I’ll be giving a talk at Chaos Communication Congress (33c3) in Hamburg

Info
Day: 2016-12-29
Start time: 22:45
Duration: 00:30
Room: Saal 6
Track: Art & Culture
Language: en

Plan
In *The 12 Networking Truths* Swedish artist Jonas Lund will discuss how he has attempted to subvert the contemporary art world system by using different types of exploits to gain an upper hand against the competition.

From designing an algorithm for art production to data mining art world personalities, the artist will describe how he has incorporated a classic programming mindset in an otherwise logic-free environment.

The 12 Networking Truths refers to RFC 1925 – The Twelve Networking Truths, a memo posted on the 1st of April 1996, positioned as revealing the fundamental truths underlying all network protocol designs. The truths include statements such as ‘It Has To Work.’ and ‘Good, Fast, Cheap: Pick any two (you can’t have all three).’. This memo will be the underlying story line throughout the talk, as each truths has a corresponding position within the artist’s artistic practice.

**Update**
Here’s the talk with a super flattering thumbnail

Giving a talk at Casa Franca Brasil in Rio de Janeiro, on the 14th of December.

Link to interview in English here

Open Call Club
Galeria Cavalo, Rio de Janeiro
December 1st, 2016 – January 21st, 2017

(scroll down for english)

Participating Artists:
Cleiton Almeida (1998 BR), Amanda Andersen (1981 BR), Fabiano Araruna (1987 BR), Tatiane Araujo (1984 BR), Felipe Barsuglia (1989 BR), Ingrid Bittar (1989 BR), Louise Botkay (2016), Paolo Brambilla (1990 IT), Julie Brasil (1965 BR), Arthur José Carneiro (1938, BR), Marina Caverzan (1981 BR), Beatriz Cazal (1967 BR), Carolina Costa (1989 BR), Antonio Da Silva (1948 BR), Polliana Dalla Barba (1988 BR), Kadija de Paula (1980 BR), Vita Evangelista (1985 BR), Tito Faria (1991 BR), Felipe Fernandes (1983 BR), Claudia Figueredo (2016 BR), Mario Grisolli (1963 BR), Mariana Kaufman (1982 BR), Viviane Laprovita & Vladimir Ventura (BR), Letícia Lopes (1988 BR), Mirela Luz (1974 BR), Luisa Marques (1985 BR), Darks Miranda (1909 BR), Eden Mitsenmacher (1987 FR), Ana Marta Moura (1978 BR), Bruno Neves (1991 BR), André Niemeyer (1969 BR), Gabriela Noujaim (1983 BR), Angela Od (1973 BR), Martin Ogolter (1969 AT), Mahyrah Paes (1990 BR), Cláudia Porto (1975 BR), Eduarda Ribeiro (1981 BR), Pilar Rocha Rodrigues (2016 BR), Euro S.R. (1947 BR), Gustavo Romeiro (1985 BR), Allan Sieber (1972 BR), Juliana Tobar Leitão (1979 BR), Chico Togni (1981 BR), Natali Tubenchlak (1975 BR), Rafael Uzai (1985 BR), Pedro Vasconcellos (1980 BR), Juliana Wähner (1979 BR

Cavalo e Jonas Lund estão felizes em apresentar Open Call Club, uma exposição coletiva que faz parte da exposição ‘The Unique Institutional Critique Pop-Up Boutique’. Open Call Club é composto por 47 artistas que têm conexão com o Rio de Janeiro e que responderam a uma chamada aberta para participar da exposição Open Call Club.

The Unique Institutional Critique Pop-Up Boutique é uma exposição que assume a posição de criar uma loja no interior da galeria, abordando campos como a autenticidade, originalidade, a força e influência de um mercado de arte para a produção artística. Cada trabalho no show também será oferecido para venda através de uma loja online relacionada à exposição. Dentro desse contexto, a exposição Open Call Club irá criar um show dentro do show, uma exposição para questionar os méritos de sua exposição matriz, uma exposição que vai estender suas posições no seu limite lógico. O que é originalidade? O que é uma edição única? Qual é o valor de escassez? Como artistas podem subverter um mundo da arte e mercado onipresentes? Devem os artistas abraçar, desmistificar ou criticar o mundo da arte e rede de mercado em que operam? Até onde pode um artista distanciar-se das instituições do sistema para criar e controlar o valor que estamos todos relativamente inscritos?

