Research and analysis of Murals painting Chapter 2.

Transcription

Chapter 2.
Research and analysis of
Murals painting
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Chapter 2. Research and analysis of Murals painting
1. Murals and its meaning
1.1 Types of murals...........................................................................82
1.2 Historic analysis of the mural painting..............................................88
1.2.1 Ancient Murals..........................................................................89
1.2.2 Middle Ages and early renaissance.............................................95
1.2.3 Renaissance .........................................................................100
1.2.4 Baroque and rococco Murals..................................................104
1.2.4.1 Trompe l’oeil..........................................................104
1.2.5 Early Modern..........................................................................108
1.2.6 Modern and contemporary .....................................................112
1.2.6.1 Graffiti ..................................................................118
2. Modern and contemporary mural techniques
2.1Digital printing.............................................................................124
2.2 Papers and Wallpapers...............................................................128
2.3 Projections and multisensory technology ......................................131
3. Murals in contemporary Interior Design..................................................136
3.1 New ways of living......................................................................140
.
4. Conclusions of the chapter.....................................................................143
Beneficiaria Colfuturo 2008
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1.0
Murals and its meaning
It is my personal desire to go deeper in the world of Murals as a possibility to
integrate a type of art and its access to the public. As we said before, murals are
an, in large formats and is integrated with the architecture or the walls, ceiling,
floor and the spaces where it is done.
These characteristics have made the mural, an important type of art that increases the relationship between the work, the space and the spectator, reflecting the
concerns of each era; public art or private, secular or religious, imaginary or real,
inside or outside, popular or elitist, playing an important role on social, political or
simply in decoration sphere.
But due to the size, cost and work involved in creating a mural, muralist must
often be commissioned by a sponsor, normally the government or a wealthy
sponsor; otherwise can be related with self-expression of a community or individual that sometimes can go against the law. Nevertheless, the artist who
is good making murals provides to the city or to private spaces benefits by the
beauty of his work, making it gets a wide audience who otherwise might not set
foot in an art gallery.
1.1
Types of murals
“Murals; it is an instrument, a communication mean, that like any instrument can
be played” (Renzo Medesti , 1979:14)
Although the main focus is on artist’s murals, we can talk shortly about some
types of murals even if sometimes it is difficult to affirm that this classification is a
“fact” because there has been a continue contamination among the styles and
techniques.
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NYC / USA
They are performed sometimes by artists who
refuse to work inside their studies and like to
paint in big formats.
Artists can create murals in two ways; as a
beautification of public spaces, closest to the
decoration or the desire to show their capacities, without considering the sense of what they
have painted. The second way is closest to the
community, he has to understand the history,
desires and be able to express the ideals and
concepts that the population consider vital. The
artist murals have been created in the metropolis, thanks to the public requests, creating an art
for everyone.
Image 49.Pollock at work in his studio at Springs,
Long Island, 1950
// ARTIST’S MURALS
Chapter 2.Research and analysis of Murals painting///////////////////////////////////////////////////////////////////////////////////////////
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// SPONTANEOUS MURALS
Image 50. Community mural project. Temescal
Creek Park. 2000
Mexico
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In this case the mural is not painted by an artist, but from an individual. It is something spontaneous and not committed that comes from the spirit,
fantasy or invention.
Sometimes these murals are hybrids with incoherent and discontinue expression, but they have a real freshness, they are able to pass through irony
and metaphors and express a clear concept. There are testimonies from those types of murals in Mexico City where poor neighborhoods have
painted their walls to decorate the streets. Often there is no difference between spontaneous murals and militant murals because both come from
the inhabitant’s desire.
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Image 51. Anti-Fascism Graffiti.
Coimbra, Portugal 2008
// MILITANT MURALS OR FAST
INTERVENTION
They are the most common and also the most exposed to risk of being erased. Generally related to specific claims and a movement fight, they are
made from the same inhabitants, or artist that takes initiative as a form of struggle through painting to show their rights. The first testimony of these
murals, were in the American cities peripheries, Chile and Portugal. The merit of these murals was to write the history of oppressed peoples.
Coimbra / Portugal
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// POLITIC MURALS
Mozambique
Image 52. Revolution to liberate Mozambique from
Portuguese colonialism. Samora Machel. Maputo
Mozambique. 1984
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In some cases it is used to create a popular conscious, representing the ideals of the dictator, are often used by totalitarian regimes as a tool of
mass-control and propaganda. In this case the wall is not used by people to express his release and it is not about culture, but the power to communicate to the people its presence, its control and instill fear on it. However, despite the propagandist character of that works, some of them still
have an artistic value.
// ADVERTISING MURAL
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It is very similar to the previous one but center to mass consumerism; it is about selling or showing brand ideology. They are dynamic, seductive,
simple and have a direct commercial purpose. They have been developed mainly in the occidental metropolis but now they can be found in all the
cities, sometimes they are seen as a visual contamination of the environment because of its large quantity. Although not strictly classed as murals,
large scale printed media are often referred to as such.
Winnepeg/Canada
Image 53. Ipod advertising mural in
Toronto, Ontario, Canada
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1.2
Historic analysis of
the mural painting
17.000 B.C
Ancient
For centuries the wall decorations and frescos were a very popular art form
but only a small part of the works is totally integer, most of them are damaged or split. The transfer of the murals in the museums represented a
solution to save these works from destruction.
1400A.D
Baroque and rococco
1600A.D
Early modern
1900A.D
The painting is defined as the art of representing, through the design and
colors, shapes or objects on a flat surface. Several artists have expressed
their definition of painting. For example Leonardo Da Vinci defined as the
“combination of light and darkness mixed together with the different quality of all colors and simple compositions”. Leon Battista Alberti argued that
the “painting includes the line, drawing, composition, movement and color
which has to be based on the survey form”. The art of painting, according
to Paolo Pino, “is an imitation of nature and includes the design, invention
and the color “.
Renaissance
Modern and contemporary
1980 A.D
Throughout history and even prehistory, man has expressed himself graphically in many different ways. Like in music, poetry and the arts, also painting
has used a language that evolves according to certain rules over the centuries. Not only the traditional subjects are viewed and represented in different
ways, but also there have been different choices of the subjects to represent. So through years the fundamental meaning of the message conveyed
by the artist becomes not only in form but also in content.
400 A.D
Middle Ages and early renaissance
Mural Painting is one of the oldest forms of artistic expression, includes all
artwork painted directly on a wall or flat surface. In order to understand in
a simple way the phenomenon of murals, it is necessary and interesting to
be familiar with the historical evolution of mural painting that have affected a
variety of periods, from prehistory to the present day.
g.13
Since ancient prehistoric times, man has always felt an innate need to represent with elemental signs or with colors, aspects of familiar life (scenes
cacique, etc.), drawing or carving on the walls of caves.
It has not been establish why since ancient times man adorned with paintings environments where he had permanent residence or temporary. The
determination, if it were amusement and entertainment, or magic nature,
depended always on the relation of the paintings origin, on the particular
case and the subjective point of view.
The oldest examples of painting date back to prehistoric times and consist
mostly on types of graffiti, as the examples of Altamira in Spain and Lascaux in France; in this cases they are paintings on rocks walls, relatively
simple, depicting bulls and other animals. Since ancient times many different pictorial methods are adopted, some have become obsolete, others
have resisted centuries, as the fresco, water and oil paint.
With the time, the men evolution has allowed to consolidate the concept of
figurative arts in the first organized civilizations, from Egypt to Greece in the
Cretan and Etruscan paintings, which it is possible to find several examples
in the frescoes and Egyptian tombs or Crete’s Palaces.
Ancient murals can also be found in the Far East dating back to 1700
B.C or Buddhist murals in Ajanta, India dated at about 200 BC. Also, we
can find them in ancient China, Korea and Japan, in the Pre-Columbian
constructions in Central and South America and in Rome. Some interesting examples are from the roman paints, in Pompeii and Ercolano, which illustrate the desire of playing with a variety of chromatic colors and to have a clear representation of the reality and the quotidian life.
1.2.1
Ancient Murals
With the first spread of Christianity (313 BC) the painting techniques start to
change. It is created a precise stylistic iconography, influencing the murals
and the framed painting. The religious image, evocating God or saints,
intended to appeal devotion on the faithful, becoming objects able to produce miracles and used for veneration.
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Dordogne/France
Image 54. Lascaux. Dordogne - France. 13.000
/15.000 a.C Ancient Menagerie Gallops across the great Hall of the Bulls
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Image 55. Mastaba Tombs of Egyptian Vª dinasty. 2323-2150 BC)
Image 56. Mural Etruschi c. Tomba del Triclinio 480 BCE
Image 57. Villa de Misteri (Pompeii). 60 a.C
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Saqqara /Egypt
Etruria/Italy
Pompei/Italy
// A Fresco Technique
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The main technique used throughout the
centuries for mural is the fresco. A ‘Fresco’
painting (Italian term for ‘fresh’), describes a
method, where a water-based paint is applied on plaster (middle layer) on walls or
ceilings.
The ‘Buon fresco’ technique consists of
painting on a thin layer of wet, fresh, lime
plaster. It is made in journeys of eight hours,
because the plaster starts its dry process in
24 hours and it does not admit more pigments, when it dries, the chemical reaction
with the air fixes the pigment to the plaster,
making higher the durability of the paint. The
fact that the painting has to be done in a wet
surface, mean that the artist has to have a
precise rapidity and confidence in the execution. This techniques was improved at the
end of medieval times.
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mage 58. Ishtar Door, sculptural Engraved Enamel brick. Babilonia /
Messopotamia. Nabuchodonosor II ( 604-562 a.c )
Ravenna/Italy
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// Sculptural engrave Technique
The work is done directly upon the wall base,
that can be cement, stone, marble, synthetic
resins, wood, etc.
It can be embossed or debossed, depending on the thickness and the light, which help
to underline the artwork.
1.2.2
Middle Ages and early
Renaissance
During the Middle Ages, churches and mansions where heavily adorned
with wall murals, where we see scenes with figures and landscapes or ornaments on the walls, or in the vaults of the ceiling to decorate a room. The
space become like a book because they use a narrative style, which church
used for people education.
From 4th century, mosaics (Eg. Bizantine Art as San Vitale and Sant’Apollinare
Nuovo - Ravenna) were used in place of fresco paintings, but the fine art of
wall painting returned during the 14th century for example Giotto in Capilla
Scrovegni and Fra Angelico in the Covento San Marco in Italy.
The murals declined in the French Gothic, because the walls were substituted by glass (stain glass); this allowed more the evolution of framed
paintings.
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Image 59. San Vitale Church- Ravenna
(Bizantine IV-V)
Image 60. Fra Angelico, Covento San Marco,
Firenze. A fresco Technique XIV - XV
Image 61. Giotto, Capilla Scrovegni, Padova. A
fresco Technique. XIV
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// Mosaics and tiles technique
Other technique used in murals that not
involucres necessary painting and is
more durable in the time are the mosaics, or tile works.
It is an art of creating a pattern or picture with an assemblage of small pieces
called tesserae or tiles, of colored glass,
stone, ceramic or other materials.
