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 2011
http://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







SPORT ART / MOVING EXHIBITION EXHIBITIONNISTE VAGABONDE

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)
 

1  1

- 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


-


-
paris fiacFormat 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





art invitatif participatif  

calling exhibitioniste at the radio
exhibitionistes to come  with pictures of them selves in the morning

 
mobile art paris fiac  IMG_1279


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.


1                                                       1     
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  "

 
                                                                                  
1     



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part 3 : " family pictures are better "    changement of text    : " Nous des gens normaux "

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"Les gens normaux exposent maintenant à Pompidou "                    




remise du catalogue à Jean Hubert Martin
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

1  1

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.

1   1

Part 1 : photophilosophie : mon meilleurs reportage c est ma vie  . ( la vie personnelle mise en avant )

change  and part 2

pompidou paris mobile art 1 111

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

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1  1


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.


1  dorthe abildgaard       

  exemple of image collected from exhibitionist

exhibitioniste wall

dispositif de collection  mise au service des potentiel exhibitionistes






exhibition  Manifesres in 4 acts 1989 / Krasnapolski



1989 Moving Exhibition in 4 acts / acte 2 :
          Exhibitionnistes

exhibition in 4 acts  ACTE 4 = Exhibitionist

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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
 
dansk hygge participatif charlottenborg   

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


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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


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pages from  Sprengel Museum catalogue ( photography calling) 2011 



-------------addtional unorganised materiel ----

dating aspect / wedding etc ....
bachelors 1   1



--------------------document in danish from 1989  --------


from MANIFESTE MOVING EXHIBITION in KATALOG 1989

manifeste in danish  published in Katalog 1989





text by Morten Friis published 1989 ( link )


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