me, kdg
Kim de Groot is a design researcher with an MA in new media. She is part of the lectoraat Communication in a digital age and teaches new media at the Willem de Kooning academy Kim's research deals with the inverted relation between image and reality. Moving from representation to the performative, from the visual to the infrastructural, images are no longer created to represent a reality but to manage it. Kim examines images as informational objects and traces the relations between image, event and media.

design

warning: Creating default object from empty value in /usr/local/www/cms6/modules/taxonomy/taxonomy.pages.inc on line 33.
KdG

Lissitzky Distribution > opening at van abbe on 23 oct 2010!!


'Lissitzky Distribution' is about the image economy of the museum shop as a distributor of the museum's identity.
De Groot deals with the border between the autonomy and instrumentality of art. As soon as art turns into merchandise and transforms into a button or an image in a catalog or postcard, it opens up possibilities of use. Buying a catalog in the shop is a moment of appropriation, art turns into an approachable object.
By proposing the museum shop as a model for the museum, in which derivative but autonomous images can be produced, De Groot tries to move beyond the fear of the copy. To illustrate this she has redesigned a museum shop classic; the postcard. The cards are an add-on to the existing Lissitzky merchandise of the Van Abbe museum. They do not only extend the concept of merchandising but also stress the value of Lissitzky as the brand of the Van Abbe museum.
By selling the cards as 'new' original fragments of the artwork, they gain social as well as economical value. The painting multiplies through its representation of 12 different cards instead of one. The role of the public is crucial in this image economy; by buying one out of the 12 cards the public chooses her favorite image. This way the cards serve as statistics, the public's ranking of the artwork delivers valuable information for the further branding of the Van Abbe museum.

NL
Design researcher Kim de Groot onderzoekt beeld als infrastructureel en informationeel object binnen de beeldeconomie. 'Lissitzky Distribution' introduceert een alternatieve omgang met de beeldeconomie van de museumwinkel. De Groot zoekt de grens op tussen de autonomie en de toepasbaarheid van kunst. Zodra kunst merchandise wordt en transformeert tot afbeelding op een button, in een catalogus of op een ansichtkaart lijkt er ineens meer mogelijk. In de winkel wordt kunst benaderbaar en is het kopen van een catalogus een moment van toe-eigening.
Met als doel de grens tussen museum en winkel te vervagen en de museumwinkel als model voor het museum voor te stellen heeft De Groot een bekende klassieker opnieuw ontworpen; de ansichtkaart. De ansichtkaarten zijn een voortzetting van de bestaande Lissitzky merchandise van het Van Abbe museum. Niet alleen is het de bedoeling deze merchandise op te rekken maar ook om Lissitzky als het merk van het Van Abbe museum te benadrukken. De Groot stelt de museumwinkel voor als een model dat voorbij gaat aan de angst voor 'de kopie', waar beelden worden gemaakt die afstammen van een origineel kunstwerk maar een eigen autonomie hebben.

Door de kaarten als 'nieuwe' originelen te koop aan te bieden, wordt niet alleen de identiteit van het kunstwerk maar ook die van de toeschouwer relevant. Door de uitsnedes krijgt het werk een economische lading; het schilderij vermeerdert zich van 1 naar 12 kaarten, de oplage verhoogd, er kan meer verkocht worden. Het publiek heeft in deze beeldeconomie een cruciale rol; door één van de 12 kaarten te kopen spreekt ze zich onbewust uit over haar favoriet. Zo fungeren de stapels kaarten als een statistiek en leveren ze waardevolle informatie op voor de verdere 'branding' van het Van Abbe museum.



KdG

Tricksters Tricked

From 16/10/2010 till 30/01/2011 I will take part in the exhibition Tricksters Tricked at the Van Abbe museum. Tricksters Tricked zooms in on the construction of identitity; the ‘designing’ of ourselves, our city, our nation and our museum. I will work on the Museum chapter.