France
Italy
There are three methods for mosaic construction. The direct method, common in
historic European walls, involves directly
placing each tesserae onto the surface.
The indirect method, often used for very
large projects, where tiles are applied
face-down to a backing paper using
an adhesive, and later transferred onto
walls/floors. A third method similar to the
last one, is the double indirect that can
be used when it is important to see the
work during the creation process as it will
appear when completed
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Image 62. Sainte-Chapelle. Stain glass Technique. Paris. France (1246-48)
Image 63. Unknown Master, Italian
Al secco painting with fresco Chambre du Cerf,
Papal Palace, Avignon 1343
// A secco technique
The painting is done on dry plaster. The
pigments require a binding medium,
such as egg (tempera), glue or oil to attach the pigment to the wall. While the
‘buon fresco’ is characterized by a high
resistance and peculiar hardness and
brilliance, since the colors have been absorbed by the wall, the ‘a secco’ paints
damaged or even disappear faster due
to the oil and to the techniques and conditions implied. But this technique has
also advantages as it is quicker, mistakes
could be corrected, and the colors varied
less from when applied to when fully dry.
// Stained glass Technique
France
Italy
Composition made with colored glass
forming patterns or pictures and linked
with strips of plumb, and then with cement or synthetic resins and supported
by a rigid frame. Common used in middle
ages on churches’ and important buildings’ windows.
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Image 64. Piero della francesca / cappella maggiore
chiesa san francesco arezzo 1460
1.2.3
Renaissance
Arezzo/Italy
During the Renaissance, even though much of the painting were done on
canvas and wood and they could be transported; large domes of churches
and staircases, and huge walls of palaces and halls were paintings of social
events, biblical themes or heroic battles.
Important examples are the Italian murals; the frescos realized by Piero de la
Francesca in the San Francesco Church, Rafael in the Vatican Palace and
Miguel Angel in the Sistine Chapel.
Mural painting waned again around the 16th century when stained glass
and fabrics became the principal decoration on church and palaces walls.
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// Oil painting technique
This technique is the least satisfactory
for painting murals because it is easier
affected by the atmospheric conditions
and because of its lack of brilliance in
color; but in 16th was very common to
use it for mural decoration due to the
possibility to painting it on canvas, in the
artist’s studio and later transported to its
destination where was then attached to
the wall or ceiling.
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Venice / Italy
Roma / Italy
Image 65. Sala del Collegio. Paolo Veronese, Oil on canvas Palazzo
Ducale, Venice 1578-82
Image 66. Raphael, Stanza della Segnatura, Vatican Palace. 1508-11
Image 67. Michelangelo Buonarroti Sistine Chapel Ceiling. The vatican
Rome. 1508
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Image 68. Palazzo Labia; Würzburg Giambattista
Tiepolo Venezia 1746
1.2.4
Baroque and Rococco
Murals
In the 17th century, murals were commissioned from master artists such
as Peter Paulus Rubens, Giovanni Battista Tiepolo, Pietro Da Cortona and
Andrea del pozzo.
These murals were painted in secular buildings, generally on canvas then
affixed to the ceiling or wall.
During this period, the Roman Catholic Church commissioned thousands
of murals with themes such as the Assumption of the Virgin Mary and the
Betrayal of Jesus.
In the XVIII Century - Rococco, one particular style started to be very used
as it was the trompe l’oeil with an overload of the figures.
Venezia / Italy
1.2.4.1
Trompe l’oeil
This style comes from a French term for “trick the eye”. It is base in a
realistic imagery in order to create the optical illusion that, makes the eyes
believe that the objects painted on the two-dimensional surface are actually three dimensional and real, for instance depicting a window, door, or
hallway, intended to suggest a larger room.
It dates from Greek and Roman times, but its use increased in XVIII with the
evolution of the optic illusion.
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Vienna/Austria
Florence/Italy
Image 69. Jesuit Church Fresco with Trompe l’oeil Andrea Pozzo Vienna 1703
Image 70. Palazzo Pitti. Angelo Michele Colonna et Agostino Mitelli. Florence 1725
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Image71. Diego Rivera, Sueño De Una Tarde Dominical
En La Alameda Central (1947)
1.2.5
Early Modern
In the 1920s, after a prolonged civil war and people’s revolution, Mexican Mural movement was born as expression of politic, artistic and cultural ideals and as a type of communication to show to the population,
mainly illiterate, the contents of the fight against the oppression.
This movement represents one of the most powerful and significant
achievements in public art during the 20th century, and in fact the word
Mural comes from this period, from the Latin word ‘murus’, that means
wall. Three Mexican artists led this current; they are Diego Rivera, Jose
Clementa Orozco, and David Alfaro Siqueiros. The idea was that art
ought to be accessible to all, and each artist must contribute to glorifying the people’s strengths and building a more egalitarian future.
The painter Siqueiros wrote, “We condemn so-called easel painting
and all the art produced by ultra-intellectual circles on the grounds that it
is aristocratic, and we glorify the expression of monumental Art because
it is public’s property”.
Mexico
Social Realism in the Mexico produced original and creative works of
mural art. Each artist found ways both to comply with the demands of
the educational and political program of mural painting, and to give free
rein to his own research and work. By mixing classical and modernist
influences with their own pre-Columbian heritage, Mexican muralists
produced works whose influence stretched well beyond borders and
gained international reputation in particular from United States.
In the other hand, at the same period of time, other artists also were realizing murals not related with movement of revolution; such as the series of approximately 250 oil paintings by French Impressionist Claude
Monet.
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Mexico
Paris / France
Image 72. David Alfaro Siqueiros, The People for the University. The
University for the People. mosaic,Mexico. 1952–56
Image 73. Water Lillies - Claude Monet . Oil on canvas Orangerie
Museum in the Tuileries Gardens Paris / France. 1920-1926
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Image 74 . University of St. Thomas Chapel. Oil on canvas
Mark Rothko. Houston, USA (1964)
The project was for a ‘modern temple’, conceived as a place
that would welcome people of every faith and that would be a
meeting point for different communities.
1.2.6
Modern and
Contemporary Murals
Houston/ USA
Not all the murals of today have the same function as the Mexican ones, but
are created in order to attract people attention and in a way, decorate the
space as it was in the past. There is high difference in the fields in which it is
applied as well as the techniques used and the styles, with degree of public
participation more or less elevated. In the art of the XX century it is possible
to find a path of research, that slowly move away from the naturalism, to
arrive to images formed by signs of an abstract language, eg. Keith Haring
for outdoor, Rothko for indoor, Miguel Barcelo or even Patric Blanc with his
vertical gardens art.
Before the 1960s, murals were largely found indoors, mainly because they
were protected from the damage of time. Around this time, outdoor murals
also began to appear in large cities, done by individual artists or in group
projects.
Today, due to the abundance of artists, some of them good quality and
other amateurs, murals can be found on the outside of many large buildings.
They are commissioned by museums, public entities, private individuals for
office spaces, homes or from industry for advertising purposes. For this last
ones, it is possible to find professional mural artists who charge thousands
of dollars to paint a single wall and amateur mural artists who will paint an
entire room for just a few hundred dollars.
Other characteristic of the murals of today or in a more general view of contemporary art, is the issue of the ephemeral:
/ The Ephemeral art
The main problem today does not seem to be focused on the need
to preserve art that is exhibited in museums such as paintings, photographs and sculptures, but the one which tends toward the ephemeral installations, the performances and digital works. Contemporary
art, conceptual or ephemeral, is traded in the same way to a materialized one. “We traded it more with museums and art institutions” says
gallery curator Alberto Sierra Medellin. From an installation or a performance, an artist sells the record, according to Eduardo Serrano,
“photographs, prints made from the initial idea, the buyer, collector or
museum can use it to recreate whenever he wants”
For instance, one style that has been gaining attention nowadays is the
graffiti, while not often considered a positive art form because of the location or illegality of the painting; some consider it another style of mural. And
sometimes has also its ephimeral character.
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France
Image 75. Joan Miró, ceramic Mural, Maeght Foundation- Saint-Paul-de-Vence
- France (1968)
Image 76. Sacré Coeur Church’s stained glasses. Fernand Léger. Audincourt,
France. (1950-52)
// Ceramic Technique
The painting is realized on a ceramic
base; it is cooked to fix colors and enamel and then is adhered to the wall using
an adhesive mixture.
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Image 77. Pont Max Juvénal, Aix-en-Provence. PatrickBlanc (2008)
Image 78. Qantas’ First Lounge. Australia. Patric Blanc (2007)
Image 79. Cupola of ONU. Ginebra. Miguel Barceló. (2007)
// Epoxic Mural
Technique_Miguel Barcelo
Barcelo covered the dome with 737
pieces of aluminium held in place by a
radial steel frame. He then used 6,000
kilos of epoxy resin to create the reliefs
and stalactites, which were located
in the spots Barceló had previously
marked by means of a paintball gun,
using different colours to indicate the
desired length. Some 6,500 screws
were employed to fix the stalactites to
the support.
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// Garden Mural
Technique_Patric BLANC
France
Blanc’s garden are composed of three
parts: a metal frame, vinyl polymer to waterproof the structure and a layer of felt
where the roots grow.A custom irrigation
system keeps the felt moist with a fertilizer solution modeled after the rainwater
that trickles through forest canopies.
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Image 80. Street graffiti. Unknown,. Los Angeles, USA. 2009
1.2.6.1
Graffiti
Los angeles/ USA
It is important to make the difference from graffiti and murals, these two
terms have similarities but also many differences. They have born as an
instrument of expression, decoration and revolution in a city. However, the
graffiti started as a vandalism painting; inscriptions or drawings made on
public surfaces such as buildings, fences, and sidewalks, not always tolerated by the inhabitants.
It appeared in New York in the early 70s (In these years there was a big
impulse of juvenile cultures to search of new ideals) when a group of youths
began to spray paint with “tags” featuring the writer’s name, initials, or nickname. Then it evolved into the “wildstyle,” with names outlined and filled in
with color, and finally into ‘masterpieces’ large-scale, multicolored, complex
compositions.
The city has considered these marks vandalism, and new ordinances have
prohibited this activity. But the “writers” persisted, replacing the markings as
quickly as they were removed. This made that writers with a more artistic
behavior tend to work more or less legally in protected areas, areas that
are given by the city for the expression of spray-can art trying to stem the
spread the phenomenon in city center of residential areas. This fact and the
acceptance of graffiti as an “art”, have allowed the emergence of opportunities for talented graffitist, as for example Jean-Michel Basquiat, Keith Haring
and Richard Hambleton.
// Graffiti technique
Graffiti as we said before is a style used
as a way of art expression or vandalism
mainly on public surfaces. It is characterized for the use of spray paint in aerosol cans with acrylic paint; which allows
speed, portability and permanence of the
graffiti made.
Nowadays it is produce aerosol paints
specifically for the graffiti artist.
