The art collective LaBeouf, Rönkkö & Turner launched the #TAKEMEANYWHERE project in May 2016, tweeting coordinates and inviting people to drive them anywhere. Over 30 days, they traveled over 10,000 miles with 70 participants. The project explored community and connections both online and offline through this performance art road trip. The group still actively communicates through a Facebook group formed during the project, showing how the performance sustained relationships. #TAKEMEANYWHERE demonstrates how technology can foster meaningful relationships through shared artistic experiences.
Sources -
Midi - https://blog.landr.com/what-is-midi/
Title fight / bbc - https://www.bbc.co.uk/music/reviews/nfrj/
Thurston moore - https://www.youtube.com/watch?v=BZpBe0cyHE4
Lee Ranaldo - https://www.youtube.com/watch?v=tVMo4F2H0dY
Nick Drake - https://h2g2.com/edited_entry/A662924#conversations
(Nick Drake documentary taken down off YouTube)
Pink moon, Nick Drake - https://open.spotify.com/album/7KyvfoQhqlNLPNb98yY0pf?si=N9vUkv5hQHaWp11LdjIxEg&nd=1
Formative Assignment -
Song 1 - https://soundcloud.com/panu-g-music/formative-1-acoustic/s-luA7Gm0vzhZ
Song 2 - https://soundcloud.com/panu-g-music/sympathy-empathy-demo
Sources -
Midi - https://blog.landr.com/what-is-midi/
Title fight / bbc - https://www.bbc.co.uk/music/reviews/nfrj/
Thurston moore - https://www.youtube.com/watch?v=BZpBe0cyHE4
Lee Ranaldo - https://www.youtube.com/watch?v=tVMo4F2H0dY
Nick Drake - https://h2g2.com/edited_entry/A662924#conversations
(Nick Drake documentary taken down off YouTube)
Pink moon, Nick Drake - https://open.spotify.com/album/7KyvfoQhqlNLPNb98yY0pf?si=N9vUkv5hQHaWp11LdjIxEg&nd=1
Formative Assignment -
Song 1 - https://soundcloud.com/panu-g-music/formative-1-acoustic/s-luA7Gm0vzhZ
Song 2 - https://soundcloud.com/panu-g-music/sympathy-empathy-demo
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
Artcasting: reflections on inventive digital evaluationjenrossity
Presentation given by Jen Ross at the Scottish Network on Digital Cultural Resources Evaluation Workshop 3. https://scotdigich.wordpress.com/2016/04/01/report-from-workshop-3-evaluating-use-and-impact/
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
ESMOD Berlin Annual Panel - (What Comes After) Metamodernism - Digital Booklet Esmod Berlin
ESMOD Berlin is pleased to present a digital publication from our inaugural Annual Panel held in May of this year. The panel discussed (What Comes After) Metamodernism, a term coined to describe the shift in contemporary culture away from the trademarks of post modernism. The panels’ brief was to explore the dominant oscillation in culture between disillusionment and meaningfulness, between apathy and empathy with key questions such as; In what direction are the globalized youth going and why? Where is there an overlap with the recent past? Where do we find a combination in the analog and digital in designing individual concepts of life?
Bringing together experts from across various cultural fields the panel discussion was led by Paul Feigelfeld from the Digital Cultures Research Lab Centre, Leuphana University, and included special guests speaker Alex Lieu, Chief Creative Officer and Lead Design Director of 42 Entertainment based in California. 42 Entertainment are one of the leading companies in transmedia marketing whom blur the boundaries between marketing and entertainment. 42 Entertainment are most well known for their innovative campaign for American industrial rock band Nine Inch Nails for their album Year Zero, which extrapolated the theme of a dystopian future beyond the album through leaking unreleased recordings online, and planting USB sticks in the toilets of concerts venues, which lead fans down a thrilling rabbit hole into a world of online and offline acts of underground resistance.
Dealing with the life and work of digital dissents, German Author and Director Angela Richter also participated in the panel discussion. Richter spoke about her time working with Wikileakers Founder and digital activist Julian Assange, of whom she wrote a play Assassinate Assange, premiering in 2012. Other notable panelists included Joerg Koch, Founder and Editor-in-Chief of German culture magazine 032c, as well as Dutch cultural philosopher Robin van den Akker, whom with his colleague Timotheus Vermeulen, coined the term metamodernsm and founded the online magazine Notes on Metamodernsim.