Todos os artistas do show foram selecionados através de uma chamada aberta, que usou um algoritmo para determinar quais artistas seriam incluídos no show. O algoritmo inverteu o viés típico de todas as galerias do Rio de Janeiro – em que, como exemplo, artistas masculinos estão fortemente super-representados, o algoritmo Open Call Club favoreceu os artistas de sexo feminino ou não definido. Todos os detalhes pessoais, bem como a proposta foram levados em consideração, para fazer a última lista de artistas que agora faz parte do show.

O resultado é uma exposição de grupo muito atípica que se estende por toda a parte em muitas práticas artísticas diferentes, desde pinturas, desenhos, fotografia, vídeo, instalações, esculturas e performances. Open Call Club mostra obras de artistas que merecem uma plataforma para expressar suas idéias e desejos.

—

Galeria Cavalo and Jonas Lund are happy to present Open Call Club, a group exhibition, that is part of the group show The Unique Institutional Critique Pop-Up Boutique. Open Call Club consists of 47 artists that all have a connection to Rio de Janeiro and that all responded to an open call to be part of the Open Call Club exhibition.

The The Unique Institutional Critique Pop-Up Boutique exhibition takes the position of creating a shop inside the gallery, addressing fields such as authenticity, originality, the force and influence of an art market towards artistic production. Each work in the show is offered for sale though an online shop website related to the exhibition. Within the context of this, the Open Call Club exhibition is a show within the show, an exhibition to question the merits of its parent exhibition, an exhibition that will put the positions put forth to its logical edge. What is originality? What’s a unique edition? What’s the value of scarcity? How can artists subvert an omnipresent art world and market? Should artists embrace, demystify or critique the art world and market network in which they operate? To what lengths can an artist distance herself from the institutions that create and control the value system that we’re all subscribed towards?

All the artists in the show have been selected through the open call, which used an algorithm to determine whom of the artists were to be included in the show. The algorithm reversed the typical bias of all Rio de Janeiro based galleries — in which as an example male artists are heavily over-represented, the Open Call Club algorithmn favoured female or non gender defined artists. All personal details as well as the proposal were taken into consideration, to make the final artists list that’s now part of the show.

The result is a very untypical group exhibition that stretches far and wide into many different artistic practices, from paintings, drawings, photography, video, installations, sculptures and performance, Open Call Club shows works from artists all deserving of a platform to express their ideas and desires.

The aphorism “Authenticity is dead, long live authenticity!” proves vital in the prolific debate on authenticity in the post- digital age. Authenticity is in the eye of the beholder. There is a general understanding of its meaning, oftentimes based on notions of introspection and soul-searching; some, however, deem the debate altogether irrelevant. However, for a younger generation of artists, new technologies contribute to a new understanding of the scope of authenticity. Digital tools, such as the blockchain, prove valuable when it comes to tracing provenance, or the attribution of authorship. Increasingly, artists advance the circulation of their work from burden to strategy.

The exhibition comprises a number of online and offline works, some of which are specially commissioned for the Impakt Festival, including works made during artist residencies prior to the exhibition. The exhibition stretches across two venues in Utrecht, the galleries of Fotodok/Casco and the Rietveld Model House. The galleries Fotodok and Casco at Lange Nieuwstraat 7 in the city centre contain works by DIS, Harm van den Dorpel, Tobias Kaspar, Oliver Laric, Jonas Lund & Sebastian Schmieg, Elise van Mourik, Amalia Ulman and Beny Wagner.

Opening Hours:

THURSDAY 27 OCTOBER UNTIL SUNDAY 30 OCTOBER 12:00 – 20:00
TUESDAY 1 NOVEMBER UNTIL SUNDAY 6 NOVEMBER 12:00 – 17:00

Open Call
Open Call Club
Galeria Cavalo, Rio de Janeiro
December 1st, 2016 – January 21st, 2017

Application deadline: November 15

Galeria Cavalo in collaboration with artist Jonas Lund is launching an open call for participation in the exhibition Open Call Club, as part of the group show The Unique Institutional Critique Pop-Up Boutique.