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Oslo / Norway
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Image 81. Jumpers Compressed, Richard Hambleton. New York USA (1997)
Image 82. Keith Haring
Image 83. Jean-Michel Basquiat
Image 84. Street graffiti,Unknown. Grünerløkka Oslo. (2006)
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Image 85. Disel wallpaper.2010
Image 86. Absolut wallpaper. 2009
Milan / Italy
Graffiti art, it is now part of the hip-hop movement and the graffiti artists are now promoted by art
schools or by sponsors to decorate the walls of the city, to use it as advertising for some labels or even
as interior decoration of contemporary homes or offices. Examples of some labels that have use graffiti
to promote their brands and at the same time to create new environment in the city and involve the
inhabitants, are Diesel or Absolut Vodka.
Diesel, as a street wear label, has initiated several
projects designed to give something back to the
community by inspiring them to create. The Diesel Wall Award “Big ideas need big spaces,” is
one such project, which aim to bring contemporary art to the masses by using public spaces to
define or re-interpret the surrounding territory, by
encouraging young artists to express their ideas,
which, if selected, will end up on the ‘Diesel Wall’
in either Berlin or Milan.
Absolut Vodka wallpaper is another example of
this type. Absolut vodka has been supporting
arts in its many expressions with frequent collaborations with leading artists, designers and
photographers.
One of the wallpaper made in Milano from Ozmo
was made thought of a composition of elements
obtained with the contribution of participants to
the web contest You Wall 2.0.
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Image 87.Example of a digital printing. Advertising
Nationwide, Columbus, Ohio
2.0
Other Contemporary
mural techniques
Some techniques listed above continue to be use today for interior art as well as for exterior/public art. For instance, for outdoors, some are chosen by its
long duration without too much maintenance, such as mosaics or tile murals. For interior, techniques as fresco, secco, oil painting, water painting continue to
be use, etc, they have the advantage that are more customizable because there is a better relation between the artist and the client, but they require more
time and the price can vary depending on the talent of the artist.
Other techniques that have revolutionized the mural methods are the ones base on digital technologies for example digital printing, softwares, cinema or
animation; they allow creating in computer a modern virtual images and animations or acquiring any photographic picture even from things refereed to the
past.
Arezzo/Italy
2.1
Digital printing
Digital printing is one of the most important developments for graphic and advertising sector. It has allow to arrive to a realistic image quality in all kind of formats and sizes. As an alternative to hand painted murals are the printed murals. The development of digital wide format printers offers time and cost effective
production methods for printed murals, for example already existing murals can be photographed and reproduced easily with this kind of technology.
Some disadvantages of printed ‘artistic murals’ are that they are often not fitting on individual wall sizes or personal wishes cannot be added in the mural on
progress. Also they are sometimes mass produced or lack of exclusivity of an original artwork.
Billboards, banners or poster are some products that imply often the technology of digital printing. For example some of the printers use are; the inkjet printing, laserjet printing, electrostatic printing, wide format printing or digital photographic printing. All of them have advantages and disadvantages, and can have
better or worst result depending also on the inks and on the paper used.
One important advantage of the last two ones, is that the first, has a capacity of print width from 43 to 254 cm or even more, and that they use a roll of
print material rather than individual sheets; and the digital photographic printing is able to have true photographic reproduction from a digital file, free of visible
dots.
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Some inks used for digital printing are::
/ Solvent: Not water-base ink, such as petroleum, acetone or carrier liquid.
The resulting prints are waterproof, and they are printed directly on uncoated
vinyl, foam board or PVC.
/ Dye sublimation: inks are diffused into the special print media to produce continuous-tone prints of photographic quality. It requires heat transfer
and the price is not so economical. Common used in textile or paper. It is
need a precise regulation of the temperature to not have varying densities
of color.
/ Acid dye: is considered best for natural materials for example, silk and
wool. Common used in textile.
/ Pigmented textiles inks: last longer but are not as bright as other textile
inks, they have lower price, not require as much pre-and post printing treatment like Dye ink and heat is needed to fix the fabric.
/ UV cured: It uses UV- curable inks. Any material can be use for
printing on, such as ceramics, glass, metals, wood, textile or polymer that
is the best.
The results are waterproof, embossed and live colors. It is more environmentally friendly than solvent inks.
Latex inks: Latex Inks are water-based inks that combine the best
characteristics of low/eco-solvent inks and water-based inks.Possible to
obtain the outdoor durability and versatility on lowcost, uncoated papers.
The best inks to use are the UV cured because of it range of opportunities
that can give to wide images printings, also as we said before UV cured can
be printed in many materials and is more environmentally friendly.
Venice / Italy
Roma / Italy
/ Aqueous: ink water based, generally comes in two inks, Dye is high
color and UV offers the widest color range. UV ink is generally duller in color
but is resistant to UV rays; Dye has to be laminated to be outside. It can
print in various materials, such as canvases, banners, metabolized plastic
and textile.
Image 88. Example of digital printing in vinyl. Fency-Flip-image-inhamburg-2010 Collective Mentalgassi. Berlin Germany. (2010)
Image 89. Example of Digital printing on textile
Image 90. Example of Digital printing on Ceramic
/ Reactive dye: Common use in textile, for cellulose fibers such as cotton
rayon or linen.
Image 91. Examples of wallpapers
2.2
Papers and wallpaper
We want to analyze types of adhesive papers and wallpapers that can be
printed in digital printers in order to find a right material that can be stick in the
wall. Wallpaper for example has been used for years in decoration, it dates
from Renaissance and it appears as option to decorate wall instead of using
the traditional tapestries, their design are normally patterns, they are mass
produced and they come in standard sizes.
Wallpaper consists of a backing, ground coat, applied ink, and sometimes
paste on the backing use to adhere the wallpaper to the wall. It is now
generally printed with digital prints or on plastic materials but there are others types of wallpaper based on diverse materials, techniques or inks. For
instance other type of printing techniques different from the digital ones for
wallpaper are; surface printing, flexographic printing, rotogravure printing, silk
screen printing, lithographic and rotary printing. Some papers used for wallpaper decoration are:
/ Printed wallpaper: It can be printed in numerous design and colors with
a reasonably price, with the technology listed above. Some printed papers
are not particularly suitable for areas where there is a buildup of steam or
condensation.
Arezzo/Italy
/ Vinyl wallpaper: It has the design printed on a layer of vinyl with a texture
similar to a heavy embossed paper. It has a fine paper backing and requires
less paste for hanging. It has a durable surface, easy to clean, making it
particularly suitable for kitchens and bathrooms.
/ Washable wallpaper is ordinary wallpaper which is either coated with
a thin glaze of polyvinyl acetate -PVA or is printed with water resistant inks.
It gives an easy to wipe surface and is particularly suitable for kitchens and
bathrooms.
/ Woodchip paper is an inexpensive way of covering walls. It is a plain
paper with a textured oatmeal surface, made by impregnating the pulp with
sawdust and woodchip during its manufacture. It then needs to be painted
and can be covered in a variety of colored emulsions.
/ Anaglypta is a white, thicker paper with an embossed pattern. It is essentially use for hand-paint with either emulsion or resin based paint. It is not
a wallpaper that is ready to hang on the wall because it is thick and very
heavy, so it requires a strong wallpaper adhesive. It is frequently used to
imitate materials.
/ Supaglypta is a stronger version of Anaglypta. Cotton fibers are used
in place of wood pulp, which allows a deeper embossed pattern. It is then
painted over.
/ Flock wallpaper has a synthetic or natural embossed surface, glued
to support paper. It often gives a soft texture and is rich in color. It is one of
the more expensive wallpapers. It is a difficult paper to hang because it is
very delicate.
/ Foil wallpaper has a metalized plastic film on a paper backing. Because
of the metal coat it can conduct electricity not making possible to place behind plug covers. It has fine textures, many colors, easy to clean and helps
to reflect light.
/ Lining paper it is a plain paper which can be used before wallpaper on
poor or painted surfaces. Papering a ceiling is much hard than papering
walls, but it is often the best way to cover cracks. It is available in different
thicknesses.
/ Novamura is available in a wide range of patterns and colors. It is made
from foamed polyethylene, which give a warm surface to the touch and
resembles fabric, also reduces condensation if it is put in bathrooms or
kitchens but has possibility to be damage.
/ Polystyrene sheeting is used to line walls before papering. It makes the
wall warm to touch, reduces condensation but dents easily if marked by
furniture or other things.
The most common materials in wallpaper are the vinyl fabric or canvas with
UV protection and/ or weatherproofing covering and adhesive. It can last 20
years; it is washable, does not damage walls and can be reinstalled.
Other papers used mainly for mass media:
Latex impregned paper: They are pigment with eco solvents waterbased. It gives excelent quality of the image. It is a heavyweight saturated
paper with high resistance to abrasion and moisture. During production of
the paper it gets saturated with latex, making it strong, flexible, and durable
. It can be adapted to any surface using heat.
PVC free Wallpaper: high‑performance, flame‑retardant substrate is a
great alternative to vinyl and is easier to dispose of than most PVC. Vivid color, high-definition detail. Meets commercial wall covering standards. Easier
disposal than most PVC-based substrates. It sticks to the wall usign water,
it is easy removable.
Tattowall: It is a kind of film that transfer the printing to anysurface. It can be
printed with eco solvent or light solvent. The process of application on the
walls does not need water.
Removable polypropylene: It is a film with adhesive call ‘atacca e stacca”, it can be stick and replaced more than one time is flat surfaces as
walls, glass, etc. Good for photografic reproduction for room and business
decoration. Water resistant and printed with water base (dye pigments) inks
or ecosolvent latex.
Magnetefix: It is a polarized film that in combination of a adhesive magnet
allow to remove easily and change the film. It can be printed with ecosolvent
or latex ink.
A paper that could be a good option to use is the removable polypropylene
because it has the advantage that can be stick and removed over and over
without damage the paper, allowing the user to change the decoration, not
damage the wall and keep the printing for use in another occasion.
91
2.3
Projections and multisensory
technology
Contemporary artist have been experimenting
with different technology to express their creativity, which some of them, in a way can be identify
as a varient of murals. For example wall projection or multisensorial technology, which through
video, sensitive and interactive environments,
theatrical performances and films, art can interact
with the surrounding and the viewer, making a
static mural become a dinamic experience. This
kind of technology has also a common use in
advertising and promotion purposes.
/ 3D projection on building
3D projection is a new technique used to project
a 3d film on a large indoor or outdoor surface
giving the viewers shocking illusions in a temporal
term. The 3d projection is fully adapted to the
architecture of a building or facade, specifically
produced after making a 3d model of the surface/building and then projected with specialized
projectors on site.
The format does not have limitations for size, as
well as the 3 dimensional visual effects but it is
needed a minimum distance between the projector and the area of projection that can vary
from 35 to 40 meters, also the ideal situation
would be a light colored stone or light concrete
surface.
Two companies have the leadership on the use
of this technology; NuFormer Digital Media and
Urbanscreen.
This last one works with a more artistic approach;
a diverse network of artists, architects and technical experts develop concepts and transfers them
into a dialog between art and urban communication not only based on marketing purposes.
