est
un cadeau (Kunst ist ein Geschenk), anlässlich der FIAC,
Paris.
T.G./C. kooperiert mit den Radiostationen Europe 2, Radio Tour
Eiffel, Radio Enghien, Radio Latino und Radio Beaubourg. Er
fordert die Hörer auf, Fotografien aus dem Privatbesitz auf ihrem
Rücken zu dem jeweiligen Sender zu tragen. Ca. 30 Hörer kommen.
T.G./C. krönt sie mit Burger King Kronen paris fiac
chronologie by Inka
Schube.Sprengel Museum Hannover.
the show was conducted like a flashmob and A4 of the
exhibitionists collected and reexposed
calling exhibitioniste at the radio exhibitionistes to come with pictures of them
selves in the morning
1988
Die Slideshow wird anlässlich der Eröffnung einer
Ausstellung von Gerard Garouste und Eric Bulatov im Centre George
Pompidou, Paris, wiederholt.
T.G./C. trägt ein Transparent mit dem Schriftzug “A Moving
Exhibition is to exhibit ourselfs when we want where we want”. Die
Ausstellung endet im ehemaligen Atelier von Mathieu Rozand.
Tonbandprotokolle dokumentieren die anschließenden Diskussionen
zwischen den Teilnehmern.
Jeanett Geoffroy berichtet über das Ereignis in einem Aufsatz, den
sie während ihres Studiums der Französischen Sprache und
Kunstgeschichte an der Sorbonne Paris verfasst. Die von der
Lehrkraft vorgenommenen Korrekturen werden in einer Ausstellung
präsentiert.
part 1 text 1 : " this is a moving
exhibition "
part 2
text 2: " a
moving exhibition is to exhibit ourself when
we want where we want what
we want "
part 3 : " family pictures are better " changement of text : " Nous des gens
normaux "
"Les
gens
normaux exposent maintenant à Pompidou "
remise du catalogue à Jean Hubert Martin 
-------------------------------------------------------------------the
exhibitionistes
that participated ------------------------------
an audio tape about the decison
of the photos was made
as here photographie is a support to share opinion and debate
togehter ingroups
exhibitionistes choosing the pictures they want to give
visibility to
l existence au travers de l
image become the pretext to a real debate an alibi to be
together
1988
Anlässlich einer Diskussion im Centre Pompidou unter der
Überschrift Le Forum du reportage erscheint T.G./C. mit dem
Transparent PHOTOPHILOSOPHIE 2 – LE REPORTAGE, auf dem er
gegen die Reportagefotografie polemisiert und die Fotografie für
den privaten Gebrauch dagegen stellt. Die PHOTOPHILOSOPHIE-Transparente,
von
denen insgesamt 6 produziert werden, sind didaktische
Bildgeschichten, in denen T.G./C. verschiedene Funktionen von
Fotografie thematisiert.
Anschließend veranstaltet er eine Flying Exhibition: Er
faltet Papierflugzeuge aus Fotokopien nach privaten Fotografien
und bewirft Publikum und Podium. T.G./C. wird gewaltsam aus der
Veranstaltung entfernt.
Part 1 : photophilosophie : mon meilleurs reportage c est ma
vie . ( la vie personnelle mise en avant )
change and part 2
reportage en direct sur la
quête
Anlässlich einer Diskussion im Centre Pompidou unter der
Überschrift Le Forum du reportage erscheint T.G./C. mit dem
Transparent PHOTOPHILOSOPHIE 2 – LE REPORTAGE, auf dem er
gegen die Reportagefotografie polemisiert und die Fotografie für
den privaten Gebrauch dagegen stellt. Die PHOTOPHILOSOPHIE-Transparente,
von
denen insgesamt 6 produziert werden, sind didaktische
Bildgeschichten, in denen T.G./C. verschiedene Funktionen von
Fotografie thematisiert.
Anschließend veranstaltet er eine Flying Exhibition: Er
faltet Papierflugzeuge aus Fotokopien nach privaten Fotografien
und bewirft Publikum und Podium. T.G./C. wird gewaltsam aus der
Veranstaltung entfernt.
1989 . D -DAY FLYING
EXHIBITION . DENMARK
On the Amalienborg royal castle square
D-Day / Be what you want, 6. Juni, Performance,
Amalienborg, Kopenhagen, daran anschließend die Ausstellung im
Café Krasnapolsky, Kopenhagen.
T.G veranstaltet vor dem Königspalast gemeinsam mit den
Angestellten des Cafés eine Flying Exhibition.
Ausgangsmaterial sind Kopien desManifest Moving Exhibition
vor dem Königspalast in Kopenhagen. Diese Flying Exhibitions
werden zu gegebenen Anlässen immer wieder durchgeführt.
In die anschließende Ausstellung erhält nur Zugang, wer ein Foto
auf der Rückseite der Oberkleidung trägt. Diese Bilder verbleiben
in der Ausstellung, die während der Laufzeit vier Überarbeitungen
erfährt.