Traversing topics such as sci-fi literature, digital hacktivism, sustainable architecture, fashion and DIY maker culture, the publication aims to capture some of the intense and surprising discussions that took place. The ESMOD Berlin Annual Panel is a program conceived for students from a number of international schools, including L'Institut Francais de la Mode, Paris; ESMOD Berlin International Masters Programme – Sustainability in Fashion, Berlin; and Dessau Institute of Architecture. The booklet also aims to deliver an insight into how the students negotiated the concepts and questions raised during discussion.
Download the digital booklet HERE and for further information please contact Lizzie Delfs, Public Relations Manager, International Masters Programme – Sustainability in Fashion, ESMOD Berlin International University of Art for Fashion, m
#Connection: Audience Participation in the Performance Art of Labeouf, Rönkkö...Katie Elson Anderson
Mid Atlantic Popular Culture Association
November 5, 2016
Internet and Culture
Images used under education and fair use for intended audience of conference
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Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
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Presentation given by Jen Ross at the Scottish Network on Digital Cultural Resources Evaluation Workshop 3. https://scotdigich.wordpress.com/2016/04/01/report-from-workshop-3-evaluating-use-and-impact/
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Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
ESMOD Berlin Annual Panel - (What Comes After) Metamodernism - Digital Booklet Esmod Berlin
ESMOD Berlin is pleased to present a digital publication from our inaugural Annual Panel held in May of this year. The panel discussed (What Comes After) Metamodernism, a term coined to describe the shift in contemporary culture away from the trademarks of post modernism. The panels’ brief was to explore the dominant oscillation in culture between disillusionment and meaningfulness, between apathy and empathy with key questions such as; In what direction are the globalized youth going and why? Where is there an overlap with the recent past? Where do we find a combination in the analog and digital in designing individual concepts of life?
Bringing together experts from across various cultural fields the panel discussion was led by Paul Feigelfeld from the Digital Cultures Research Lab Centre, Leuphana University, and included special guests speaker Alex Lieu, Chief Creative Officer and Lead Design Director of 42 Entertainment based in California. 42 Entertainment are one of the leading companies in transmedia marketing whom blur the boundaries between marketing and entertainment. 42 Entertainment are most well known for their innovative campaign for American industrial rock band Nine Inch Nails for their album Year Zero, which extrapolated the theme of a dystopian future beyond the album through leaking unreleased recordings online, and planting USB sticks in the toilets of concerts venues, which lead fans down a thrilling rabbit hole into a world of online and offline acts of underground resistance.
Dealing with the life and work of digital dissents, German Author and Director Angela Richter also participated in the panel discussion. Richter spoke about her time working with Wikileakers Founder and digital activist Julian Assange, of whom she wrote a play Assassinate Assange, premiering in 2012. Other notable panelists included Joerg Koch, Founder and Editor-in-Chief of German culture magazine 032c, as well as Dutch cultural philosopher Robin van den Akker, whom with his colleague Timotheus Vermeulen, coined the term metamodernsm and founded the online magazine Notes on Metamodernsim.
Traversing topics such as sci-fi literature, digital hacktivism, sustainable architecture, fashion and DIY maker culture, the publication aims to capture some of the intense and surprising discussions that took place. The ESMOD Berlin Annual Panel is a program conceived for students from a number of international schools, including L'Institut Francais de la Mode, Paris; ESMOD Berlin International Masters Programme – Sustainability in Fashion, Berlin; and Dessau Institute of Architecture. The booklet also aims to deliver an insight into how the students negotiated the concepts and questions raised during discussion.
Download the digital booklet HERE and for further information please contact Lizzie Delfs, Public Relations Manager, International Masters Programme – Sustainability in Fashion, ESMOD Berlin International University of Art for Fashion, m
#Connection: Audience Participation in the Performance Art of Labeouf, Rönkkö...Katie Elson Anderson
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Hitchhiking the internet with LaBeouf, Rönkkö & Turner
1. Hitchhiking the internet with
LaBeouf, Rönkkö & Turner:
#TAKEMEANYWHERE
Katie Elson Anderson
Rutgers University-Camden
MAPACA, November 10, 2018
https://mapaca.net/conference/2018/p/hitchhiking-internet-labeouf-ronkko-turner
2. Abstract:
In May 2016, the art collective LaBeouf, Rönkkö & Turner tweeted out coordinates via their twitter account
(@thecampaignbook) and began the #TAKEMEANYWHERE project, which invited an audience to find the
trio at those coordinates and, as the project says, take them anywhere. Over the next thirty days the trio
traveled more than 10,000 miles with around 70 participants driving them around the country. This road
trip through America explored community, connection, friendship, celebrity, trust, and intimacy, both
online and offline. Using the internet and social media as tools to create and sustain the performance,
#TAKEMEANYWHERE is a project that continues to thrive through enduring and growing connections. At
the beginning of the project the trio created a Facebook messenger group and added the participants
along the way. This group of diverse individuals from across the country continues to remain active more
than two years after the initial project. This paper will focus on the #TAKEMEANYWHERE project while
also providing a brief discussion of the trio's metamodern performance art, which explores empathy,
emotion, humanity, social interaction, and community through digital and physical networks. Unlike
performance art that takes place primarily in a physical location, the works of LaBeouf, Rönkkö & Turner
are unique in their use of the internet to both establish connections during the performances and to
sustain them afterwards. #TAKEMEANYWHERE explores the optimistic potential of using technology to
create meaningful and enduring relationships through the shared experience of performance art.