The advantages of this technology is the visual
impact compare with a static printed image, the
not damage of the surface and better choice for
marketing sphere.
Some disadvantages are that is temporal/short
time of projection, need of low illumination, and
complexity on the production.
Arezzo/Italy
Image 92. 3d projection by nuformer
92
Image 93. 3d digital media projection.Urbanscreen.
/ Multisensory technology
This kind of technology allows aritist experiment interaction with viewr, art and
surroundings. One example of a group of contemporary artists who works
with different digital technology is the italian Studio Azurro. The group’s activities are linked to experiences such as the designing in museums and theme
exhibitions of recognized cultural value. The use of the technology is base in
interactive instalations of videoprojectors, sensors, audio, laser disk, etc.
Other kind of multisery technology mainly use for comersial purpuses are:
> Vikuiti
It is a product of the 3M Company. It is a prismatic brightness enhancement
films that allows transmitting images and video directly in a glass.
> Sensitive Floor and wall
Also a product from 3M Company; It is an interactive video-projection in the
floor that interacts in real time with the movement of the people.
93
Arezzo/Italy
It is employ in retail show window, transforming it on a digital screen for promotional message purposes.
It is base in the technology of integrated projection of 3M, with a software
able to translate body movement in different images. It is applied for floor
installations, wall, or tables, mainly in launches.
94
Arezzo/Italy
Italy
Image 95. Studio Azzurro - videoproiezioni ambienti sensibili. Different
projects.2010
Image 96. Vikuiti. 3M Company. Group Masserdoti. Italy
Image 97.Sensitive Floor and wall. 3M Company. Group Masserdoti. Italy
95
96
Image 97. Mark Beard’s Art at the Abercrombie and
Fitch Milano Flagship Store. Oil on canvas. 2009
3.0
Murals in contemporary Interior
Design
As it was in the past, the use of murals for home interior design continue to be use; for
example commissioning an artist to hand paint a mural in dining rooms, bathrooms, living
rooms or, as is often the case- children’s bedrooms. They are limited by the fee, the time or
the level of detail requested, but in many cases it allow the people to express their desires
by having the possibility to request a specific theme, incorporate personal images and
altered it during the course of painting it fitting their own spaces. It exist many commercial
‘artists’ / painters that have business based on doing this kind of job mainly in United States
but they normally are only interested in satisfy the client tastes and not to express their own
artistic style. But not only commercial artist do that, also important artist are commisioned to
this kind of works in interior places as we see it before, like Rodck, Bartolo, etc.
Styles can vary from abstract to tromple-l’oeil, this last one has the effect of opening out
the walls as we said before, and its common use today is attributed in some cases to the
reduction in living space in contemporary houses.
Also the graffiti and street art have transferred to interior decoration in homes and youth
offices.
Arezzo/Italy
Italy, Milano
The development of the techniques also has created new trends in interior design which
are based on the facility, temporality and accessibility of the work as we saw avobe.
/ Companies that provide a stock of images which can be configurated to the size needs
of each client. The advantages is the large range of alternatives in images and also that the
production is only made when the demand is made. They have different materials to print
on which can be adhesives or it can be possible to put in frames as normal paint.
/ Vinyls Wall Art decals; as we said before vinyls films are very common material for wallcovering,. The advantage is that they are decaled thats means that it is not necessary to
cover all the wall but only the film that is printed, it is more decorative in a ludic sense than
artistic.
97
98
Arezzo/Italy
Italy, Milano
Image 98. Sixty Hotel designed by Studio 63. Photografy
digital reproduction.
Image 99. Offices of Neogamma BBH.
99
Image 100.Evocative image of new ways of living. Flexible, reconfigurable, nomade, semi-public spaces.
3.1
New ways of living
New concepts of residence and membership developing internally in the era of the information open a new way of interaction between individuals and society, between housing and
city, between private and public. Born new spaces and intermediate like spaces semi private which welcome instances of a specific community and a system of semi-public spaces are ready to change functions, elements, sizes and shapes during the day or year.
They are spaces whose reinterpretation is obtained without intervening with permanent
works and at the same time without creating standardized and undifferentiated accommodation: spaces are free from functional constraints and close easily reconfigurable, and
highly customizable.
The characteristics of this new space are:
// Flexibily, understood as the possibility of putting in place ways of living adjustment over
time, composing from time to time the packaging of useful services at the moment.
// The quality of service, intended as accessibility to better quality or additional services not
covered by traditional ways housing
//The private domestic space, equipment and features compared freed from unwanted
and therefore flexible and reconfigurable
// The internal social-which involves a rethinking of the common areas not only in terms of
a use not only functional
// The relationship with the city that grows mainly in the more compressed when opening
an external user allowing for economic survival and social
painting/////////////////////////////////////////////////////////////////////////
100
>143<
4.0
Conclusions chapter
Murals are characterized already by being a democratized art due to its symbolic relation with society and because often its location is in public spaces;
so it is a kind of art accessible to public but in terms of appreciation and
not so often in terms of ownership because its complexity and commercial
value. It is a kind of art with a closer relation with public because it often has
been used to expresses feelings, oppression and ideologies not only from
artist but also from society. Other qualities such as its large size and its relation with architecture and spaces give to the mural a special power to attract
attention in a faster way than many other kinds of expressions.
Understand the meaning or the use of murals throughout history helps us
to see how we can used them as mediatory tool to link artists and public/
client in an new product service system applied to a particular context as an
opportunity to increase access to art in a sense which yields benefits for the
end user as well as for the artist, the context and the artwork.
There are several types of murals, for example; spontaneous, militants, politics, artistic or advertising. These murals are created in different eras, from
prehistory to present day, varying its use from expressing ideals, feelings,
real life moments, fantasy, and political persuasion to also ornamenting and
decorating spaces. They can be appreciated or hated, commissioned or
free expression and legal or illegal.
facilitate and invigorate this kind of art in open and closed spaces, extending
the ‘mural’ term to other styles as graffiti art, cinema (projection) or commercial purposes. The techniques or methods have evolved from the fresco,
secco, oil, mosaic and many others to digital technologies of reproduction
in large format used mostly in graphic/ advertising industry and adapted to
the art world.
Also methods commonly used in interior decoration as pattern wallpapers
can be applied to artistic murals. Some materials that would be more suitable for this use can be the vinyl fabric, adhesive plastics or adhesive canvas; along with the use of technology that facilitates the production such as
digital printers, inks and UV protection or the use of technology that allows
the customization according to architectonic spaces where it is wanted to
adapt the mural.
In conclusion, this chapter comparing it with the previous one, we can say
that this type of public art can also become private by applying modern
technologies and trends, and making the mural a tool mostly symbolic but
utilitarian, which can be used by different artists as a way to reach a wider
audience, not for substitute their masterpieces but as a additional product to
generate recognition to the artists of a particular context. In the next chapter
we will analyze the context where the project wants to focus on, trying to
understand the opportunities and its art system behavior.
In the modern and contemporary times, different styles and techniques have
Chapter 3.
Context analisys
>146<
Chapter 3. Context analysis
1. Context: Medellin / Colombia
1.1 Visual Arts in the city..................................................................................148
1.2 Centers of referents for visual art in the city..................................................150
1.3 Current scenario according to experts........................................................152
1.4 Current scenario according to the artists ....................................................155 1.5 People’s homes.......................................................................................173
2. Problem and oportunity analisys.................................................................185
Image 101. Medellin City. Colombia
Image 102. Colombia and Antioquia region Map.
IGraphic 14. Summary of important Medellin’s data
1.0
Context: Medellin / Colombia
/City of eternal spring
Capital of the department of Antioquia. Medellin is located in northwestern Colombia, in the central cordillera of the Andes, in the Aburrá Valley, at 1,479 meters above sea level, which moderates the tropical
heat and creates a very favorable annual average temperature of 23°C, which gives to Medellin its nickname “city of eternal spring.”
/A recent metropolis with young people
The formation of Medellin as a metropolis is recent. In the last seventy years, Medellín went from 168,000
inhabitants (1938) to 2.3 million inhabitants (2008). Its population is relatively young. Nearly 70% of the
population has between 5 and 44 years, only 6% are over 65 years and life expectancy is 73 years. It is
the second largest city in population, after Bogotá.
Industrial City
It contributes more than 8% of GDP, higher than the other main cities of Colombia and its density is 25
business firms per 1,000 inhabitants, the second highest in the country. Since the early twentieth century
Medellin was known as the “industrial city of Colombia.” Industries with the largest share in value added
in the metropolitan area are textiles, substances and chemical products, food and beverages. It is the
latinoamerican capital of fashion and ideal destiny for shopping and health turism.
Medellin city of Colombia, which is
the fourth nation in land area in South
America, with about 45 million inhabitants and is the third largest population in Latin America after Brazil and
Mexico. It is bordered by Venezuela,
Brazil, Ecuador, Peru, Panama and
by the Caribbean Sea and Pacific
Ocean. It is recognized worldwide
for the production of coffee, flowers,
emeralds, coal and oil, for its cultural
diversity and for being the second
richest country in biodiversity in the
world. Colombia is one of the major
economic centers of the Spanishspeaking America, and in 2009 the
economy on a planetary level number
27.
/City in Transformation
Colombia
During eighties and much of the nineties, the city was one of the most violent in the continent. Medellin
is the determination of a city that wants to get ahead and has regained hope. Today it has improved
security situation, and it lives a full process of progress and development and wants to become the safest city in the continent.
>148<
Medellin
Among the inhabitants of large cities in Colombia, Medellin today are those who believe they have the
best quality of life, security, mobility, utility and municipal governance. Similarly, both nationally and internationally, Medellin is now recognized as an exemplary space for innovation and urban governance.
The project of the city in the last decade has been directed to make it the cultural capital of the country;
undergoing a process of urban reform that continues to grow stronger cultural infrastructure, shown in
theaters, museums, parks and sports centers, zoos, exhibitions and conventions palaces, planetarium,
botanical garden, among others.
102
Chapter 3.Context analysis ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Annual Temperature Average
23°C
Above the Sea level
1.479m
Inhabitants
2.3million
70%
8%
2°
25
Young population
Between 5-44 years old
Contributes of GDP
City iin terms of populatation and GDP
Density of business
per 1.000habitants
Project of the city
Cultural
Capital
Of the Country
101
14
IGraphic 15. Important events in visual arts from the 80’
IGraphic 16. Artists recognized internationally
IGraphic 17. Important data about visual arts in medellin
1.1
Visual Arts in the city
/ Looking back
Medellin as well as all the country is an incredibly diverse city and the art
created by its artists reflects this diversity. After the war of independence
(1819), the city/country’s art still dependent of the figurative. Some people
explain that delay in the evolution of Medellin artistic styles is due to the city
geography, which make difficult a contact and dialogue between the different creative tendencies. In the decades between 1920 and 1940, Marco
Tobon Mejia, Jose Horacio Betancur, Pedro Nel Gomez, Ignacio Gomez
Jaramillo, Santiago Martinez Delgado and Alipio Jaramillo created some dynamics in art, mainly with the elaboration of murals not only in the city but in
the country. They were influenced by Mexican art, although with neoclassic
and Art Nouveau characterizes. In 1954 television arrived to the country
which start to influence transformation on art. In this media, the presence of
Marta Traba as an art critic represented a important step for public education
and its basic interest, important to create new dynamics in art’s system.