The open call is dedicated to emerging artists based in and in close proximity (literally or figuratively) to Rio de Janeiro, who see the commercial gallery space and the forthcoming exhibition as an opportune location for exhibiting their works, as a platform for testing new ideas, and towards developing and sharing their own approaches and expertise within the issues and structure of the new exhibition format.

The The Unique Institutional Critique Pop-Up Boutique. exhibition takes the position of creating a shop inside the gallery, addressing fields such as authenticity, originality, the force and influence of an art market towards artistic production. Each work in the show will also be offered for sale though an online shop website related to the exhibition. Within the context of this, the Open Call Club exhibition will create a show within the show, an exhibition to question the merits of it’s parent exhibition, an exhibition that will put the positions put forth to its logical edge. What is originality? What’s an unique edition? What’s the value of scarcity? How can artists subvert an omnipresent art world and market? Should artists embrace, demystify or critique the art world and market network in which they operate? To what lengths can an artist distance herself from the institutions that create and control the value system that we’re all subscribed towards?

The open call is now open and the deadline for submitting a proposal is the 15th of November. The selection procedure will happen through an automated algorithmic sorting of the applicants where all personal details will be taken into consideration, as well as the proposed art work or idea. The bias of the algorithm is to favour under-favoured participants through a reverse privilege system.

The selected artists are expected to bring their works to the gallery location in Rio, or arrange the swift delivery of their works before the 24th of November.

END-USER: Jason File, JonesSmithJohnson, Jonas Lund and Carey Young
6 October 2016 – 26 November 2016
Wednesday – Saturday, 12 – 6pm

Private view: Thursday 6, 6-9pm
​​
The RYDER is pleased to present ‘End-User’, an exhibition of works by artists Jason File, JonesSmithJohnson, Jonas Lund and Carey Young exploring contract law and its far-reaching implications within our lives. .
​
On April 1, 2010, the UK retail shop Gamestation added a clause in their end-user agreement stating that users who placed an order on the aforementioned day agreed to irrevocably give their soul to the company, which 7,500 users agreed to. Similarly, a clause included in the license contract of the program PC Pitstop claimed that anybody who read the clause and contacted the company would receive a monetary award. It took four months and over 3,000 software downloads it was collected.

(more…)

Your Logo Here
2016, Installation, http://yourlogohere.trade

Steve Turner, Los Angeles
September 10 – October 8, 2016
Saturday, September 10, 6–8

Steve Turner is pleased to present Your Logo Here, a solo exhibition by Amsterdam and Rio De Janeiro-based Jonas Lund marking the artist’s third exhibition at the gallery. In his first (Flip City, 2014), Lund addressed aspects of the overly speculative, frenzied art market for emerging artists that peaked in 2014/15, and in the second (Strings Attached, 2015), he considered the ways in which galleries attempted to exercise control over that market. Now, in Your Logo Here, the artist addresses the “exchange economy” of the art world by presenting an installation featuring a ping pong arena where visitors can compete against a robot in an atmosphere created to resemble a sports event. Banners, jerseys and paintings hung throughout the gallery will feature the logos of the art-related institutions which have agreed to sponsor the exhibition—by making some sort of exchange with the artist.

The installation will be live-streamed during the gallery’s open hours, and on October 1st, the gallery will host a daylong tournament in which competitors will play not against the robot, but against each other.

For the Swedish artist Jonas Lund, however, these hard facts of art-world life become fertile sites for exploration and art-making, particularly of the data-driven and process-based style he prefers. Previous exhibitions have seen the artist building algorithms to generate novel (and, supposedly, optimally salable) sculptures, or paying assistants to make paintings according to a 300-page instruction manual, with the results judged by an expert panel that determines which should be formally recognized as a Lund original. In the first two parts of a trilogy shows at his Los Angeles gallery Steve Turner, Lund used point-of-sale contracts and GPS trackers to control and monitor the movement of his paintings across the globe at the hands of flippers.