5. 2001- present
structure of feeling
oscillation
irony/sincerity
cynicism/optimism
informed naivety
response to postmodernism
http://www.metamodernism.org/
Vermeulen, T., & Van Den Akker, R. (2010).
Notes on metamodernism. Journal of
Aesthetics & Culture, 2(1), 5677.
6. To provoke social change through art, as well as to disrupt the elitism of traditional
forms of art, performance artists actively engage the audience.
Performance artists challenge the traditional institution of art by involving art
audiences in new ways.
Since the early organization of the field, audience interaction has played a central
role in the aesthetic innovation.
Use of audience in performance art distinguishes it from other conceptual
experiments in art.
Wheeler, B. (2004). The social construction of an art field: How audience informed the institutionalization of performance art. The Journal of Arts
Management, Law and Society
Audience & Performance Art
7. Audience, Artists & Emotion
“There is a false assumption in much art writing that we can be smart about
emotions only if we are cynical about them”
“If we struggle to find ways to adequately consider how emotion works in art, if it’s
easier to dismiss the artist or the audiences emotionality as naive or as a critical
failure, it is a partly because we have been working with inadequate models for
what feelings are and how they work”
Doyle, J. (2013). Hold it against me: difficulty and emotion in contemporary art . Durham; Duke University Press.
8. Audience & Celebrity
Parasocial (Horton & Wohl, 1956)
Social media= game changer
Celebrity historically & cynically regarded as trivial, superficial, illusion of intimacy,
inauthentic.
“Capacities for direct interaction that social media generates between the fans and
the celebrity is marked with enhanced levels of familiarity, disclosure,
responsiveness and possibly even sincerity”
Turner, G. (2013). Understanding Celebrity. London: SAGE Publications.
10. Text images from #TAKEMEANYWHERE: https://vimeo.com/257008225 Images: LaBeouf , Rönkkö & Turner
11. “Generally speaking, then, in relation to presence, viewer
activation, and duration, we have to allow that performance art
does not only happen when and where it happens….it is a viable
claim that the afterlife of performance is as important as the
initial moment, insofar as that is when and where its meanings
unfold, and that is where it generates
transformations of the audience that are
not strictly event-reliant”
From: Ward, Frazer. No Innocent Bystanders : Performance Art
and Audience, Dartmouth College Press, 2012.
12. "Their work offers provocations to the current art discourse
through a thoughtful democratization process. By performing
both at major institutions and small venues, and continually
engaging with audiences on and offline, LaBeouf, Rönkkö &
Turner reject hierarchies and embrace popular culture
sincerely, without irony or cynicism, which is a rarity in
artland."
https://www.complex.com/pop-culture/2016/05/shia-labeouf-ronkko-turner-take-me-anywhere-road-trip
13. “#TAKEMEANYWHERE highlights humanity in a truly beautiful
way. The message: Those who disagree with us are not
monsters”
https://www.gq.com/story/take-me-anywhere-luke-turner-interview
Video: #TAKEMEANYWHERE: https://vimeo.com/257008225
15. Further Reading (not previously listed in presentation)
LaBeouf, Rönkkö & Turner – #TAKEMEANYWHERE on POPBOLLOCKS
#TribeLRT: Creative essay on LaBeouf, Rönkkö & Turner’s #TAKEMEANYWHERE by Andrew Corsa
Numerous blog posts, YouTube videos, tweets and other social media posts available for first hand
stories, pictures and experiences (working on compilation)
Metamodernism: A Brief Introduction by Luke Turner
Neutrality, narratives and neo-Nazis: Examining HEWILLNOTDIVIDE.US by LaBeouf, Rönkkö & Turner
by Katie Elson Anderson
Bibliography (in progress) available at: https://katieanderson.camden.rutgers.edu
Previous presentations (MAPACA)
2017: Memes IRL: How the performance art of LaBeouf, Rönkkö & Turner unleasehd an internet
subculture into the real world
2016: #CONNECTION: Audience participation in the performance art of LaBeouf, Rönkkö & Turner
Hinweis der Redaktion
Abstract added to slide after talk for more context.