The context in which was the highest development of promotion of the Arts
in Medellin was in the 70’s, thanks to the visionary power of experimentation
of young artists and, especially, with the organization of the biennial of Medellin that helped for first time to place Medellin on the map of world art.
Arezzo/Italy
Biennials were the first important step to break with traditional art and access
to knowledge of global trends. Besides bringing to the city American and
European artists, these events also constitute a springboard for launching
significant artists of the generation of great masters of modernism in Colombia. It was possible, then, to switch from only painting still life, landscape or
human figure to open to contemporary concepts.
As the critical Germain Rubiano Caballero said, these were years of intense
discussion on arts education at university level and on what criteria should
be the museums, years when the country came echoes of great social and
cultural changes.
Artist as Dora Ramírez, Marta Elena Vélez, Ethel Gilmour, Rodrigo Callejas,
Ronny Vayda, Alberto Uribe, Álvaro Marín, Humberto Echavarría, Hugo Za>150< Beneficiaria Colfuturo 2008
pata, Germán Botero, Beatríz Gonzáles, Fernando Botero, Nadín Ospina,
Ana Mercedes Hoyos, and other characters who, despite not being artists,
played a decisive role in the evolution of arts in the city, a generation that
insisted on cultural modernization of Medellin, when it was the economic
center of Colombia.
Therefore, from this group of artists and idealistic managers, arose the idea
of founding the Museum of Modern Art in Medellin(Mamm), which was held
in 1978. Many of them contributed also to the creation of the Faculty of
Arts at the National University in Medellin and consecrated to be teachers,
alongside doing their work as artists.
Not only the foundation of new cultural entities was crucial for consolidation
of cultural promotion policies of the moment, but also the management of
existing centers, as the Arts faculty of Antioquia University (since 1963) and
Antioquia Museum, which since 1977 had the first large donation of Fernando Botero. Also one important year for Medellin was ’81 because events like
the Bienal, Coloquio de arte no Objetual, de Arte Urbano and the creation
of Salon Rabinovich, impulsed contemporary processes and marked a step
further to the development of artistic interests and practices. In the words of
Danto “then the artists were freed from the burden of history and were free
to make art in any way they wanted, for whatever purpose they wanted, or
no purpose. This is the mark of contemporary art in contrast to modernism,
there is nothing like a contemporary style”.
An important factor that affected the arts industry in a negative way in the
80 ‘was the drug trade. Some artists were supported by these illicit funds
making the prices of artworks becoming very high, as well as the land’s and
construction’s price; leaving the artists who were not bowed to the wishes
of these consumers caught in the new high prices. But despite these problems in the art market there were achievements and accomplishments to
reach exceptional levels of the country’s artistic history, and to this day Medellin continued an ongoing effort to make society feel art as an important
factor for their lives.
Trajectory of the SALONS
Visual and plastic Artist registed in Colombia
40years 24
2.834 85
in 2008
Oficial spaces to expose
Average Student graduated in Medellin each year
International Art Festival
Salon Rabinovich
Salon de arte joven
Salon Rabinovich
Debora Arango Donation
Biennal international of videoarte
Salone universidad de antioquia
60%
Stimuli for creation and research in 2009 Colombia
336
Artists who make alternative activities appart from art
Regional Salon
National show of videoinstalations
Un Metro de Arte
Salon Rabinovich
Law : new buildings should have an artwork
/ Present
Salon Rabinovich
Contest Riogrande for national art
Salon Rabinovich
Cerro Nutivara park Sculptures
Salon Rabinovich (every year)
Mamm inauguration
Biennials
Symposium not objectual art
Symposium urban art
Biennials
Biennials
1968 1970 1972 1974 1977 1979 1982 1984 1987 1990 1994 1996 1998 2002 2004 2007 2010
1969 1971 1973 1976 1978 1981 1983 1985 1989 1992 1995 1997 2001 2003 2005 2008
15
International Recognized
Regional Salon
MD07
Regional Salon
Finish the law of make artworks in buildings
Contest for Public art in libraries
Proyecto pentagono
Salon Rabinovich
Salon regional de artistas
Regional Salon (each 2 years)
Biennal of ceramics
50 años de pintura y escultura en antioquia
Regional Salon
Salon Rabinovich
Contest of sculptures for JMC Airport
Salon Rabinovich
Salon Rabinovich
Donation of Botero
Biennials
Biennials
Biennials
/Dora Ramírez
/Marta Elena Vélez
/Ethel Gilmour
/Rodrigo Callejas
/Ronny Vayda
/Alberto Uribe
/Álvaro Marín
/Humberto Echavarría
/Hugo Zapata
/Germán Botero
/Beatríz Gonzáles
/Fernando Botero
/Nadín Ospina
/Ana Mercedes Hoyos
Artists
16
Modern and contemporary museums in Medellin
4
3
Oficial educational centers in Medellin
17
Image 103. Museo of Art Modern Medellin MAMM.
IImage 104. Salon regional . MAMM.
Image 105. Universidad Nacional Faculatad de artes Visuales. Medellin Image 106. Plaza Botero . Museo de Antioquia
1.2
Centers of referents
for visual art in the city
103
Promoter entities
Medellin/Colombia
> Ministry of
Culture
> National
Museums
Network
> Chamber of
Commerce
Formulator, guide and
regulate country’s
culture policy
Promotion, development, management
and support for the
country’s museums
Contributes, promotes access to cultural spaces for
public. Support cultural activity
in the city and artists
> Private
Sponsors
Private stakeholders, like
companies or banks, promote art exhibitions, events
and artists in the city.
> Public
Sponsors
Public stakeholders, like
companies managed by the
government, foundations,
other organizations.
Education
> Universities and
educational
centers
/University of Antioquia
/National University
/College Fine Arts Foundation
104
Exhibition Entities
> Comercial
Galleries
> Alternative
spaces
> Contemporary
Museums
/Arte Autopista Las Lomas
/Galeria La Oficina
/Galeria de Arte Julieta Alvarez
/Galeria cafe Manila
/Galeria Naranjo y Velilla
/La Nueva Galeria
/Mundo Arte Galeria
/L.E.M. art Gallery
/Galeria El Cerrojo
/Galeria Nefertiti
/Casa Imago
/Taller Siete
/Taller Sitio
/Casa Tres Patios
/Galería P.Bardwell
/ Casa Deotroslado
/ Alianza Colombo Francesa
/ Salas de arte bibliotecas
/ Centro Artes Univ.EAFIT
/ Palacio de la Cultura
/Museum of Modern Art
/Museum of Antioquia
/Museum of Art National University
/Casttle Museum
Goberment Policies
and finance for
> National Program Support
training programs or
of concertation dissemination activities
awards,
> Incentives Pro- Scholarships,
tributes
gram Creation
105
106
Important Events
> Fair ARTBO
> Fair La Otra
> Auctions
Cultural and commercial
temporal space, which helps
to measure dynamics of art
market in colombia. Bogota
ARTBO parallel proposal, It has
the philosophy of creating “a
new public” and promote young
artists. Bogota
“Conexión Colombia Auction: Art for a cause”. The art
auctions in Colombia are made
mainly for social charity.
> Bienals
Promotion of artist.
Each two years it
happends in different
places in the city.
> Regional
Salon
Support for training
programs or
dissemination activities
Image 107. Lucrecia Piedrahita
Image 108. Oscar Roldan
Image 109. Juan Carlos Mejoa
Image 110. Juan Alberto Gavirio
Image 111. Alma Ramas
Image 112. Luis Igancio Correa
1.3
Current scenario according
to experts
To understand better the current scenario on Visual art in Medellin city, author made a research on local news and interviews to different kind of experts
of the city. The questions allowed to discuss different aspects realted to moments of the career of an artist, about the actors related to the system and
facilities and barriers that the city is providing to them.
107
Arezzo/Italy
Lucrecia Piedrahita
/ Museolog and curator
Casttle Museum
108
Oscar roldan
/Curator of Museum of Modern
Art MAMMM
109
Juan carlos mejia
/ Consultant in the
gallery Naranjo &
Velilla
110
Juan Alberto Gaviria
/Director of the
Colombo Americano
Gallery
111
Alma ramas
/Director of
International Fund
of Latinoamerican
art in Spain and
curator
112
Luis Ignacio Correa
/Art collector for
15 years
/The education
In Medellin, according to Oscar Roldan, there is a large production in contemporary art, with good quality at international level. Many of the artists
who come out of college are successful at the moment but quickly begin
to devote to something else because the circuit does not allow them to
stay. The circuit is not complete, each entity must exist academia, great
artists, great institutions, public, students, experts, etc. Between academia
and institutions there is gap, because usually is the museum which ask
candidates to universities to make new shows and not vice versa. It is important that these students also leave the town, and have a more global view.
Also another problem according to Mejia, is when they finish their studies,
they do not know which are the places they can use to show their work,
and it is often difficult to get into the galleries that do not meet its profile.
According to Juan Alberto, who has a more social view; Medellín and today artist is challenged to contribute to the evolution of a culture of peace,
without leaking art. Strengthen the line of contemporary artists working in
community, but without absorb the individual expressions. “Art as a service,
through metaphor”, making projects that generate dialogue with society
and their way of seeing the world. It is important to raise awareness for
peace in the public, and this can be done through art.
/The space
According to the Curator museologist Lucrecia Piedrahita, artists in the city
of Medellin have four important areas to show their work, the official museums, commercial galleries, alternative spaces, and network space.
Recently many young artists make use of this last one, to make visible their
works such as blogs, webpage, social networks, etc. It has been one of the
best options for make art seen anywhere in the world.
Some barriers in the city are related to uncertainty of the artist, by the public
and the client. The collector must meet the artist “not only a sale without knowing the artist.” But she says that for make this possible and to
strengthen this problem in the circuit, it should be open more opportunities
for exposure. Bogota allows more spaces, and people are more interested,
which also must be achieved in Medellin.
From institutions, from the formal spaces, it is difficult to maintain an agenda
to move young artists, because there are already official agendas. Oscar
Roldan says it is not easy for an artist to enter to a museum only by sending
his works, because these institutions what they do is create different topics
each year, which determines the type of artist or work to be shown. “There
is one thing that is the ‘ideal’, and another that is the ‘possible’ and what we
truly are, we are also limited”; This limitation also relates to economic, for
instance the Mamm works mainly because state funding. “With the Mayor
of Medellin we have agreements that cover us for almost 50 percent of our
budget”
According to Piedrahita should be opened spaces to circulate the work
devoid of this formality. Not enough spaces open for young artists, there
are more collective with young artists in the year, but normally benefit more
artists coming to be masters or already are. According to Oscar Roldan,
the museum must have active programs and initiatives with third party
agents, “the museum is not a building, is a schedule”, for example he mentions the artist and professor Fredy Alzate who conducted a project with
them where they invite artists to discuss their work each month to promote
communication and public outreach. It means that the museum can activate
the circuit, delivering new alternative to the local context, which will be not
only task of the museum but other kind of actors.
