- First Net Project
- Closed Reality
- Distributive Justice
- Desengaged Dramatics
- Artworld and Net
The Croatian Andreja Kuluncic (*1968 in Subotica) studied sculpture in
Belgrade (until 1992) and in Budapest (1992-94). She traveled from 1993
to 1995 and developed projects in Jordan (AZRAQ, 1994) and Latin America.
There Kuluncic tried in vain to find sponsors. The net offered an alternative
to Kuluncic when she had to recognize the impossibility to find rooms
for a sculptor´s practice in Zagreb. In 1996 the ArtsLink international
exchange programme financed a visit in U.S.A. which lasted six weeks.
Kuluncic bought her first computer in Minneapolis and returned with it
to Zagreb. There she earns her living part time (four days of the week)
in a bureau for web design.
Kuluncic realized her first net project Thinking through moving/moving
through thinking in 1997. The first part Thinking through moving led through
a sequence of five photos and users could write their associations, interpretations
and other contents in four fields for text inscriptions. The last page
of this part presented all photos with texts generated with users´ inscriptions
(The actual documentation of the project shows only a demotext). The second
non-participatory part Moving through thinking consists of picture-text-combinations
with quotes of Albert Camus´ diary of journeys ("Notes") and
of a block with quotes of Jean-Paul Sartre´s "Nausea". Parts
of the quotes were linked with picture-text-combinations which led to
pages with pictures and numbers in percent. These numbers informed about
the amount of users who returned from here to the first page of the project.
The actual documentation contains a static number in percent as a substitute
of the former statistic. The ends of the sequence with linked pages were
connected with the beginning. 1
Kuluncic´s change of strategies in her ensuing net projects can be described
as a change from associative picture-text-plaits to the investigation
of social and political states. The picture sequences of the first net
project was turned into a meagre textual web design. In her first web
polls Kuluncic investigates problems of east european countries in the
transition from a state-ruled to a private economy and from a one-party-government
to democracy. Kuluncic´s participatory projects are often websites which
constitute the core of an exhibition presentation.
Visitors have been asked in State - Citizen Communication (Hungarian and
English) at C3 (Internet. galaxis 98, Center for Culture & Communication,
Budapest, 2/26-3/4/1998) if there exists "a genuine dialogue between
the state and its citizens". The visitors entered voting cabins and
selected on web pages a red field for yes and a green field for no. The
summary of the votes consisted of yes/no-proportions which were presented
on a screen in C3 as word projections in red and green. Article 61 of
the Hungarian Constitution expresses the right of free speech and free
distribution of opinions. The words of article 61 were projected in a
permanently actualized visualization on a screen in C3. More and more
parts of the text appeared as a series of additions until the text was
to read in a complete projection. The changing red/green respectively
no/yes-relations of the six days lasting web action are documented on
Kuluncic planned to install "State - Citizen Communciation"
in the parliament but the video was not accepted. Citizens could understand
the presentation in the parliament as a call to deputies to investigate
the webpoll´s result which could have been more favorable.
Letter for the exhibition Media-Scape 6 (Museum for Conemtporary Art,
Zagreb, November 1998) presented a webpoll (Croation and English) which
offered Croatian citizens the opportunity to judge with clicks on fields
for multiple choice and to decide about the future of the president. The
rating could be sent to Franjo Tudjman (1922-1999). The botton "send"
didn´t send the replies as e-mails but contained a link to a further page
with a pretended affirmation of an e-mail sent to Tudjman. That standardized
response page presented only one reply in favour of Tudjman´s political
intentions, disguised as a free speach situation.
Today the questionnaire and the standardized response page still exist
with all their faked functions. The response page expresses only applause
for Tudjman and a vote for the prolongation of his precidency for life
time because of "wise statemanship". The questionnaire without
login procedure, without valuation of statistics and the impossibility
to acclaim non-affirmative opinions demonstrates the consequencies of
the politics of that time with means of irony to users. Art has to use
irony if direct expressions of opinions are not useful or prohibited.
The Hungarian action allows an understanding as an exercise in new democratic
circumstances meanwhile the Croatian action thematized a deficiency in
democracy. Kuluncic thematizes in 1998 the difference between the Hungarian
and the Croatian politics in different ways of enquiry and in different
uses of votes: The question in "State - Citizen Communication",
if communications between Hungarian citizens and their state happen, the
presentation of the results with its use of the Hungarian constitution
and the deputies as (wanted) receivers are counteracted in "Letters"
with a concentration on the needs of the Croatian president with the consequence
of a vote which demonstrates itself as a fake. Only users see the simulated
sending and they recognize the fake after a non-affirmative vote (or with
a look on the source code). The president doesn´t see the faked sending
and serves as a faked receiver in a demonstration of a pseudo-democracy.
Closed Reality - Embryo
The public net access and the anticipation of the possibilities of an
e-democracy were the dominant characteristics at C3 in 1998. In 1999 follows
Closed Reality - Embryo (Gallery Miroslav Kraljevic, Zagreb, October 1999)
with the interaction between users as the key feature.
Users log in with their dates for name, profession, age, sex and country.
Then they have to wait until another user logs in. As soon as users have
found their partners both start to choose one after another predicates
of a virtual embryo. Partners with equal sex are possible as parents,
too: The data world of the embryo project doesn´t repeat the biological
conditions of the origin. The virtual embryo is treated as a digital unit
with characteristics of an artificial life which will be concretized as
a living unit in hundred years.