Collaboration since 2014
participatory projects and performances that explore empathy, social interaction, humanity, connection, technology, digital and physical space and networks
use of social media # to connect
focusing on the creation of communities in and around the performances
CONNECTION
Some examples of the works- background of collaboration
#IAMSORRY (response to plagiarism)
Perfomance hashtags create community/participation /audience engagement
use of social media both in around performances
exploration of physical and digital space
emotion, empathy
utilize different ways to communicate- sometimes missing a form of communication (#andintheend no sound, #alonetogether- text – description of works)
Metamodernist Manifesto
yearning for utopia even when aware it can’t be achieved
not a philosophy
term is gaining popularity in literature, art, philosophy, political science
different interpretaions/understanding- today’s talk focusing on Vermeulen & Van Den Akker and Turner
my research- looking at how their works seek to understand, explore and display this structure of feeling
need for sincerity and optimism to counter cynicism and irony
not always positive
Performance art (looking at how the trio’s performance art engages and requires audience )
anti-establishment
seeks to dismantle the notion of art as separate from everyday life & located in an autonomous system of values and valuation
engage an audience & allow people who have little or no formal acquaintance with or training in the art to participate as audience members.
performance artists seek to make art relevant and meaningful to audiences not necessarily trained in the arts.
audience necessary for the performance
discussion in the literature of the role of the audience now becoming institutionalized
seeing a more cynical view of performance art’s relationship to audience emerging
LR&T continue to seek new ways to engage audience to avoid that institutionalization and cynicism
one of those ways was through their #TAKEMEANYWHERE project- audience required (no one comes to pick up- no project)
art criticism struggling to incorporate emotion critically
demonstrates a need for authenticity and sincerity in the literature and criticism in order to discuss emotion
need for more metamodernist lense
criticism ignores audience experience and emotion
Respond to the cynicism with sincerity- highlight emotion- invite emotion
LR&T – example of harnessing, exploring and commenting on feelings
celebrity studies: history of celebrity, different types of celebrity, audiences of celebrity
celebrity element of the works often dismissed or alternatively over emphasized- must be considered but thoughtfully and sincerely
parasocial: “one way of knowing another person who does not know the fan in return”, intimate but imagined closeness
social media- shift to new paradigm for parasocial relationships- downsizes the gatekeeping process & creates more opportunity for engagement
new implications for study of parasocial interaction, limitation on the description of parasocial
not just the audience- social media allows a celebrity to gain power back lost to gossip industry; regain agency, authenticity, sincerity
LR&T: seek to subvert the cynicism towards celebrity, gain agency, dismantle the notion of art & celebrity as separate from everyday life (performance art goal as well)
opportunities to move beyond parasocial
audience intent, motivation, expectations
transcend parasocial?
began tweeting coordinates (use of social media, comment on previous use in other projects)
announced project at BMOCA (https://bmoca.org/exhibitions/2016/spring/takemeanywhere)
“The American road trip has long been symbolic of a collective yearning to seek out beauty and truth within a corrupt nation” (theme of corruption)
used Twitter to communicate location- social media as a primary mechanism of the performance
reliance on audience for project to be successful (trust)
presented the opportunity to move beyond the parasocial
motivation for finding them- celebrity, participation in work, curiosity
community formed both digitally and physically (note about previous works and social media community, people waiting in lines etc…) physical caravan
trust in strangers
trust in the networks
shared experience
definition of “success” of “failure”– meeting Shia?, adventure?, meeting others?, attempt? (further exploration)
the stories not told or known those who tried, online experiences, etc….
afterlife of the performance
unique in performance art- going beyond the actual event- sincere, authentic connections
messenger group- added people as they went along- creating community- continuing story, adding narrative
TMA group’s ongoing growth and engagement- afterlife of initial moment- transformation of the audience
no longer as separate from everyday life. (performance art and parasocial)
Metamodern
enduring connections
afterlife taking on a life of its own
Trust/Optimism/Sincerity/Authenticity
rebels against the cynical concepts of celebrity
seeking to do what performance arts seek to do- notion of art as separate from everyday life
Challenging the paradigms of both celebrity and cynicism creeping into the institutionalized view of audience in performance art
Ultimate collaboration
audience-trust-authenticity-presence
Beyond the performance-inispriation- Instagram painting, poetry around the word anywhere
PLAY- Last few minutes of the film- group pictures