The exhibition will open during the Dutch Design Week 2010, 23 - 31 oktober and is transformed into a live exposure of various initiatives of artists and designers that stimulate the public to actively join the production of (their own) identity..

Tricksters Tricked is a zoom in on cases of identity representation and the dual role of design in shaping contemporary reality. "Designing" ourselves, our city, our nation and our museum.

What do we gain and what do we lose by constructing the identity of our self, our city, our nation and our museum? Tricksters Tricked is a zoom-in on cases of identity representation and the dual role of ‘design’ in shaping our contemporary reality.
When we design an identity for a specific purpose, we simultaneously create and destroy, communicate and manipulate. The choices that we make and apply in the process inevitably result in an artificial product. Designers, the trendsetters in the process, articulate the strengths and ignore weaknesses, just like make-up that can highlight or mask the face. Tricksters Tricked focuses on the tension inherent in the designing of identity on four levels: self, city, nation and the museum, and reviews these levels in the context of a world in constant change.

Contributors: Kim de Groot, Jonas Staal, Jozua Zaagman, Maartje Dros, Jacqueline Schoemaker, BAVO, Xijing Men, Werkplaats Typografie, Philippe Parreno & Pierre Huyghe, Marjetica Potrc, Bureau d'etudes.

Opening: Saturday, 23 October 2010 17:00



KdG

Opening #liketheoilspill project

Floating tagcloud + projection of the oilspill twitter tool at Onomatopee:





releasing the tweetsreleasing the tweets



KdG

Decentral Editing: a life in metadata An intervention by Kim de Groot at Onomatopee

Between the 4th of june until the beginning of july I will be working on an intervention at the Onomatopee project space in Eindhoven as a part of the Form and Frame project.

Whereas politics and printed media used to speak with the voice of authority, we are now taking matters into our own hands. For example by continually posting comments online, writing blog entries, or twittering. The authority of the traditional media like newspapers is increasingly judged by what it can immediately provide us with: what we see is what we judge. The classical top-down cultural regulation through dissemination to the masses has become inoperable because of its one-to-many construction without any flexibility for editorial positions.

However, the traditional media can only be judged from the margins, by commenting on articles. Outside of these traditional media, authority increasingly transforms itself from a central organ into a hybrid body of metadata: stacking multiple layers of information, and formed in a decentralized and modular way.

Which forms of opinion are allowed by online media? Does the form of online media permit a sufficient amount of nuance that prevents opinion from remaining an ‘expression of thought’, and the grading of commentaries via the ‘Like’ button? The new construction of online authority includes, among others, the following questions about editorial and visual design:

What exactly is the position of the editor/reader in the metadata game: how does it support the construction of a new type of authority?

What is the form of online opinion?

Which forms of opinion are possible within the decentralized metadata structures?

Kim de Groot researches and creates images about metadata culture in which text, image, and opinion are superimposed. Within the context of ‘The Form and the Frame,’ Kim will (re)design several infrastructures for opinion in which the evolution of form and frame through new media will occupy a central position. Starting June 4, she will elborate on above questions as a supplement to the exhibition ‘The Form and the Frame.’



KdG

actually.. it is not a poster

This year's recruitment campaign is based on the idea of 'video messages'. The poster is actually not a poster but a collection of tickets. The still on the ticket is a reference to the online video messages in which staff, researchers and future researchers talk about the jve, applying to the jve, experiences so far at the jve etc. (films are recorded with Florian Schneider)
www.campaign.janvaneyck.nl

ticket through hole envelop

out of the envelop
front of letter

overview tickets
















KdG

campaign poster in the jve

The campaign is meant to attract new researchers to the JVE.

More images soon..



KdG

recruitment campaign jve has arrived!