The constituency of the choice of features for archived embryos can be
proofed. That proof allows to recognize if the users wanted to cooperate.
The combination of debility features with intelligence allows the conclusion
that partners didn´t cooperate. The partners can vote for an abortion
after the sequence with choices of features.
A Statistical analysis for the first half year of the embryo´s archive
(from October 1999 to March 2000) is available. The statistic allows data
comparisons betwenn "visitors´ society" and "normal society".
Yellow skin is the most frequent real human appearance and the most disliked
in the virtual project. The high portion of living Asiatics is opposed
to a high white portion of virtual embryos. That portion is surpassed
by a higher portion of virtual mongrels which range in reality on the
second place behind the yellow part of population.
The statistic offers more remarkable relations between virtual and real
features within the thematics intelligence, immunity and external appearance.
The majority of users don´t vote the highest but the second highest level
of intelligence (IQ 125-145). It seems that users fear the highest level
of intelligence in their wishful thinking, but they prefer a higher level
than the level of average intelligence which constitutes the third highest
(IQ 85-125) of five levels. When the "visitors´ society" choses
degrees of aggression then the result shows minor differences between
all three degrees than the dates of the real graduation. But both statistics
present the portion of the middle degree as much wider than the two other
portions. This could be a return of the socialized function of aggression
as a mechanism of defense in the virtual project.
The introduction emphasizes: "The project is not a fictive game with
still unexamined possibilities of genetics and it does not aim to popularize
scientific discoveries." That remark doesn´t excludediscussion frameworks
of genetics as the incorporation of two texts (since march 2000) into
the site and the link list verify. Furthermore Kuluncic integrated lectures
of experts and discussions on genetics as parts of events and exhibition
presentations (esp. the gallery Miroslav Kraljevic, Zagreb, april 2000)
in the project.
A mailing list (archive, from October 1999 to July 2001, Hungarian, Croatian
and English) offered users the chance to present contributions in an ongoing
discussion. In november 1999 the users discussed real processes which
are comparable to the fabrication of virtual embryos: Sperma bank and
one night stand have been mentioned as means to realize the desire of
pregnancy without fatherhood. These analogies allow the return of a biological
problem which is avoidable in the virtual realm: The users don´t use with
ease the chance of virtuality to renounce not only to natural sex differences
but to get rid of socialized gender roles, too. The problem of "en-gendering"
in digital worlds can be found in players´ attitudes, too, as Edward Castranova´s
last investigation of the EverQuest players proofs (CESifo Working Papers
Kuluncic reflects the prohibition of gen manipulation as impossible: "Genetic
engineering is inevitable now that it became reality, but we still can
ask questions and demand responsibility for genetic manipulation."
2 It is inevitable to ask about reactions to the consequences of realized
gen manipulations and how genetics should proceed. Social questions are
reflected in the contributions to the mailing list. The contributions
contradict the strategy to accelerate the proceedings of genetics so far
that discussions on moral and social questions happen too late because
they are confronted with irreversible modifications.
Fewer contributions were sent to the list after interesting discussions
in november 1999. Kuluncic and members of her team reacted with messages
on the course of the project. They linked to found texts or offered downloads.
Passport (April 2001) was realized for The Jezewo Motel Project, curated
by Nada Beros for the net journal Art-e-Fact: Strategies of Resistance.
The project criticizes the situation of immigrants to the European Community
(EC) and uses the frontier of Croatia as an example: The former Jezewo
Motel near Zagreb became the Reception Center for Foreigners. Immigrants
have to wait here until their application for the status of refugees will
be decided or they are arrested and expect deportations.
Kuluncic´s contribution thematizes the travel limitations. Users indicate
on the first page of "Passport" their age, the region of depart,
the prefered country and the prefered kind of activity ("art, business,
technology, sport, natural sciences, social sciences, other"). The
next page offers a world map with regions in different colors representing
the colors of passport covers. The controlers of passports use the six
colors of passport covers for bigger regions (blue = Europe, Scandinavia,
Island, Greenland; green = North America, Australia, New Zealand, Japan;
brown = South America, Africa, Asia; pink = Europe; red = Russia; beige
= Israel, Libanon, Suadi Arabia, Iran, Iraq, Kuwait, Jemen, Oman) to recognize
easy and fast the region of depart of the travellers and which travel
rights they possess. Users are instructed: "Choose a passport color
for your future child." A horizontal line with rectangles constitutes
an index of passport colors: Click on one of the rectangles and the choice
The next page informs about the former users´ desire to change their passport
colors. No further mention of the "future child" can be found.
The term "future child" offers a fiction which provokes users
to choose their prefered countries and activities without regard of the
real travel conditions. Kuluncic indicates (e-mail, 7/14/2003) that "future
child" in "Passport" should demonstrate the conditions
of the virtual embryos of "Closed Reality - Embryo" (its site
includes "Passprt") whose real existence will be regulated as
much or more by travel conditions than by capabilities in hundred years.
The amount of users and the voter of alternative passport colors relate
to each other in a constant proportion of approximately 5:3 from 9/4/2002
Users can investigate how much participants with a certain prefered activity
chose which kind of passport color. The connection between all statistics
is not given in the form of an overview of all user dates. Informations
are restricted to dates about the amount of users who wanted to change
the colors of their passport (resp. the passport color of their alter
ego with the name "future child").