/The promotion
A key factor to reach a mass audience has been the catalogs, unfortunately,
in events such as Salon regional and National (ministry of culture), these
catalogs are delivered only to people of the sector, according to Piedrahita
it would be ideal it circulated in bookstores and in the general public but is
legally complicated as they must ask the copyright to a lot of artist to enable a mass market.
>155<
Cultural marketing is an important strategy, if there were sufficient investment in the institutions of the city, not only them would benefit from the incomes but also would expand the effectiveness between the public and art,
these are products that allow everyone to carried a memory of art but that
museums and other institutions do not have financial support to make it in
volume. According to Roldan, museum merchandising gives the possibility
to activate the editorial imprint of this, and strengthens the presence of art
in the middle. The copyright is 8% if (for 100 books produced 8 are for the
artist). Regarding this rights, there are 3 types of copyright; the property, for
the holder of the work, representing a gain in time, artist yields it; Materials:
possession of the piece, but no reproduction rights., Moral Rights: Inalienable, the author still has to give credit to the artist.
ated keys to read between art work, the artist and the viewer, options for
people to feel motivated to go and see. There are many opportunities for
advertising and communication that allow the public to be aware of the exhibition but the not expert public should have these key reading for art work,
to understand the social context, the artist’s intention and above all to build
on them the idea of collecting.
According Piedrahita, through her work as a speaker, she said that people
is interested to know and learn. The public and the client are there, what we
need is good teachers, lecturers who lure public with knowledge and passion about job artists. Medellín is not a city apathetic to culture and art. It
should be a balance between educating the public and the lucrative aspect,
and not just a commercial interest in the artist when producing their works.
A strategy that uses the Gallery Colombo Americano is hosting an event
each year to invite artists to submit a work and selling it without exceeding
the minimum salary, along with a nonprofit foundation where the profits go
to children’s art program.
The city has spaces for information to flow but it must continue to make
further efforts. For example Lucrecia has a column of a newspaper online
and physical than 7000 people can see each day, the universities also give
lectures and talks on art and aesthetics; there are master degrees and
education processes that are improving every day. Also in galleries like
Juan Carlos Mejia, the use of the press is very important, they invite them
in each exhibition but it not necessarily means that with a good article the
gallery will be well received. “We use every means we can.”
/The client
Regarding the critics; Juan Carlos Mejia, said that the print media, galleries,
press, the same media institutions are limited to give only information and
there is not a category where we can say more. Also many artists are not
ready to be criticized, and search for known people to talk about them.
“The criticism becomes so hard that does not let express, or are so flexible
that they believe they are in total victory. The important thing is to hold up in
no time. “
//The public
The public in Medellin is still in training, it is needed to make great efforts
to get people to the exhibitions. According to Lucrecia, it must be cre>156< Beneficiaria Colfuturo 2008
Collectors in Medellin, as Lucrecia Piedrahita says, behave by outbreaks;
some of them adult people who has their own collection, business or industrial networks, also the ones who buys by the desire for art but not buy
frequently because economic reasons, and a new market which are the
young executives who are interested in art, and buy and support young
artists. The artist Nadin Ospina also ensures that the market seems to be
growing, and that many young people are buying works of art. “executives
with purchasing power and highly educated.” They do not like speculation in
the stock market, but for they look for long term. Oscar Roldan said everything starts with the market, although it is the last concern of contemporary
art, but ultimately it is the first concern for the viability of this, it is important to
understand how to make the market emerge without making ‘art become
prostitute’.
Public must understand that when it buy a work of art it is because it is a
investing, we buy art because we like but also because we consider it an
investment, to have a heritage linked to the arts. According to Oscar Roldan
if this market does not begin to specialize it is difficult also to improve the
quality of art, artist because there is anyone who demand it.
Juan Carlos Mejia says that although it is forming a youth market, characteristic of the normal customer of Medellin is still very conservative, “if they will
buy a art piece at that value, first they think on other things they could buy
with the same amount of money”. There is also an attitude of fear from the
client to engage in any purchase and go to exhibition. It is seen that is
only for the elite. Public have to learns that It is necessary to ask advice and
not necessary buying, Mejia hopes it will develop this behavior with young
people who are beginning to discover this medium. It is also important not
pigeonhole the artist to please the customer, “an artist does not have to
do things according to customer tastes, art must come from his own
world.”
Regarding large-scale works, Mejia said that they do not commercialize
them very much, not because there is not space in homes, but mainly
because they are difficult to enter them to the spaces, it is needed to disassemble and organize them in space, not because people do not like.
People like the medium size, large.
1.4
Current scenario
according to the
Artists
An interview with different artists or artist/professors with a trajectory of 4-30
years was made in order to understand their behavior and relation with the
system, their own view of the city and the opportunies and problems lived
there. These artists are emergents artists with already a trajectory or they are
in the middle of their career.
>157<
// Pablo guzman
Dedoved
of
4Years
career 100% to art
Medellin young artist, who illustrate large-format paintings of ordinary people in an urban context, interested in the other as the scene of recognition.
He defined himself as someone who makes things that are not incense but at the same time generate dynamic of desire to have them, which may
be aesthetic or because it is synonym of investment. Being an artist is a vocation, which takes 24 hours, the goals are to continue evolving and
improving.
>Relations with other actors in the system
All relations have to start to be strong since you are studying. He has had
invitations from professors to exhibit. He also work with a collective team
which present their individual Works but as a team to galleries in Medellin
and in Bogotá, like that it is easier to be notice. With the public, there is
sometime direct contact but normally is directly with gallery, there is a new
generation of young collectors, and they start with small works. He works
right now with two galleries, and works sporadically as professor.
>Promotional strategies
He aspires to be recognized by the art system. He applies to the possible
exhibitions, he uses the internet to send invitation, and he has he portfolio
in a network web page. Normally is the gallery who is in charge of doing
promotion of my work. it is important to have contact with important curators
because they are the one who moves things inside the sector. Also it is
important to go to fairs as Artbo, or apply to contests, etc.
>Facilities and barriers in the city
Medellin is a conservative but he said he has success until now, But there
is not so much option it is for this reason that he inmediately went to Bogota
to see if there were more opportunities.
>Economic management of the profession: To fix the prices it is important to see the prices of others like us, ask to many people, experts to
see what it is the most appropriate, also taking in account the trajectory,
prizes, exhibitions. The price should be increase very slow because if they
go up very quickly it is not possible to sell. He dedicate full time to art.
>Murals: He has made murals and public Works, a project with a professor, intervening in a abandoned wall in the city, working next to the community. It is need to see how entailing paint to space, extending space and
provoque other lecture of them.
>Reproductions or products made with his art: he has had reproduction in magazines, also engraves. Not very much and anything digital
until now. Any product that museums of galleries produce, there is authors
rights.
Image 114.
“Interior” (oil in wall)
MAMM.
2006
>159<
// Anibal Vallejo
Dedoved
of
14Years
career 100% to art
Medellin-based artist depicts everyday occurrences, in a child, teenager, or adult life. His pieces reveal a bittersweet innocence, a brutal, yet candid
honesty at times, a blasé awareness at others. In a post-Hockney, 60s influenced manner, he focuses on a selection of elements and blanks other
out – the former as innocuous as the latter. He then adds an element of fantasy, flora, fauna, or a bizarre prop, and sets the scene for a glorified,
twisted mundane everyday, that he accepts yet eternally reinvents.” I talk about my personal experiences, about everything that I read, live and see . I
could describe my work as a journal of my interests… That tells what I cannot say with words.”
Normally he has direct relation with clients. He also has work with galleries
with temporal projects. He does not belong to any special group and its relation with other artists is basic, because of his personality he unconsciously
does not like to interact so much with them in order to search his own personal path and artist integrity. He accepts any exhibition proposed, and he
also applies to competitions and calls.
His main promotional strategy is internet, “before I thought that to have my
work in internet was not well seen, but I realized that it opens a lot of opportunities national as well as international”. Also belong to magazines, virtual
galleries, portfolio webpage; it is important to show the work independently if
people buy or not. Working with galleries, it is important to have a person, a
curator, who likes his job in order to make a project together.
The city is starting to open, for example with the new headquarters of Mamm
and new projects of this kind of entities, but it is opening more in Bogota
capital city with events such as the international fair ArtBo. In Medellin there
are only 2 galleries one of them exposes carpets one day and the other
day artists, according to Vallejo it takes off credibility to the artistic work. So
the spaces to exhibit are limited, artists do not have where to show. He got
the opportunity to expose in one of the museums but he thinks that it is
only because he came after studying outside and with several international
exhibitions, which drew attention, but without this he will be as many other
artist who cannot live only of being artists. It is important to open to other
cities and countries.
>Economic management of the profession
When he sells a piece of art he invests it in materials to make another one.
The sells allow him to live comfortably. “I am lucky t olive from art”. The prices
are negotiated with client each time, and are set according to what is acceptance of the market.
>Have made Murals
He was invited to participate in the project made in Mamm called “the walll”.
Painting a ephemeral mural in one day in one of the museum wall which
supposed to last 1 week. Each 3 moths an artist was supposed to paint
a mural in one day. The project was suspended the Mamm changed building.
>Reproductions or products made with his art
He was invited by a chairs company to intervene in the products. Also with
restaurant’s tables of Mamm, which change each year, in this case the
restaurant request curatorial advice to the museum to see with which artist
can they work. There is author copyright, they can reproduce from that but
there is not royalties. It is like a donation.
Image 116.
Untitled. Acrylic, oil and embroidery
on MDF
115 x 183 cm
2010.
>161<
// Fredy Alzate
11 career
Years of
50% Dedoved
art
to academy
50% to
“Living of art it is my passion”. He currently resides in Medellin and teaches at the University of Antioquia and Fine Arts University from 10 years, he coordinates a training program in the MAMM. He works mainly in graphics and painting, but he has also developed several sculptures. His work is base on establishes a dialogic representation between space, time and image. He works hard in the formation of publics, generate platforms to sensitize people, and make
are visible international as well as national. I have been trying to maintain active my artistic production but I give half time to it and half time to academy.
He likes to have contact with everyone; he has not had any gallery who
represent his work permanently. In museums he has participated in collective exhibitions and individuals. He has had contact with merchants of art
which do not have a place as a gallery but they commercialize art. Relation
with galleries and museums, but as mediator to put in circulation and visibility
projects of investigation more than to sell. With the public he has had good
relations; he has tried to put his work in public, contact with specialized public as well as public on formation. With other artist he has tried to propitiate
spaces of meetings, groups of investigation, in order (in a interpersonal level)
he can have and enrichment with other opinions, for example the project
‘Art passport’ where each week and artist goes and talk about his work, it
generate a space for critic, revision, memory and dialog between them and
public. He belongs to the groups of investigation of different universities, and
museums.
because if you stay here you stay hide. In Bogotá there is not everything
but much more than Medellin. Spaces as National salons are also important
in the city. There are not enough critics; you have to have your own self
management. There are missing spaces for healthy debate , dialog of the
process, see in perspective the projects of local artist, be in contact with
works that have been developed during last 30 years and new generation
do not know.
