Here’s some documentation pictures from the Paintshow at the Van Abbemuseum.
“Look Look, do not buy!” Thanks for the nice review of the show Metropolis M, here’s the original article in Dutch, and here’ a Google Translated one.
The opening of Prosume This High Definition at BBC last night was fantastic, here’s some pictures from the night.
A new Prosume This is coming up this Thursday at BCC in Amsterdam, organized together with NIMK as NIMk’s final exhibition before closing their doors and joining forces with Smart Project Space Amsterdam. Participating artists include Bea Fremderman, Julika Rudelius, Pilvi Takala, Nicolas Provost, Broersen & Lukacs, Übermorgen, Eddie D, Jonathan Monaghan, John Wood & Paul Harrisson.
13-15 DECEMBER 2012
BILDERDIJKSTRAAT 91, 1053 KM AMSTERDAM
OPENING: THURSDAY 13 DECEMBER 19:00 – 21:00
PROSUMETHIS! High Definition
Join us for ProsumeThis! a cultural consumption spree at the electronics shop BCC on the Bilderdijkstraat in Amsterdam. Works from the collection of the Netherlands Media Art Institute (NIMk) and others will be displayed on all the television screens in the store.
The show opens on Thursday the 13th of December and runs until the 15th December 2012, during the regular opening hours of BCC. NIMk is in the process of closing its location at the Keizersgracht. Meanwhile, the electronics store will display video and net art that addresses some of the questions surrounding culture and commerce.
The term “High definition”, has no specific meaning other than describing a resolution that is “higher than the usual standard”. More scan lines, more pixels and more parts that make up the whole. Fetishizing quantity and equating it with quality has become an ubiquitous evaluation strategy. Technology is becoming bigger, brighter, sharper, faster. More, really is better and consequently, better is ‘more good’. Superlatives are an infinite realm. Rhetorical questions are for cowards – and consistency is the hobgoblin of small minds.
Save yourself rich! The more you spend on one side – the larger the mountain grows on the other. Make a purchase or pursue a refund! Just don’t hesitate. Get something you didn’t ask for in return. Look around or away – but don’t close your eyes.
This edition of ProsumeThis! takes place in the context of Yes we’re open, NIMk’s final exhibition, which touched upon issues of open and eventually closed systems in art and contemporary society. It was made possible thanks to the support of the Amsterdam Fund for the Arts (AFK).
Curated by Anika Schwarzlose and Jonas Lund and with thanks to BCC Amsterdam West.
Opening Hours BCC:
Monday 13:00 : 18:00, Tuesday 09:30 – 18:00, Wednesday 09:30 – 18:00, Thursday 09:30 – 18:00, Friday 09:30 – 18:00, Saturday 09:30 – 17:00.
Invitation to The Paintshow at Van Abbemuseum, Eindhoven, from the 12th of December until the 19th. Here’s the press release
One thousand of the highest ranked paintings from The Paintshop.biz collection will be presented at the Van Abbemuseum Studio from the 12th to the 19th of December. The exhibition will include works by influential artists ranging from Damien Hirst, Andy Warhol, Mondrian, and Georgia O’Keefe.
Since the launch in June 2012, The Paintshop.biz spawned over 3,000 unique paintings by more than 1,500 different authors. The Paintshop.biz is an online real-time drawing tool, every painting is the result of a collaborative effort. Once the painting is signed and saved, it’s ranked accordingly. The person who signed it, becomes its official author and owner, while the shared canvas resets to white.
The rank of each painting is determined by using the PaintRank algorithm. The algorithm determines the reputation of the author and the popularity of the work itself by analyzing a set of factors such as the Artfacts ranking of the author, the amount of Facebook Likes and retweets the painting receives, the Google PageRank of the title, and the painting’s provenance including age, sales record and exhibition history. The painting’s rank sets the price; making the highest ranked painting the most expensive.
All paintings are available for sale throughout the exhibition-period. Once sold, the painting is immediately taken down and handed to its new owner, thereby changing the exhibition and increasing the ranking of the painting.
Kindly Supported by
Baltan Laboratories, Eyebeam, PZI and the Van Abbemuseum
Read the full story on how I lost my primary domain, jonaslund.com, a core part of my identity at therealjonas.com
Hi, I’m Jonas Lund, the real Jonas Lund. I used to be the owner of jonaslund.com. I registered it in October, 2003 and it was mine for the following 9 years. The 12th of December 2012 I lost control over my domain, a core piece of my identity, through a series of unfortunate and ‘scammy’ events. Here’s the story how it all went down.
Here’s my new studio in the Van Abbe Museum in Eindhoven for the coming month. The Baltan Labs part of the shared international residency between Eyebeam & Baltan Labs has begun and I will be spending my time here preparing a big Paintshop.biz exhibition. As you can see there’s a lot of wall space, approximately 200 square meters, so there’s room for quite some paintings.