Artists designed Ten Postcards for "The Jezewo Motel Project".
The printed cards have been distributed free, the Reception Center for
Foreigners included. Kuluncic chose the world map of "Passport"
withits possibilities to select a passport cover color as a motif for
the print of her contribution to "Greetings from Jezewo". The
cursor is directed to the blue rectangle: the wish-dream in contrast to
the EC´s reality conditioned by the Schengen agreement.
Kuluncic documents in the nine photo-text-documentations of Another View
for the group exhibition Sight.Seeing (4th Austrian Triennial on Photography,
Graz 2002) experiences of immigrants with restricted professional activities,
too. The restrictions are caused by "problems with the papers"
and its consequences, the travel limitations. The poster "Another
View" with photos and texts of asylum seekers, who waited from six
to twenty-six months with unfinished acceptance procedures as political
refugees, was presented in the municipal asylum office (Grabenstrasse
88). The asylum seekers of Graz thematized in short exts the professional,
social and private consequences of the prohibition on employment which
restricts their activities meanwhile the acceptance procedure. They point
with photos to places in Graz which provoked their attention and which
they liked or disliked. A remark of the Immigrants´ Council in Graz on
the prohibition of employment appears underneath the nine photo-text combinations
together with the title of the exhibition: "Sight" ("Sicht")
means both "view" ("Aussicht") on the granting of
asylum and "views" ("Aussichten") how to be able to
live in Graz without employment. How did the citizens of Graz and the
visitors of the "4th Austrian Triennial on Photography" react
to the "sight" ("Sicht") on and of immigrants mediated
by "Another View" (Tours to the sites with projects of "Sight.Seeing"
have been offered)?
The "sightseeing" of asylum seekers confronts asylum officers
and visitors of "Sight.Seeing" with an unfavorable perspective.
European states open their frontiers to immigrants only in exemption cases
and then with time limits. Economic necessities open back doors: The frontiers
are opened in limited time frames via exemption rights which the states
install for their needs (in Austria with a treatment which imposes equal
rights with inlanders after a complicated proof of the Austrian "people´s
economic interest", GeWO §14). Asylum seekers without exemption rights
express themselves in Kuluncic´s contribution to "Sight.Seeing".
The asylum seekers offer spotlights in "Another View" to individual
fortunes which are left out of consideration in the net project "Passport".
The photo-text for "Sight.Seeing" offers perspectives of persons
who are excluded by restrictions from employment, consumption and travel
possibilities meanwhile "Passport" is open for all users but
refers to the problem of inequal travel rights: As minor the passport´s
status of travel rights is as more existential is the question "How
to win better travel and residence rights?" The existential problems
of immigration thematizes "Another View" at the site of decision
on the future in- and exclusion: as >inclusion of the temporary excluded<,
as waiting people which just inhabit with restrictions the place of the
planned arrival. 3
The exclusion of residence and employment rights is problematized in a
recourse to a possible but seldom granted inclusion. This should provoke
the following question as return: How much and which exclusions are really
necessary for the inclusion as citizen into a federal rights system? But
this question contradicts the voters´ usual protection of private interests:
Rights of all members of a social system are treated as if they are private
possessions. The vote for or against inequal ways to win these civil rights
is an exclusive matter of the citizens who possess these rights. These
voting conditions and the voters prevent chances to discuss the possibilities
of an international correction of inequal treatments via easier ways to
receive asylum grants.
Distributive Justice (August 2001-2003) is the most detailled project
of Kuluncic and her team that already realized "Closed Reality -
Embryo": the sociologists Gabrijela Sabol and Momo Kuzmanovic, the
philosopher Tomislav Janovic, the programmer Matija Puzar, the photographer
and film maker Ivo Martinovic and the designer Trudy Lane; new members
for the presentation of "Distributive Justice" are the philosopher
Neven Petrovic and the designer Dejan Jankovic.
The installation with colored quarters of circles and rings - four tables
for computers and four benches - is designed by Sinisa Ilica, Ivo Martinovic
and Andrea Kuluncic. It created circumstances for visitors to study the
website (in four languages: Croatian, Italian, German, English) first
at the Biennale Internazionale Arte Giovane (Cavallerizza Reale, Turino,
April-Mai 2002) and afterwards at documenta 11 (documenta Halle, Kassel,
June - September 2002). Visitors of documenta 11 had the chance to find
their pathways through the website. The site allowed to become confident
with the theme of the project relative easy and fast in comparison to
The introduction into "Distributive Justice" relates condensated
statements of John Rawls and Ronald Dworkin with further summaries of
strict egalitarianism, right and left libertarianism, utilitarianism and
pluralism. The short instructions show the dominance of criteria either
of equal rights (with regards to different basic needs) on the left wing
or of differenciations of earnings and capacities on the right wing. Proposals
provoke attention if they present methods to find a balance between nature,
capacities and postulates of equality. The lists with nominations of the
most important thinkers of each kind to conceptualize distributive justice
help to proof the proposed reduction to basic statements but it demonstrates,
too, how much elaborated studies are necessary for reconceptualizations:
...the obstacle is not in how to, clearly and consistently, carry the
exact knowledge over to the uninformed but in the fact that such exact
knowledge doesn´t exist! What we have is a bunch of mixed and mutually
opposed standpoints that are not easy to classify properly. 4
A questionnaire offers users the chance to evaluate the real distribution,
to locate themselves in social contexts and to nominate an example of
good social policy. The automatically generated actualization of statistics
allows net participants to locate themselves within a profile of visitors
summarizing the dates of all preceding participants. The statistics of
the questionnaire tell that the present distribution of social chances
and economic goods is unfair for circa 70 % of all participants (The statistic
differs between 71 % and 73 % from 9/3/2002 to 7/11/2003). A third part
of the users imagines most citizens as members of the lower middle class.