Full article here: The Artist’s Guide to Selling Out in Style: Jonas Lund on Why He Turned His Art Into Ad Space

The Tragedy
In Collaboration with Gabriel Lester

In this exhibition
Gabriel Lester
Unresolved
Extravaganza
June 25–October 2,
2016

Opening: June 24, 6–9pm

de
Appel arts centre
Prins Hendrikkade 142
1011 AT
Amsterdam
The Netherlands

Versus
Jonas Lund
June 10 – August 21, 2016
Växjö Konsthall, Norra rummet
Opening: Friday June 10, 5 -7 pm

Växjö Konsthall is happy to host the first exhibition in Sweden by the artist Jonas Lund, who grew up in Växjö.
Lund is one of the strongest up-and-coming Swedish artists globally. During the past few years he has frequently exhibited work at reputable institutions and galleries all around Europe and the USA. For example, earlier this year he participated in the exhibition Electronic Superhighway (2016 – 1966) at the Whitechapel Art Gallery in London. Although the artist’s career is proceeding rapidly on the global art scene, this is his first exhibition in his homeland. That is why it is especially exciting that he will be showing at Växjö Konsthall.

Jonas Lund’s work is vast, and he works with various art forms—everything from painting to web-based projects. The content of his work revolves around the problems of interfaces between capitalism, engineering and social change. Globalization is one of the great issues of our time, which is often blamed for all manner of earthly woes, and meanwhile seems to be an unstoppable process. The sociologist, Manuel Castell, wrote a three-volume, bricklike work – The Information Age: Economy, Society and Culture (1996-98), in which he showed how humans, engineering and capitalism engage and develop, and together contribute to the process which is usually termed globalization. Lund’s questions concerning globalization are about how these massive systems meet, which is often dysfunctionally. There is often a humorous aspect to his work. Beyond this, Lund adds in questions of the function of art, and its place in the globalized world.

He will be showing the installation Versus at Växjö Konsthall. Below are the artist’s own words about the work:

“Only one concept, from the binary opposition, is ready, in our mind, to be privileged and the other one is usually put aside as having the second priority.” – Nasser Maleki

Versus is a two part installation and the first part consists of two ping pong practicing robots that have been programmed to continuously shoot their balls towards each others ball storage, as a closed feedback loop, creating an ongoing circle in the air.

Halfway through the run of the exhibition, the second part will be installed that consists of 88,376 ping pong balls, half in red and the other half in blue, and two ping pong practicing robots. The balls divide the entire exhibition room into two sides, blue and red. Inside each sea of balls stands the robot in the middle, programmed to continuously shoot its balls towards the opposing side. Over time the opposition blurs as the balls change place with each other, creating a state of shifting views.

Continuously and endlessly confronted with the need to take positions, to test our morals and to evaluate our beliefs, do you think this is better than that, do you prefer night over day, do you want the chicken or the pasta, coffee or tea, water or wine, red or blue? The methods in which we decide for ourselves what we feel, believe and act are seemingly conscious, like a straight forward if else statement, if (I like/need/want/desire it)) {‘buy it’} else {‘ignore it’}, but more and more I’m starting to think that the processes that lead us to making a final decision are more or less beyond our control, before we even know it, our brains have decided for us, through the automated daemon processes that are continuously running in the background. Some call it intuition, I like to think of it as the default software, the applications that come “for free” when you install a new operating system, that if you do not intentionally uninstall them and remove their bias, will continuously influence how you use your tools.

There may be a third option in this binary division of decision making; ambiguity, or perhaps a belief in not believing. It exists as a thought, in a moment of uncertainty, before you realise that you know, because when you act, your final decision comes down to the one or the other. Will you act or will you be passive?

Temporary Highs
June 2 – July 31, 2016
Curated by Lindsay Howard
Reception: Thursday, June 2, 6 – 9 PM
Gallery Hours: Wednesday – Saturday, 11 AM – 6 PM & Sunday 12 – 6 PM

Alcohol – Ry David Bradley – Credit Cards – Chocolate – Petra Cortright – Drugs – Ex-Boyfriends – Katherine Frazer – Aiala Hernando – Anouk Kruithof – Likes, Faves, Retweets – Jonas Lund – Online Shopping – Orgasms – Hannah Perry – Pascual Sisto – Sports – Video Games – Addie Wagenknecht – Britta Walsworth – Wendy White – Work