He lives from art even more of his incomes come from teaching in Universities. He balances visual arts with experimental art, it is easy to sell paints.The
price depend on the trajectory, dimension and techniques. He applies also
to contest and scholarships and calls.
He is making his web page, normally use only flicker to have visibility. They
are spaces of big visibility right now. He also makes talks about his works.
The thinks that what has benefited more his work is ‘Word of mouth’, many
people arrives to him because others recommend him. Not much use of
galleries because they are not enough strong. He is prepared to accept any
kind of proyect or exhibition.
>Murals
He has made temporal mural of 6 months, interventions in place. He shows
interest to make murals in private spaces and work in big formats; but also
more over to work with the community. He worked in Moravia, a poor neighborhood, were he worked with community and students making murals. An
important role of the artist is also to help the city and the country to improve
its problems, providing and forming people in a sensate way in order to finish
with the violence.
Some events like ‘Arturo and Rebeca Rabinovich’ are vital to the city to give
visibility to emergent artists. In Bogota is difficult to enter because is very
competitive, but it is important to search of other paths outside Medellin
Catalogs, calendars, or other products with the museums or exhibitions.
No accrual any economic benefit, the rights are given to them because the
work become their collections.
Image 118.
Puerto
Private collection Medellin.
From the exhibition: Espacio Liso,
Chamber of comerce Medellín
2005
>163<
// Gabriel Mario Velez
20 career
Years of
60% Dedoved
art
to academy
40% to
Building action, make actions that takes real places; the action of creation. Creative gestures that can express what he believes, thinks; processing
life experiences, intellectual processes. He works as a university professor, researcher, also an artist with a work that presents nationally and internationally since 1990. Several of his art projects have won awards at various events. Has made a number of conferences and seminars. His writings
have been published in books and magazines. Recently came to light his book: The Photography as Magic Device.
He dedicate his time to the profession of artist and to teach. He has not
found a way to make only art. But his artistic work is central to his professional life, the other elements complement his profile and give him other
outlets for fulfillment. Open training scenarios, public policies, problems of
theory, also nurtured his creative work.
Culture and art is always a secondary and subsidized matter, also a luxury
issue. Difficult to conceive the idea of being an artist in Colombia, is a diffuse
role. The idea of a subject, as important as the artist, in the chain of social
action is not sharp and clear. So many artists turn to other activities for daily
survival, but these other tasks have been positive, because it nourishes one
with the other.
In terms of galleries circuits, he has a direct relationship with independent
galleries and museum spaces. For the sake of winning scholarships, and do
research projects, it has allowed him to be in contact with them. In the area
of commercial galleries, the situation is not very successful, he has sold a
few pieces in galleries, and he prefers direct relation with client (in Medellin).
The Relationship artist-artist is prolific and consistently interesting. Relationships can be informal and more serious, it is important from time to time to
consider developing joint projects.
The prices come from experience through years. Be able to understand
public perception. Evaluate what it is happening inside the circuit.The value
also comes from the relation with progress of visibility of the work; for example with prizes, salons, exhibitions. It is something subjective and related also
to the opportunity. He has sell photography even it is not so well considered
an art yet in Medellin, also other incomes as sponsorships with curatorial
works, scholarships, academic, or grant forms, not necessarily sales.
He use the habitual channels to make his work visible. Catalogs, online invitation, exhibitions or posters, etc. Apply to national exhibitions, calls, salons.
He has not made yet a personal web page even he thinks is a fundamental
tool, he feels he has not the need to do it, because he has his portafolio in
different pages.
>Murals
Never has done murals but large-scale photographs and public works such
as performances or art that generates integration with other artists or community. When the work is sold is negotiated the copyright, and there are
always documents and contracts. Always check where and how it is used
the work.
According to Velez, the barriers are many; the art world very difficult to manage, mostly in Colombia because it is a country in process of development.
Image 120.
Serie Mujer en Blanco
Fotografía manipulada por proceso
digital
2007
>165<
// Patricia Bravo
21
career
Years of
Dedoved
100% to art
She works from issues that make us aware of the fraternity, or sharing the limits of human; or the despair of violence. Doing this requires a rigorous
academic training and understanding of who we are. Discuss matters of life, what we today speak of the universal right to “be” and the obligation
of non-violence. From the most fragile, from the depths, it is from here that we express concepts with authenticity. Her work is about the desire
to understand the “other.” It is devoted only to his profession as an artist but has been teaching at several universities and colleges always from a
perspective of the creative.
>Relations with other actors in the system: Relations of much cordiality with all the actors of the system, she feels very satisfy with her carrier. The
relation of affection has moved her work more than the commercial relations.
Her works moves more to museums, biennales, public calls and contests.
She doesn’t have works in galleries. She has always worked individually,
because sometimes is difficult to work in groups.
>Economic management of the profession: Her works has been favored mainly by the contest and institutional contributions. It is not a commercial work, through the galleries there is a kind of work that people likes to
have at home, hers it is something less conventional. She is in some collections but they are from experts collectors who know that it not a conventional
work to decorate and exhibit.
>Promotional strategies: Nowadays she is working a lot with internet;
she has 3 blogs about her job and also participates in networks which give
visibility to her work in a faster way. The Young artist is moving a lot his work
in the web. The art works has to talk by itself, the artist has not to be next
to it to show it. Trough the reflection that the same people has when it look
to it.
>Murals: She has made public works. Her work is characterized by large
format photography. The last job was for one of the new libraries in Medellin,
6 large-format photographs. She is ready to make things also for people
in homes, addressing the photographs in large format and small format,
printed on canvas, paper, glass, to a level of space.
>Facilities and barriers in the city: The space is small for so many
artist, she said that when she finish her carrier, there was more movement,
and energy they could project to outside. There were a lot of open calls to
any artist, now the processes are very restricted. For these new generations
there are fewer opportunities. It is very quiet for the artists. Museums and
some entities are trying to fortalice, but still missing. Also another problem is
that there is intervention of curators of other countries and they want things
made as they are made outside.
>Reproductions or products made with his art: For example for
the library mural, there were taken photographies, then were made production of postcards and catalogs, so the community will take something, but
something particular, because each card bearing the history of the neighborhood, a poor neighborhood that many of those who live there didn’t
know the history. So help them to restore their image, to look ahead in a different way in order decrease violence. There have been also books, a book
of poetry and one of a foundation. Also specific exhibition catalogs. Some
paid others not, they are symbolic paying because they are not high. “one
should always feel encouraged and honored to publish them”.
Image 122.
Esperando esos días azules que
sí van a volver.
, 1999.
>167<
// Armando Montoya
29career
Years of
40% Dedoved
art
to academy
60% to
Medellin based artist and Antioquia university professor. Montoya overlooks the city and discover on it its every day images, paradoxically, they
pass unnoticed by most people because, due to the dense quantity of them, which makes us forget how to look them. He rediscovers the
expression of a internal universe, of symbols as old as man, a manifestation of our relationship with the world and the sacred. “...I want the viewer
dream by seeing my work”. I work in the art as well in the academic sector from investigation, as a way of contributing to my artistic work.
>Relations with other actors in the system: He doesn’t have any direct relation with groups, only with the academic. But He has been invited for
collective exhibitions or individuals; he doesn’t need to ask for an exhibition.
It is something that you with the time. He has work and collaborated in many
institutions but in temporal jobs.
>Promotional strategies: He would like to arrive to any kind of publics,
but in the circuit of Medellin we get locked inside the same group of artists.
The exhibition moves around the intellectual elite of Medellin, fundamentally
elite of visual arts. “we work for friends”, it is like they work for being seen by
their colleges and not so much for public. He doesn’t have web page, he
uses the normal channels.
>Facilities and barriers in the city: His formation and the time allowed
the city to be perceptive with his work. In Medellin there is a monopoly in the
arts, few people are the one that manages all the decisions and should be
more open in order the sector can breathe. Nowadays he has been helping in a gallery as an altruist labor because there many gaps in the city for
circulation of artistic production, he says that they are forming a lot of young
people but they don’t have spaces to show their things and if we think in
spaces exclusive commercial, there is a big difference, because the educa-
tion that they give does not focus on commercial art work, but work based
on life attitudes, as thought, personal expression. We don’t have a market
that corresponds to the formation that they are giving.
>Economic management of the profession: In one hand is the production, he say that normally to make and exhibition it is around 2.000 Euros
more the cocktail and other stuff that some galleries make artist to pay. In
the other hand, the works that are realized for commercial purposes there
is not a positive answer in the city, people from the city want everything for
free. Many artist, work because they love it but it doesn’t feed them, he
say that he has been fortunately, he invests in one work and for other side
money enter.
>Murals: He has made in 3 occasion public works in Quebec, they are
temporal. Also in Colombia, ‘the street of ceramic’ they give the credits but
it was not paid.
>Reproductions or products made with his art: He makes graphic
works, painted and engraved, anything he do it is present the graphic vision,
even in works with objects put in a wall he then see the engraved, he does
a photography, photoengraved, oil, or digital impression.
Image 124
Untitled
Acrílico sobre tablex
Dimensiones: 155 x 255 cms
1990
>169<
// Jean Gabriel Thenot
Dedoved
of
35Years
career 100% to art
Thénot is a French artist and curator of the French Alliance, living in Medellin for 30 years. He has always worked according to his experience and
the relation with what is around him. With a extensive formation in art from the past and experiences that comes from European moments. His art
continues to be contemporary and comes according to thoughts of what is happening in the city where he lives. “An active city, with urban movement and urban development, which has no relation with the past and has no memory, make feel the plastic signs and point of view to the people”.
Focusing on urban nature, he wants to make visible and to try to help people to understand that natural environment is an integral part of their life.
>Relations with other actors in the system: He always had had different relation with many kind of actors in the system that vary from time to time.
For example with museums, they have artworks of him most of the time as
donations. He doesn’t belong to any group, only in the French Alliance as
independent curator and collaborator, and participating in different projects
that involve diverse actors. His work as curator makes him interact permanently with other kind of artists. He always attends to exhibitions and is in
contact with other people. The relation with buyers is always direct contact,
some of them are known during the exhibitors, and also are invited to the
artist’s studio to make the deals. It is needed to dedicate time to give keys to
people in order they appreciate it easily because his work is more abstract.
that art has only to focus in social art, which has an important value but it
cannot be the only thing and each artist has to give his point of view without
taking in account what art. There are not many buyers mainly because people doesn’t have a well formation since they are kids, they only are interested
in their work in have a good salary and spend it on fast things. There are not
good galleries so for this reason you have to be your own management.
>Promotional strategies: There are not specific strategies, it is intuitive.
As any artist he wants his art arrive to everybody, it cannot be thought that
it is only for a elite. Conferences, exhibitions, fairs, etc are made in order to
make his work visible. He has not start to use internet but he understood
that it is an import tool too.