But most users conceptualize a strong upper middle class as a criterion
of fair distribution.
In exhibitions printed questionnaires are added to the net questionnaires.
The answers of the print versions are counted out after the exhibition.
Students in Zagreb evaluate their own living standard as average and as
part of the lower middle class meanwhile visitors in Torino and Kassel
slender in their self evaluation between average and higher income. These
visitors ascribe themselves in general to the upper middle class. The
fair and the estimated real distribution don´t differ very much in evaluations
of italian and german visitors. Most of the users want a stronger upper
class. But this doesn´t explain why so much people estimate the real distribution
as unfair. In contrast to these results of italian and german visitors
are the votes of Croatian visitors: Here we find a big difference between
the fair (strong upper middle class) and the estimated real distribution
(strong lower class). Students in Zagreb indicate their own living standard
as average meanwhile they present themselves as members of a higher class
than the lower class which constitutes in their perspective most of the
citizens (38,3 %). Is it knowledge that constitutes the difference? The
statistics present the following countries as examples with good social
politics: Students in Zagreb prefer Sweden with 23 % as model of fair
distribution before Switzerland with 8 %. Visitors of the documenta 11
voted for the Scandinavian countries (Sweden included) with 20,1 % as
Three games offer users chances to compare their choices and the preferences
of other users. The first game Create the Society of Your Desire offers
"Common Goods": "money, freedom, social position, opportunities,
public services, pleasure". Users are enabled for each of these six
"common goods" to compare the relations between their own choice
and the vote of preceding players. A general statistic summarizes the
results of the questionnaire and the games. This page presents a cross-cut
with a result which is a mediation of the different "common goods"
statistics: Approximately the same amount of users selected meritocracy,
welfare state and communism as prefered kinds of distribution (23-25 %),
meanwhile strict egalitarianism and minimal state are the less wanted
The second game Discover your Distributive Profile permits evaluations
with scales from 1 to 10. The players evaluate the weights of possible
answers to questions in the three regions talents, appropriation and state
intervention (No entry to this page without login procedure). The statistical
result (which appears only after the votes) shows each user in percents
which amounts of the seven kinds of distributive justice are parts of
his own opinion. A further statistic summarizes the three regions and
compares the sum of one user with the sum of all foregoing users. That
general statistic presents Dworkin´s conception as the most prefered and
the right libertarianism as the most disliked method of distributive justice.
The digital generating of statistics can´t proof the stringency and the
social consequences of the users´ input. Statistical dates implicitly
refer to social conflicts hidden in different preferences. If users are
able to recognize these implications then they may change their attitudes
f. e. their preferences and their treatment of conflicts hidden in and
between political opinions.
The third game Distributive Justice: America offers users a black figure.
The figure is to move via the keyboard´s arrow keys within a schematized
landscape with walls, streets, grass and water zones. If the player´s
figure meets one of the red and blue game figures then a hit on the space
bar opens one of the questions on American social politics. A diagram
on the bottom left facilitates arrangements of meetings figures because
it offers a survey on the game´s field and the movements of the figures.
The first question provokes users to explicate their points of view as
American or Non-American. The black figure won´t be able to leave the
rectangle closed by walls before the first question will be answered.
Some of the following questions about the american way to distribute goods
present scales with gradual distinctions. Americans can respond to the
questions in a twofold way: They vote their own opinion and estimate the
opinion of the majority of American players.
In the beginning of July 2003 "Distributive Justice: America"
was integrated in "Distributive Justice" for the exhibition
The American Effect in the Whitney Museum of American Art (New York, 7/3/2003-10/12/2003).
Statistics aren´t yet installed. If the statistics will divide American
and non-American points of view - as it is planned (Kuluncic, e-Mail,
7/19/2003) - then "Distributive Justice: America" will offer
Americans a chance to externalize their opinions, but only if they don´t
ignore the votes of non-Americans as a possibility for comparisons, and
non-Americans receive a reflective breaking of their criticism with the
help of internal American ways of social reflection. American internal
breakings point to potentials for controversy in the case of questions
which didn´t find a remarkable majority of voters for one answer and which
provoked a high difference between users with the same opinion and the
estimated vote of the majority of Americans.
A socio-economic world map offers chronological data comparisons (1965/1975/1985/1997)
between countries on four levels: incomes per capita, infant mortality,
life expectancy and illiteracy. Data comparisons allow to recognize an
increase of the differences between poor and rich countries (f. e. Zimbabwe/Japan).
Some Asian and East European nations have been integrated as production
countries in the globalization. This happened after the international
corporations reduced their activities in a lot of countries with an export
economy based on natural resources. If the new partners want to remain
integrated in global economy than they have to stabilize their status
as regions of low cost production and have to be content with second or
third rates (compare Corea/Japan, Germany/Poland). Distributive justice
is an actual possibility on the level of the polls (the games included)
but statistics of the real distribution show inequality in historical
processes of transfers and intensified instead of mediated differences.