Check your mailboxes for the recruitment campaign (poster!) i have designed for 2010

campaign envelop
campaign envelop



KdG

Time machines at Play Van Abbe

andré malrauxandré malrauxTogether with Florian Schneider who is invited as guest curator for Play Van Abbe I have been working on the museum model of André Malraux, Le Musée Imaginaire, for Play Van Abbe Part 02. As a part of Timemachines, Part 02 of Play Van Abbe, the Museum Modules section presents four studies based on special museum projects from the past. It will open on 10 April and run until 12 September 2010

Central questions of the Play Van Abbe project are:
What is the role of an art museum in the 21st century?
What are the conventions of a museum and to what extent are we aware of them?
How did they develop and are they appropriate today? Can we make them visible? Change them? Play with them?

For 18 months, the multifaceted programme of Play Van Abbe will take the collection and use it to suggest answers to the questions outlined above. It aims to focus not only on the artworks themselves but also on the way we are allowed to look at and to talk about them in a museum. Questions about form and content, copy and original, good and bad are put up for argument. The apparent neutrality of the museum is tested and the relation to exhibiting and collecting art is explored. The history and purpose of art museums in general and Van Abbemuseum in particular are revealed as partial and related as much to ethical decisions about society as to aesthetic choices about beauty and order.
http://vanabbemuseum.nl



KdG

jve campaign on e-flux

e-flux advertisemente-flux advertisement

Im designing this year's recruitment campaign of the Jan van Eyck academy. This is the e-flux advertisement that announces the campaign.

In a few days the website of the campaign will be online... All is based on video messages i have filmed from the building, staff and researchers.

e-flux advertisement



KdG

Of a people who are missing - Program

The program of exhibition and cinéclub on filmmakers Straub and Huillet. (design by Jack Fisher and me)

Program: 'Of a people who are missing'Program: 'Of a people who are missing'

Program: 'Of a people who are missing'



KdG

Of a people who are missing

exhibition Extracityexhibition Extracity

Together with Jack Henrie Fisher (also researcher design at the JVE) I have designed the program and some posters for the exhibition and ciné-club on films by Danièle Huillet and Jean-Marie Straub.

12 November to 20 December 2009
Extra City Antwerp

OF A PEOPLE WHO ARE MISSING is a ciné-club to discuss the aesthetical and political significance of the films by Danièle Huillet and Jean-Marie Straub for contemporary image production. Huillet/Straub are among the most controversial, uncompromised and yet widely unknown filmmakers of both the presence and the history of cinema. Their films span over five decades and cover a wide range of topics, references and materials from arts, literature, theatre, and music. From November 12 to December 21 2009 OF A PEOPLE WHO ARE MISSING will open as a platform for both, the viewing and making of films. The exhibtion space in Extra City, Antwerp, is structured by five studios which will act as showrooms as well as independent production spaces. Each studio is used in a different configuration of archive material, film excerpts, actual footage and the critical discourse around it. Every Thursday to Saturday one studio will host invited guests and contributors for a series of screenings, lectures and debates.

Among the contributors are: Chantal Akerman, Pietro Bianchi, Manon de Boer, Robert Bramkamp, Giulio Bursi, Barton Byg, Rinaldo Censi, Merel Cladder, Anna Fiacciarini, Jack Henrie Fisher, Peter Friedl, Kim de Groot, Romano Guelfi, Tim Liebe, Armin Linke, Laura Malacart, Sally Shafto, Ines Schaber, Eyal Sivan, Benoît Turquety, Barbara Ulrich, Klaus Volkmer, Susanne Weirich.

Curated by: Annett Busch and Florian Schneider

http://ofapeoplewhoaremissing.net



KdG

Image Evolution Caroussel

This is an experiment with making moving object out of the 3D sculptures that represent the evolution of the image, going from a flat plane to a collection of loose modules.



KdG

Image Map

Startingpoint for the Image Map research is the Add note feature of photo-sharing application Flickr and image recognition software. The remarkable transformation going on here is the introduction of the image metadata as a visual layer on top of the original digital image, a painting in this case.