Next to that I’ve begun working on a new version of the Paintshop.biz with the current working title, ‘The Paintshop Pro’. The goals for the new version are to Increase production, Increase sales, Increase exhibitions, Increase visitors and Increase Everything!
I’m please to announce my new piece Public Access Me launched as part of the New Museum’s First Look Online Exhibition series. Head over the Public Access Me to see what me and my browser sees in real time.
Online advertisement is a huge industry and creates a steady stream of revenue for both site owners and for the companies who sell the advertisements (96% of Google’s income comes from their ad buisness ), but is it a viable source of income for a net artist? How many views per day do you need to generate in order to become self-sustainable, void of grants, commissions, sales and working in bar?
CPM’s & CTR’s
Let’s look at the biggest and most popular online advertisement company, Google, and figure out how many views we need per month to get an average income in the US 2012, by using their Adsense service. The middle class income in the US ranges from $25.000/year – $100.000/year, let’s put our goal at the lower end of the spectrum and aim for $30.000 a year.
Google’s Adsense uses a combination of Page CTR and CPC as metrics to calculate how much you earn. Page CTR is the Click Through Rate (or Click Per Impression) of your page and it’s calculated by Page CTR = Clicks / Page views. For example if you page gets 1000 visits, and 27 of your visitors click on an ad, your CTR is 27/1000 = .027 (0.27%). The average CTR varies greatly and depends a on what industry you’re website is in and how engaging your content is. CPC stands for Cost Per Click and it’s the amount you earn per click, the price is set by the advertiser, popular keywords /search terms gets higher CPC. The web hosting and real estate industries have some of the highest CPC’s.
So to reach our goal we need to earn $2500 a month, or around $85 a day. The amount of views we need per day depends on the CPC, so let’s say that we will average a $0.5 CPC, which means we need around 170 (85/0.5) clicks per day and with an average CTR of 0.1% (that’s if every 1000th visitor clicks one ad) we need 17.000 visitors per day, 510.000 per month, or around 6.1 million a year.
The example is greatly simplified as we just assume the CPC/CTR rates, but it’s not too far off target, so then the next challenge to reach a sustainable income based on online ads is ‘How to reach 6 million visitors a year’. Let’s look at that next.
I’m super excited to announce that I’ll be joining Eyebeam/Baltan Labs for a 5 month residency starting in mid September. One part of it taking place in New York at Eyebeam and one part at Baltan Labs situated in the Van Abbe Museum, in Eindhoven (NL).
The residency is organized around the theme of ‘Cultural Economies’, in the open call the question of how artist can retain a cultural relevance while living‘in an age of limited resources’ was raised.
Temporary Stedelijk is an online exhibition featuring some of my works next to works by Constant Dullaart, Jodi, Moniker, Rafael Rozendaal, among others. It’s a ‘one-page’-page, so the works interact/interfer with each other in interesting ways, for example Jodi’s Tatatataa next to Rafael’sfallingfalling.com creates a really nice combination of sounds.
I Had a chat with Michael Byrne over at Motherboard, Vice about ThePaintshop.biz, here’s a short excerpt.
Is there an aspect of this that you feel is pointing to a future of art? Is there something in particular that you’re reacting to with this?
More and more artists need to work harder towards becoming self-sustainable as the art funding is shrinking year by year, so in a way it’s hinting towards this. The goal was to create a piece that could create a steady stream of revenue, which so far hasn’t really been accomplished, but it’s something I’m still in the process of exploring – how to become a self-sustainable artist without relying on governmental or private funding, and to me the world wide web/internet is the perfect medium to explore this.
I’m happy to participate in the first Dvd Deadrop exhibition at the Museum of Moving Image, curated by Aram Bartholl. The opening reception is at Thursday, August 16, 6:00–8:00 p.m, drop by with a DVD and get a copy of the exhibition!
More info here HOT – A group show about video that is not video
I’m happy to invite you my solo exhibition called ‘1,164,041 Or How I Failed In Getting The Guinness World Book Of Record Of Most Comments On A Facebook Post’. The show opens Saturday the 18th of August at W139, Amsterdam, at 21.00.
The previous record was 1,001,552 comments and was held by a group of women from the southern parts of the US. The 8th of June I had reached a big enough number, one million, one hundred and sixty four thousand and forty one comments, so I submitted my request to the Guinness World Book of Records, attaching a collection of screenshots and witness accounts to verify the authenticity of my accomplishments.
Eight weeks later the Guinness World Book of Records officials replied; “Using automated scripts or bots are not in the spirit of a Guinness World Records achievement.” – and consequently denied my request to the world record.”
The exhibition at Barry will show new work in relation to the attempt and the communication with the Guinness World Book of Records.