These processes have complex and nearly unchangeable economic causes.
The informations on the fair distribution of rights and goods are expanded
by utterances of direct afflicted people and scientists. The exhibition
installations present a DVD with interviews. The interviewed persons are
featured anonymous. The DVD allows the visitor to select persons and questions.
All interviews are based on the same set of questions. Visitors are able
to video- and audiotape themselves or other persons and to play back the
presented tapes of other participants.
The webpage with links to film documents shows excerpts of the interviews
on the DVD. The interviews are classified in sets with names of countries.
The persons are presented anonymous and signed by their professions. The
transcripts with excerpts of the interrogation of four swedish authors
uncovers their identities. The authors criticize the contemporary development
of the swedish social policy. These interviews (titled "The golden
age is over") and further contributions to newspapers (Number 0/April
2002, Number 1/June 2002, Number 2/July 2003) simplify the users´ self
orientations in the problem field "distributive justice". The
first newspaper anticipates the examples of fair social policy favored
by users in later realized polls and thematizes the scandinavian distribution
practice of rights and goods. Here Bent Rold Andersen´s explains the Danish
pensions system. Andersen´s explanations are excerpts of the DVD, too.
The clips of the page with film documents and the transcriptions of the
newspapers are net derivatives of the DVD.
The World Bank study "The Transition, The First Ten Years of Lessons
for Eastern Europe and the Former Soviet Union" characterizes the
first phase of privatization as dominated by oligarchs and insiders of
the socialist power relations. Furthermore the study describes the dramatic
aggrandizement of the differences between the poor and the rich in former
socialist states which have been mentioned as the countries with the smallest
inequality in former times. The first newspaper introduces the theme of
the second newspaper with the report on the results of the World Bank
study (Winner & Losers).
The second newspaper discusses the problems of postcommunist states in
the transition to private economy and democracy. Zarko Puhovsky and Ivan
Silber describe the private economy in states in transition and point
to the problems arising in cases when governments want to reduce inequality
and try to take adequate measures. Kuluncic expands her thematization
of postcommunist problems with these contributions. These themes have
been problematized in her net projects of 1998 in a contextual specific
way for visitors of some states in transitions meanwhile "Distributive
Justice" integrates these context specific problems in a set of global
questions for an international public: States in the transition from state
to private economy and states with social democratic transitions have
to react to consequences of globalization. They prepare themselves on
different economic levels and with more or less differenciated mechanisms
of the governments. The states in transition have no time for a differentiation
of governmental regulations of the private economy and they have no chances
to bring themselves up in the present state of globalization.
The third newspaper is titled "Underprivileged". It presents
Hetti Perkins, the Curator of Aboriginal and Torres Strait Islander Art
at The Art Gallery of New South Wales in Sydney. Perkins exposes in an
interview (a transcription of DVD-interviews) the art of the Aborigines
(including dance and performence) as "The Voice of Australia"
and as a tourists´ attraction which became an important source of income.
The Aborigines constitute less than two percent of the Australian population.
Most of the Aborigines are part of Australia´s lowest income group. Perkins
points to the political marginalization of the Aborigines in the last
federal election although they still have restricted access to healthcare,
running water, housing and education. Perkins describes the political
situation of the Aborigines as a regress after the progress of the seventies
The principles for the rich and for the poor is a transfer of a discussion
led by Ana Matan and Klaus Bittner from the end of october to november
2002 in the mailing list. Central themes have been John Rawls´ "A
Theory of Justice", its wide reception in Scandinavian countries
simultaneous to a weak reception in America and mediations between "Leistungsgerechtigkeit"
and "Bedürfnisgerechtigkeit" (german terms in the english text,
approx. translatable as "justice of labor" and "justice
of needs"). The discussion includes a criticism of Rawls´ explanation
of a procedure to find a consensus in the case of competitive concepts
to mediate "Leistungs-" with "Bedürfnisgerechtigkeit".
Further contributions in the second and third newsletter and the chapter
discussions present lectures and discussion events realized by Kuluncic
as part of their project. These parts and the transcriptions of interviews
set out the newspapers as a node which connects the net external parts
with the net parts. The characteristics interrogation and dialogue combine
all parts of the project.
The discussion forum offers users chances to expand the presented problem
fields and to discuss them. Only a small amount of users sent mails and
read the contributions although Kuluncic and members of the team provoked
and expanded the discussion. At least some questions have been discussed:
for example the implicit left engagement in "Distributive Justice",
the social use of inheritances and advantages resulting from gen manipulations.
The situation of the lonely participant engaged with polls and able to
project imaginary dialogues with statistical dates of the opinions of
other users is expanded to a real dialogue in discussion events (near
reaching communication), discussion forums and mailing lists (far reaching
Desengaged Dramatics and Participation
Kuluncic uncovers in her net projects scales of opinions which point to
economic and political problems. But she renounces to use activistic kinds
to highlight a certain point of view in conflict situations. Kuluncic´s
net projects present dramatics which provoke distance via objectification
and interest via transparence. Not desengaged dramatics would foreclose
mental rooms of users to move between opinions and articulations of their
own engagement which they can present as participants of polls, discussion
forums and mailing lists.