I wrote this press release when I was on an extreme sugar high because I was anxious about posting something on social media, so I found a piece of chocolate and that lead to finding more pieces of chocolate and before I know what I’m doing, I’m standing up and sitting down and standing up and sitting down and I can’t remember what I was anxious about in the first place because all I can think about is how to respond to a text from the guy I’m dating. I like being with him because he’s a charming texter who makes me laugh. I open a new tab and draft an announcement for something that will probably happen, but might not happen, because I have this theory that if I write it then it’ll be like The Secret and the “law of attraction” will draw positivity into my life. I turned off notifications on Instagram because the surprise of opening the app and seeing the orange icons pop up was more fulfilling than watching them trickle in on my home screen. I turned off notifications on Twitter because I like the idea that people could be talking to me but I wouldn’t be responsible for responding until I logged in (but when am I not logged in lol). I hate the experience of mindlessly scrolling through Facebook and not recognizing a single person, but I still keep it open throughout the day. I love the sound it makes when I get a new message: it hits my ear like the jackpot sound in a slot machine, except cuter and more innocuous, or so it seems. It doesn’t matter where I am or what I’m doing, if I hear that ding from Facebook Messenger, I’m on my phone two seconds later. It could be him. It could be her. It could be absolutely anything, ecstatic, tragic, or mundane, and the possibility triggers every pleasure point in my brain. I feel like I’m living inside of a video game, in which every life event represents a gold coin that can be used as a way to obtain likes, faves, and retweets. I see a pop-up ad for a porn site on my desktop and I take a screenshot of it. I double click the image and can’t help but stare at the woman’s face as she’s being fucked. I open Google Docs to write this press release and get a few sentences in before my phone lights up with a notification. Nothing good. I turn over my phone and write:

Temporary Highs brings together artists who are exploring how the structure of the internet enables reward-seeking behavior in a compulsive cycle of (over-)sharing and consumption. The artworks operate in a space where immediate gratification is paramount, and multitasking has become a requisite social behavior. For many individuals operating online, these addictive practices have come to frame contemporary experience to such a degree that they’re considered commonplace. Temporary Highs presents a collection of works that examine the pleasure and anxiety around these experiences, as well as the constant search for validation, understanding, and connection.

Following tested methods that have been used in casinos for decades, the curator has handcrafted a unique scent that will be distributed throughout the gallery in order to evoke feelings of wealth, power, and influence. The scent subconsciously encourages the viewer to spend more time inside the exhibition, and mirrors the ways in which social media companies use strategic design and interaction to manipulate users into becoming dependent on their platforms.

Sat 23 Apr, 11.30am–6pm
Whitechapel Art Gallery

Linking the past to the present, this daylong event explores major themes arising from the intersection of art and digital culture. Presentations and discussions by academics, artists and theorists examine how emerging technologies have enabled radical creative practices.

The day includes contextual presentations, conversations on surveillance, conservation, and gaming, as well as the opportunity to consider exhibiting artists’ practices in more detail. Speakers include Erika Balsom, Heather Corcoran,Michel van Dartel, Constant Dullaart, Dragan Espenschied, Mathias Fuchs, Olia Lialina, Jonas Lund, David Morris, Julian Oliver, Sadie Plant and Stephan Schwingeler.

In association with the Goethe-Institut

15th April, 2016
19:00 – 21:00
Stockholm Art Week / Stockholms Riksarkiv

[In Swedish]
Hur märks de senaste decenniernas digitalisering av i konstvärlden? I samband med Stockholm Art Week bjuder Peroni Nastro Azzuro och Peroni Forum in journalisten och författaren Karolina Modig, curatorn Stefanie Hessler, medieanalytikern Olle Lidbom, konstnären Jonas Lund och C-prints chefredaktör Ashik Zaman till Art and the www – ett samtal om konst och digitalisering. Under samtalet kommer panelen att titta närmare på hur digitaliseringen, internet och sociala medier har påverkat hur konst skapas, upplevs och konsumeras.

Art and the www – ett samtal om konst och digitalisering är det andra i en serie spännande och inspirerade samtal där Peroni Nastro Azzuro bjuder in kreativa och kunniga människor att diskutera ämnen som konst, mode och innovation. Kombinerat med en intim och stilfull miljö och det bästa av italiensk mat och dryck erbjuder Peroni Forum kunskap, insikter och inspiration på ett inbjudande och njutbart sätt.