Image Map diagram +Image Map diagram +

The image with notes turns into a kind of map, a diagrammatic collection of notes linked to the image; an abstract image. A map of comments but at the same time a map of relations between people, images and camera’s. They map out the network of this particular image, they are organograms, visualizing the organization of the internal image architecture of data as well as social relations of Flickr users through images which the image as data repository is collecting. Both the original data + metadata are in fact in one interface: the image itself.



KdG

Image Evolution Diagrams

Image evolutions: from image plane to modules, to globes

Image Evolutions DiagramImage Evolutions Diagram

My object of study is the production and distribution of different kinds of digital networked images in and by networks. Central to this research is the exchange between the visual and the infrastructural. One of my main questions is, whether the structural and organisational role of images in digital networks has become more important than the visual representation of images?
Through making diagrams I try to include both the findings of my research as well as to speculate on the current status of the (digital/networked) image. For my case studies, the Image Map & Modular image, i'm interested in the way the image body is disintegrating, moving from surface or plane to modules and globes.



KdG

To walk around an image

The method I’m using for my visual research is to develop concepts in Sketchup, a 3D modeling software. The most interesting and inspiring aspect of the software is that it allows me to walk around an image. collection of notes detached from image planecollection of notes detached from image plane

playing with notes on the Flickr imageplaying with notes on the Flickr imageIn many ways it opens up the potential of the image. For example, turning the image in SketchUp into an architectural model, allows me to work with the archival potentials of the digital image.

In translating the notations added to the image (its metadata) into an 3D model, the status of the original image (the painting) is challenged.
SketchUp enabled me to manipulate the Image as Map of interconnected Note objects. A question is how the 3D models in SketchUp could represent the internal networks of the image at the same time to allow for a rescripting of relations and protocols of the Flickr image?
Does the Image as Map allow for a protocological development of this particular image?



KdG

HTV design by Imaginary Property

Read full HTV online at http://www.htvnews.nl
Steven ShaviroSteven Shaviro


KdG

More ads for the HTV

The advertisement for my JvE research projectThe advertisement for my JvE research project

Museum of the Stealing of Souls

Advertisements for Museum of the Stealing of Souls project



KdG

Liminal Zones Cyprus

Liminal Zones ProgramLiminal Zones Program

A seminar organized by Angela Melitopoulos (Goldsmiths London) and Socrates Stratis (UCY, Cyprus)in Nicosia Cyprus. Florian Schneider and thus, Imaginary Property will be one of the speakers there. I've designed the invitation, program and website for it. http://liminalzones.kein.org

[click on read more for the backside of the program]



KdG

Election Issue Imagery

obama issue spaceobama issue space
How dominant is the opposing candidate in the other candidate's issue spaces? A research project done through using Google Image Search.
A DMI project, developed with the digital methods team at the University of Amsterdam. Analysis and design by Kim de Groot & Esther Weltevrede.

Read project description:
http://wiki.digitalmethods.net/Dmi/ElectionIssueImagery



KdG

Elfriendo, taking the work out of networking

A project developed by the dmi team at Montevideo:

Elfriendo.com
"Taking the work out of social networking"

Deleting your MySpace page is painful. You had friends, too few or too many. It had taken over your life, or you wish it had. Was your profile stale? Were you too active? Let's give you a new look.

Elfriendo is a new MySpace related service, founded on 30 January 2008, on the occasion of the International Delete Your MySpace Account Day, as a remedy. These days one hardly has time to fill in one set of fields before another update request comes in. Elfriendo reduces the number of form-filling steps to a bare minimum, without sacrificing quality or depth. People used to neglect their profiles, leaving them stale and deficient. We offer fresh sets of interests and an active look for your profile.

Our business is profilization - professionalizing, optimizing and automating your profile on MySpace, the world's largest social networking site. Elfriendo is a service that keeps your profile active fresh.



Syndicate content