It doesn´t make sense to evaluate a net poll as a weighting of certain
social accents in a problem field before users start with participations
because Kuluncic´s net polls don´t function as >void masks<: The
poll is not a void inquiry form and it can´t be understood as an autonomous
concept with a "dialogic aura". 5 Interaction is not drafted
as an imaginary field of possibilities apart from any social practice
but Kuluncic´s net projects offer situations for self orientation within
actual social problem fields in cases with virtual exemplary fictions
(a "future child" with a virtual embryo, with a free vote of
the passport colour), too: Kuluncic uses projections of wishes as a way
to interrogate social attitudes (world pictures and action plans) which
direct interactions (actions and speach acts) in contexts of the lifeworld.
Kuluncic´s web polls are able to provoke changes of attitudes with the
help of the theme, its explanation and statistics of users´ opinions:
A user can be irritated by tensions in scales of opinions that a change
can happen from a non-reflective orientation to reflections and to an
openness for the discussion of other attitudes. User demonstrate with
their inscriptions in the mailing lists of "Closed Reality - Embryo",
"Distributive Justice" and in the discussion forum of the last
project how far they have recognized the discourse potential of the projects´
frameworks. The users´ inscriptions in the net projects allow sometimes
to recognize if and how changes of attitudes to reflective orientation
happened. The usual time gap from a provocative artwork (phase 1) to their
mental realization via changed attitudes (phase 2) is substituted in Kuluncic´s
works by possibilities for users to express the provocations in the net
project itself. The projects don´t offer models for world observation
apart from the world but frames for reflection posed into everyday´s social
and communicative practice (reflections as a breaking of the theme into
different opinions and possible mediations).
Artworld and Net Projects
Kuluncic integrates her net projects as temporary installations in group
exhibitions. She looks for participants in the art context because museums
reach a relative wide public. Kuluncic uses an openness of curators for
ephemeral works. This openness became usual in the nineties and helped
to include projects which transform the museum into a site of participation.
The established artworld obligates visitors of exhibitions to contemplative
modes of thinking. Since the end of the sixities galleries and museums
have been provoked by artists to present themselves more open for ephemeral
projects which integrate visitors as dialogue partners (f. e. Ian Wilson´s
Oral Communication). Joseph Beuys realized his concept of the museum as
a "site of a permanent conference" in dialogues with the public
of the documenta 5 (Kassel 1972). This concept anticipated the conference-
and workshop-situations in the artworld which have been realized in the
nineties sometimes as substitutes of exhibitions.
Beuys replaces the established meaning of "work" as a transportable,
but unchangeable object with a dialogue process. The artist acts as a
curator of conversations about imaginations of a "direct democracy".
Beuys reuses terms of the discourse on art like "sculpture"
and "creativity" and enlarges their semantic fields in social
...now one has to develop a notion of art...which evokes now the creativity
of each human fundamentally, and which is not only at home within the
framework of art. But it is everywhere at home. 6
Beuys opens the practice of museums from inside with a quasi-curatorial
discourse activity and speaks about problems outside the art context.
His procedure became superfluous today, to transform the art context from
its inside `first´ with references from social problems to key terms of
the art discourse and `second´ with an expansion of this art discourse
into social themes.
The art museum is a part of an "art system", which connects
"subsystems" of the market (art market), the museums (art museums),
the journalism (art criticism) and the academic discourse (art theory,
art history). That combination of subsystems permitted openness only in
a recursion to its evolutionary achieved, relative closure. The artworld
delivered "consecrating instances" (organizations and their
excluding procedures with established sequences of processes) and "conversational
implicatures" (recursions to modes of argumentation) 7 which established
and secured the art status. The museums´ organization of publicity offered
artists a central platform for an integration of their forms of presentation
into an art context, whose instances and implicatures constituted the
readability of their forms `as art´. Beuys paid his tribute to that function
of the art context with his statement "each human [is] an artist"/"Jeder
Mensch ein Künstler", and he transgressed with that slogan the frame
which secures the art status: The artworld looses its modes of exclusion
if the art frame contents everything and if non-artists are impossible.
The actual art exhibitions offer only one under a lot of possibilities
for the presentation of projects which problematize more general social
and economic aspects. Not seldom they include aspects which contain constituents
of subsystems of the artworld. These constituents have been marginalized
in the constitution of an autonomous context of art. Concept Art´s contextual
criticism (Hans Haacke and Art & Language 8) explicated in the seventies
these marginalized economic and institutional aspects as factors which
constitute the artworld, too. Contemporary projects with criticism of
society need not always refer to its context of presentation. This modified
situation offers projects the chance to thematize actual problems (f.
e. the social consequences of genomics) without semantic and formal recursion
to the art context.
Contemporary forms of presentation which try to provoke dialogues and
participatory projects usually aren´t (yet) precoded by art history or
they are precoded by art history (f. e. by Ian Wilson and Joseph Beuys)
as peripheral as artistic uses of new media (objects, photographs, film,
computer, telecommunication) are peripheral as long as they are not established
as art specific kinds to use media ("Kunstgattungen") and as
collectibles (objects of art collectors´ desire). It remains open at least
which instances and implicatures are relevant for these projects: Artworks
change their state into >laboratories< and the artworld looses its
dominant mediating function: The art exhibition is one of a multiplicity
of possible contexts of presentation.