Unter Verwendung aktueller Tageszeitungen und des Posters
Manifest Moving Exhibition entsteht eine Collage, die die
Ausstellung komplettiert.
Burger King findet Fortsetzung in Der Prinz von
Lyksborg, einem dokumentarischen Projekt um einen Mann, der
seine königliche Abstammung zu beweisen sucht.
from
the
Chronologie .by Inka
Schube.Sprengel Museum Hannover.
exemple of image
collected from exhibitionist
dispositif de collection mise au service des potentiel
exhibitionistes
exhibition Manifesres in 4 acts 1989 / Krasnapolski
exhibition in 4 acts ACTE 4 = Exhibitionist
--------------------------------------------------------------------
Dansk Hygge, Kunsthalle Charlottenborg, Kopenhagen.
T.G./C. veranstaltet in der Ausstellung unter dem Slogan dansk
hygge ein Picknick mit Freunden und verbindet dies mit einer
Recherche zur Bedeutung des Begriffes. (
from the Chronologie done by the Sprengel Museum )
dispositif sociaux . des groupes
create some photogenic event that will be a pretext t new group
new sociality
new composition of togetherness
5 august 1989
When I saw the exhibition at the Charlottenborg Kunsthalle in
July 1989 I could not resist I had to participate . I contacted
the artists of the show and asked them if I could join in . It
was a Sunday they said yes . I hang an exhibition called "
les braves tourists " ( work I made in India ) . Some days
letter I organize an pic nic in the Kunst halle where I will ask
the participant to describe under the form of a A4 pape to hang
in their back what will be their definition of dansk hygge .
dansk Hygge is a name for the dansih happiness the danish way of
feeling cosy . The pic nic last for several hours . We had food
and drinks meanwhile visitors where touring around . I collect
ed then the different statements . Later on I kept on working on
the dansk hygge thematic and also the happiness thematic (
software happiness - India ) .
The method of beeing exhibitionist with a A4 personnal statement
was not new for me as I did a lot the year before . It was
important to involve the audience to be exhibitionists in the
institution as well despite the fact I will organise such event
also in publi space ( moving exhibition exhibitionist de type
vagabonde ) .
This was also what I will call later a PENETRATION
( joining enthusiastly and exhibition ) by asking to the artists
or the curator the permisson to do that
La Moving Exhibition de type semi-bourgeoise : from the
illustratedMoving
Exhibition Manifeste in Katalog ( Odense ) ( DK )
text
by
Rune Gade 2004 in his book ( DK )
link to Manifeste
Moving
Exhibition
among the participants of the pic nic : Per Schandorff /
Corinne Thierry / Ole Christiansen / Hannibal / Jesper and Anne
Claire Theissen
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
what to do as an artist now
?
In 1988-1989 I wrote , performed and
published as well as aired in several mass medias
the conceptual base of what will become latter known as facebook
.
by having done that and by saying that
I may become a pathetic personnage
But what to do to regain territory ?
what to do to make my claim heard ?
How could any one take an artist
seriously in such a claim ?
How can artist of the size of unvisible insect
have any claim ?
what strategy to do now to regain
consideration about my intellectual property
Is it to do a mediatic campaign ?
a BUZZ
is it to do a film ?
a hollywood film
or a documentary ?
is it to do a book ?
get legal advice from advocate ?
is it to meet Mark Zuckerberg ?
will he meet me ?
go and GET HEARD in front the
facebook HQ ?
I want to do a new art work
about strategy of visibility and position of the artist
confronted to the industrial world
I want to do a oad movie about a fight with a
giant.
The goal is to be heard and be able to negotiate .
the goal is to be taken seriously
Has everything been done and nothing is new ?
do innovation exist and deserve rewards ?
Can an artist have innovating new form ?
new social scenarios ( this one making use of " exhibitionist -
friends " )
who is first has patent
what is a patent?
Every effort will be part of the new art work
they will be posters
films
press
demonstrations
It is about the weak position of the artist
his fragility
but also his pride
his determination
his visions
his smallness
( do actually artist have visions or invent any think new and
useful ?)
Should the artists be just generous inspiration
giver
and give without rewards and recognition
Is this an acceptable condition ?
Is any claim of this matter pathetic
it is a portrait of power structure
and the new social tools making use of people ego voyeurism and
exhibitionism
It is going to be
a difficult performance to gain visibility and
consideration
it could be pathetic
but it is not
because if the artist has really been in advance and can prove
it
it could be a great victory
artist could have thought scenarios happening and they can do it
again in the future
----------------------
TG did an exhibition called "extracteur "at
Sprengel museum 2011
as an artistic response in 2011 to find new way of
collecting at the age were facebook will take over
collecting
---------------
pages
from
Sprengel Museum catalogue (
photography calling) 2011
-------------addtional unorganised
materiel ----
dating aspect / wedding etc ....
--------------------document in danish from 1989 --------
manifeste in danish published in Katalog 1989
text
by Morten Friis published 1989 (
link )
--------------------------