Kuluncic creates ephemeral communication circumstances in the context
of art exhibitions: She installs "Distributive Justice" as a
social laboratory respectively as a working space which expands the interactive
field of the net project. The movable elements of the "working space"
are rearrangeable for lectures of experts and discussions with visitors.
The time frame for an active "Distributive Justice" ends 2003.
The openness for participation, exhibitions and meetings are part of this
active phase. Afterwards the net project will be relevant as a net documentation
but not as an object for collections. Kuluncic transforms the exhibition
circumstances into a communication practice but not into a spectacular
event: This practice disconnects the artworld from the established relation
between the exchange value and the value of exhibition (Ausstellungswert).
This casts shadows on the value of exhibition: Don´t the aura of the static
object on one side and the processes in the internet on the other side
constitute an opposition without possible mediations?
The social oriented projects put their interactivity to the proof outside
the museum and in a net context which doesn´t guarantee an art status.
The net projects can be installed outside the artworld in circumstances
which are relevant for the contents as contexts of presentation.
Jasper Johns´s Flag (1954-55) can be identified both as painting (with
a form which is precoded in a context external to art) and as a nation´s
flag (in a realization with materials and techniques which are often used
in contexts internal to art). Both identifications presuppose the other
one, because these mutual references problematize correlations between
consecrating instances and conversational implicatures which give identifications
its constancy. The conversational implicatures (which combine sources
with different, sometimes art external origins to constitute a relative
homogeneous discourse field called `art´) of the artworld don´t achieve
any contribution to a reconceptualization of the correlations in Kuluncic´s
projects: The implicatures don´t "transfigure" the social relations
onto an artistic level (which allows the transfigured relations to be
connected with social fields of meaning, too). 9 The sort of plural context
relations has been changed: There are instances and implicatures at least
as relevant for users in the net and in the "working space"
than the art internal ones.
Of course, Kuluncic uses the capabilities of art exhibiting institutions,
to direct the public to a place with notes on events, press releases,
means of publicity and other things, to direct the attention to a participatory
net project. However her projects change the public which expects an established
art status and the assembly to observe art into an assembly in the sense
of an agora, a forum.
The installed net projects expand the forum in the museum into a telecommunicative
public: The net projects with its participatory modifications gain the
status of a model for dynamic, multiplicity including "forms"
in "media" 10 with access possibilities from different places.
The museumization and its conservatory techniques resisted (until now)
to solve problems of storing digital projects in databases. There are
database projects for net.art like runme.org and netart-datenbank.org
without museum background. The artworld can´t proceed longer to conceptualize
itself as a relatively closed art system with the presentation circumstances
of museums at its center. This is a consequence of both the net projects
and the modifications of the artworld via its own use of the internet:
Curators can create websites as portals or platforms for net projects.
Other possibilities of a delimited artworld are the addition of databases
as platforms for virtual projects to exhibition and archive spaces, or
the databases substitute established forms of museumization.
Projects which are installed without art specific forms of presentation
in public spaces can be connected with instances and implicatures which
impart the art status. The public projects can resist this connection
to the artworld. 11 If such connections are abandoned in the art context
then arises the problematic which was exemplified here by Kuluncic´s "working
spaces" with net projects: The art context is transformed into a
public site, a forum as a meeting point and a circumstance for dialogues.
So the context becomes a public web access opportunity (for the relevant
URL addresses) and a laboratory for links between different kinds of communication
for near and far distances.
The web projects cast doubts on the excluding procedures and status affirming
functions of the artworld: This happens on three levels
" of possibilities for observations which are not limited by local
" of the recipients´ inclusion as participants,
" of the substitution of collecting strategies for the purchase and
the conservation of isolated objects by accesses and exchanges of dates
and knowledge which are free of charges,
" of the openness for (modes of) communications which can´t be connected
to the discourse on art and which can be mediated otherwise, too.
These levels have precursors in the history of art but only the net allows
configurations which combine these levels. The changed uses of media should
provoke reflections as well on possibilities and conditions of net configurations
as on consequences in the artworld. Net configurations direct the attention
of the reader not seldom out of the artworld. Meanwhile context reflecting
art works thematized their own circumstances and conditions for presentations,
projects have been added which offer alternatives not only in actions,
investigations and documentations, which thematize local conflicts, but
also in translocal, art external >interfaces< for cooperation and
discussion which problematize aspects of globalization, its procedures
and its consequences.
Dr. Thomas Dreher
Homepage (mitglied.lycos.de/Thomas Dreher) with numerous articles on art
history since the sixties, a. o. on Concept Art and Intermedia Art.
© by the author, july 2003 (english translation:
august 2003). All rights reserved.
This work may be copied for non-profit educational use if proper credit
is given to the author and IASL online.
For other permission, please contact IASL online.
1 w. a. [without author]: Crow introduces: Andreja Kuluncic.
The first and the only Croatian cyber-artist. In: Crow. First CROatian e-zine
for Women. Summer 1999. URL: http://www.crowmagazine.com/andreja.htm. return
2 w. a.: Crow introduces: Andreja Kuluncic, s. ann.1. return
3 On in- and exclusion: Luhmann, Niklas: Die Gesellschaft der Gesellschaft.
Frankfurt am Main 1997, chap. IV, p.618-634.
On the discrimination of immigrants in Graz: w. a.: Schikanen der Polizei.
Migranten und Migrantinnen wehren sich! (Aufzeichnungen von der Pressekonferenz
des Ausländerbeirats der Stadt Graz am 23.12.2002). In: URL: http://www.illegalisiert.at/
The group of artists/activists WochenKlausur realized in Graz (Steirischer
Herbst, August-September 1995) an Intervention to Integrate Refugees. Seven
immigrants produced "social sculptures" - useful goods - which
financed patrons and sponsors. The immigrants worked with a contract for
artists because an artistic activity doesn´t need any work permit after
the Austrian immigration law. The annual employment quota for foreigners
didn´t allow further employments when the project´s realization was planned
(Zinggl, Wolfgang (ed.): WochenKlausur. Gesellschaftspolitischer Aktivismus
in der Kunst. Vienna 2001, p.44-52).
WochenKlausur and Kuluncic present examples for the strategies intervention
and documentation at the same town and for the same theme. The documentation
elucidates a conflict, meanwhile the intervention creates a temporary or
lasting exit. return
4 Petrovic, Neven, in: Tudor, Neven: about the project/interview. In: Kuluncic,
Andreja: distributive justice/distributive gerechtigkeit. Zagreb 2002, p.26.
The discussion of balance relations between differences caused by nature,
principles of equality and work activity: Lamont, Julian: Distributive Justice.
In: Zalta (Hg.), Edward N.: The Stanford Encyclopedia of Philosophy (Fall
2002 Edition). URL: http://plato.stanford.edu/archives/fall2002/entries/justice-distributive/.
5 Baldwin, Michael/Harrison, Charles/Ramsden, Mel: On Conceptual Art and
Painting and Speaking and Seeing. Three Corrected Transcripts. In: Art-Language.
New Series Number 1/June 1994, p.55,59,63. return
6 Beuys, Joseph: Das Museum - ein Ort der permanenten Konferenz (Gespräch
mit Horst Kurnitzky und Jeannot Simmen, Atelier Beuys, 1.2.1980). In: Kurnitzky,
Horst (Hg.): Notizbuch 3. Kunst - Gesellschaft - Museum. Berlin 1980, p.46-74;
Beuys, Joseph: Jeder Mensch ist ein Künstler. Gespräche auf der documenta
5 1972, aufgezeichnet von Clara Bodenmann-Ritter. Frankfurt am Main/Berlin/Vienna
1975 (quotation p.100). return
7 On subsystems of the artworld and their connections: Dreher, Thomas: Performance
Art nach 1945. Aktionstheater und Intermedia. Munich 2001, p.413, ann.654;
Luhmann, Niklas: Die Kunst der Gesellschaft. Frankfurt am Main 1995, p.87-91,289-294,395-401,496.
"Consecrating instances": Bourdieu, Pierre: Die Regeln der Kunst.
Genese und Struktur des literarischen Feldes (i.O.m.d.T. Les r?gles de l´art.
Gen?se et structure du champ littéraire. Paris 1992). Frankfurt am Main
"Conversational implicatures": Danto, Arthur C.: Die Verklärung
des Gewöhnlichen. Eine Philosophie der Kunst (i.O.m.d.T. The Transfiguration
of the Commonplace. A Philosophy of Art. Cambridge/Massachusetts 1981).
Frankfurt am Main 1991, p.241; Meggle, Georg (Hg.): Handlung, Kommunikation,
Bedeutung. Frankfurt am Main 1979/2nd edition 1993, p.XIIf.,243-479,505f.
8 Corris, Michael: Another Look at the Social Dimension of Indexing. In:
Art & Language: Blurting in A & L online. In: URL: http://blurting-in.zkm.de/e/another_look;
Dreher, Thomas: Konzeptuelle Kunst in Amerika und England zwischen 1963
und 1976. Thesis Ludwig-Maximilians-Universität, Munich/Frankfurt am Main
1992, p.191-225; Wallis, Brian (Hg.): Hans Haacke. Unfinished Business.
Cat. The New Museum of Contemporary Art. New York 1986. return
9 Transfiguration: Danto, Arthur C.: Die Verklärung des Gewöhnlichen, s.
ann.7, p.33f.,133-137,144-148,314f. a. o.; Danto, Arthur C.: Die philosophische
Entmündigung der Kunst (i.O.m.d.T. The Philosophical Disenfranchisement
of Art. New York 1986). München 1993, esp. p.64f. An interesting criticique
of Danto´s "theory of artistic identification": Buyndali, Fayza:
Trouble in Danto´s Artworld. In: Prolegomena. Summer 2002. URL: http://www.philosophy.ubc.ca/prolegom/papers/Buyndali.htm.
10 On the relation "medium" and "form" in the internet:
Dreher, Thomas: NetArt: Einführung, chap. Medienformen, with ann.15. In:
IASLonline Lektionen in NetArt: Theorie. URL: http://iasl.uni-muenchen.de/links/NAEinf.html#Medien.
11 The problematics of recursions of public projects to the artworld: Dreher,
Thomas: Konzeptuelle Kunst, s. ann.8, p.168-174; Dreher, Thomas: Kontextreflexive
Kunst. Selbst- und Fremdbezüge in intermedialen Präsentationsformen. In:
Weibel, Peter (Ed.): Kontext Kunst. Cologne 1994, p.83-91; Lyotard, Jean-François:
Preliminary Notes on the Pragmatics of Works: Daniel Buren. In: October.
Fall 1979, p.59-67. zurück