>Murals: His formation has been made in Mural and urban art, with a high
relation with architecture. In one period he has work active in buildings and
new constructions because the government supported it in this period, but
the law finish. He makes ephemeral works because it has relation with his
concept. These kind of works were always paid and with deals that didn’t
affect his integrity.
>Facilities and barriers in the city: Medellin is a small place but with a
lot of artists, and many of them very good. But during a lot of years politician
didn’t understood the function of art, and now for example there is this trend
>Economic management of the profession: It is not easy to calculate
how to sell a artwork, because we haven’t been teach on that, it is calculate
in the experience and the trajectory of the artist. Also with prices that are
using the galleries and other artist of the same level.
>Reproductions or products made with his art: He has not make
directly a product or sub-product to sell. But the collections in the museums
have developed products as catalogs, posters, or other kind of products.
Image 126.
Resurrección – (Serie: De pie a pesar de…)
- 1991 Mural / Cerámica – 30.00 x 4.00
mtsEdificio Catay VII – Medellín
Image 127.
In Situ II - Medellín – EAFIT – Medellín –
2000Serie: Testigos Silenciosos – 3.00
x 15.00 m
>171<
// Jorge Gomez
Dedoved
of
20Years
career 100% to art
Lives and works in Medellin and Buenos Aires at the same time, he is a visual artist, painter and draftsman. Traditional artist, he is aware of the
old school, with a continuous process of personal search, of his language, his world view of beauty that surrounds him. Its work is the constant
struggle, as embodied with the personal language. One paint for oneself before anything, we get caught wondering if you are going to ahead in
many years, or if you will affect generations. If it happens or not it is ok, but is the search for your language, the real happiness.
sometimes near, sometimes closer, but I have been present in all kind of
interaction with other types of actors. The social relations are very important
for make visible your work, important to be active in the world, with same
artist and art market. In art market, He has intended to make good relations. He success to endure despite trends, and for sure he is interested
to make move his work.
He tries to use all type of possible channels to make his work visible.
Search exhibition outside, national international, be in web pages, even
telephonic yellow pages, he has blogs, accept invitation and be active in
the art market.
It is not easy to convince people about what you are doing during time. If
the work has enough power and a truth, It will be affecting other generation
by itself, it is low process but it is necessary to wait. We have not enough
collectors in the city. But each time there is more people interested in hav-
ing a piece of art that occupy a space in their life. Important to show and
sell the art works, he thinks it is not an obstacle to be in a small city.
The prices have to have the same prices everywhere; the masterwork has
to be evaluated in the same value. The price can be negotiated. He lives
100% from art, it is his passion, but he also has done works as professors
in university.
>Murals
He has not done murals o public works, but big formats. He would be interested in do it. It is important to have a good support if you make a mural
that won’t be temporal.
Serigraphs, great series, posters postcards, catalogs. All it is made with
contracts; it is needed to down the rules from the beginning. When you
do reproduction it is important that you don’t become a commercial artist
because it will not give you so much happiness.
Image 129.
URBANO II
oil canvas
2002
>173<
1.5
People’s homes
Sebastian
/31 Years old
/Civil Engenieer
/Single
/Rented home
/Many white walls
The author made a photografic research on how people
in the city of medellin were decorating their walls. The
people evaluated are around 29- 40 years old, already
living by their own and with an middle-high economical
and intelectual situation.
1
Scene from the book The Silmarillion
Tolkien JJK. is part of the same fantasy of Lord of the Rings.
John Howe
/ Poster ilustrattion
/ Downloaded and printed
/ “I’ve liked Tolkien books for a long time;
searching the internet someday about
art books, I found this and I really liked
this illustration. ”
2
Dream brought on by a bee flying
through a pomegranate, one second
before waking up, 1944. DALI
/ Poster reproduction of a painting
/ Purchased online at art.com
/ “First I heard of this artwork because it
was the main theme of a bar that I liked
to go in Medellin, is called Rock Cafe
dali. One of the cocktails they sold it is
call like that and it was the only painting of Dali around the bar. It caught my
attention so I ordered the poster by
mail.”
3
Le fils de l’homme.
René Magritte.
1964
/ Poster reproduction of a painting
/ Purchased online at art.com
/ “The first time I saw this art piece was
in a movie, “The Thomas Crown Affair”
I loved it, so I looked for who was the
author and I ordered it by mail.”
1
2
3
130
>175<
Carlos and Maritza
/33 Years old
/System Engenieer
/Married
/Rented home
1
Vinilo negro de Paris
/ Bought in vinilosdecorativos.com
/ “I put this vinyl because I liked when I
saw it. Besides, it is easy to remove, if I
want to take it off.
2
Sueño de otoño. Triptico. 2009
Camila Londoño
Painted by a familiar
/ “I saw it before I got married at her home
/ and i liked it the day of my marriage she
gave me”
3
Molas colombianas on a frame.
Textile design made by Colombian
Indians
/ “We bought it after traveling to la Guajira. We like to buy autochthonous pices
from the places we visit”
1
2
3
131
>177<
Juan Pablo
/34 Years old
/Manager
/Married
/Own home
1
Graduation diploma
/ Framed diploma
3
2
Transformation. Oil canvas. 2003
Manuela Marquez
/ Parents present
/ Bought in Panama
Photography of the family.
/ “it is a picture of each of my brotherand me”
4
untitled. Oil canvas.
Ramon Vasquez
/ Paint
/ Mother’s present
/ “my mom gave me because she
has liked this colombian artist
very much”
3
4
1
2
133
>179<
Camila
1
/34 Years old
/Civil engineer
/Single
/Own home
Untitled. Camilo Vallejo.Oil canvas.2006
/ Friend make for her.
/ “I ask a friend who likes to paint
to make a painting for me, for
my new home. I like geometric
shapes”
2
Ilustrations portrait. Oil canvas. Nicolas Tejada 2003
/ Friend present
/ “my friend made some ilustrations of
me, he gave me as a present went I
move to this home”
2
Untitled. Acuna Acuña, Jose Gabriel
2000
/ Bought to the artist
/ “I went to an art exhibition in a gallery
and I liked the artist, I spoke with him
and I bought this two paintings”
1
2
3
134
>181<
Ivan
/39 Years old
/Manager
/Married
/Own home
1
/ Ceramic
/ “ Present from the
parents family after
marriage.
2
Poster of a painting.
Arriving to the moon
(1999). Author: unknown
/ Poster on a frame
/ “ I bought it when
I traveled to united
states in a museum
afterseen the exhibition”
4
3
Sol del horizonte
(1945). Author: Luis
Alfredo salazar
3
Coming to the jungle
(2000) Author: Arturo
Caicedo
/ Paint
/ “I bougth it to my frind
artist, I liked very much
to put in this space”
Untitled. (2003) Author: Arturo Caiceido
/ Paint
/ “Present from the artist.
The artist is my friend”
4
1
2
3
135
>183<
1
4
Poster of a painting.
Apparition of Face
and Fruit Dish on a
Beach (1938). Author: Salvador Dalí.
/ Poster
/ Present from the parents.
/ “I have always liked
Dali”
Pictures of family
/ Photography
2
Poster of a Photograph. Lunchtime Atop
a Skyscraper. Rockefeller plaza (1932).
Author: Charles C.
Ebbets.
/ Poster
/ Purchased at a NYC
store.
/ “I like it when I saw it”
3
Magnet painting of two
vases with white roses.
Anonymous.
5
Picture
burgh.
from
Pitts-
/ Photography
/ “Gift from Lab-mates
when I lived in PGH. “
/ Present from God
/ Mother. Bought at an
Arts/Crafts store
Ximena
/ 27 years old
/Medicine Resident
/Single
/Rented studio
/Mostly white walls
4
1
5
2
3
136
>185<
1.6
Problem and oportunity
analisys
To make the analys of the problem author took in account some factors found during
the interviews and desk research about the field as education, spaces for visibility, public
and client behavior and formation and the interaction with other factors in the city. From
that, a Swot analysis was made in order to summarize the Strengths, Weaknesses,
Opportunities, and Threats of visual arts in Medellin.
S
/Good quality artists at international level
/Awareness of cultural institutions to in continue training of the public.
/Propitiation of spaces for meetings, groups of investigation and conferences.
/Positive answer of public to appreciate art. Medellin is not a city apathetic to culture and art. It should be a balance between educating the
public and the lucrative aspect.
/ Master degrees and education processes that are improving every
day
/ Objective of the city is to be the city of culture
/Making projects that generate dialogue with society and their way of
seeing the world without absorb the individual expressions
/ Good performance of construction sector
/ Big spaces of homes in Medellin
/ Development of art fair trade worldwide
/ Internet emerged as promissory visibility channels for artist
/ Development of art culture on the public
/ New market of young executives who are interested in art, and buy
and support young artists.
/ Opened spaces to circulate the work devoid of this formality
/ The museum can activate the circuit, delivering new alternative to the
local context, which will be not only task of the museum but other kind
of actors.
O
/Artist has to devote to something else because the circuit does not
allow them to stay.
/ Training a lot of young artist but they don’t have spaces to show their
things when they go out
/ Public and client are unaware of artists in the city.
/ Not enough places and opportunities for exposure.
/The public in Medellin is still in training. They need to have key reading
for art work, to understand the social context, the artist’s intention and
above all to build on them the idea of collecting.
/ Artists trust in few galleries in the city, because others are not enough
strong.
/ There is a monopoly in the arts; few people are the one that manages all the decisions
/ There are not enough critics; artist has to be self management.
/ Attitude of fear from the client to engage in any purchase and go to
exhibition.
/ Artists get locked inside the same group of artists
/ Auctions are made for social charity, sometimes artists are asks to
donate their master pieces.
W
/Difficult to conceive the idea of being an artist in Colombia, is a diffuse
role, is not clear in the chain of social action.
/Culture and art is always secondary. It is a country in process of
development. 38% Medellin population is in poverty.
/Trends on contemporary art work are to not focus on commercial
work but based on life attitudes, as a thought.
/Economical limits in public institutions
/Formal institutions don’t have the capacity to address the need of
young artist, mainly artists preparing to be masters or already are.
/ Consequences of the period drug trafficking and violence
T
g.18
>187<
Chapter 4.
Project development
>188<
Chapter 4. Project development
1. Vision.............................................................................................................188
2. PSS values....................................................................................................190
3. What//where//when//why.............................................................................191
4.Touch points
4.1 Website...........................................................................................193
4.2 Benefits of the website for artist and user............................................200
4.3 Exhibition event................................................................................202
4.4 Benefits of the event for artist and user...............................................208
4.5 Communication channels..................................................................210
4.6 Benefits of the communication for artist and user.................................216
4.7 Limited series Mural reproduction.......................................................221
4.8 Benefits of the reproduction for artist and user.....................................228
4.9 Ordering point..................................................................................230
4.10 Benefits of the ordering point for artist and user..................................235
5. Who; Actors identification
5.1 Target group....................................................................................236
5.2 Personas.........................................................................................238
6. How
6.1 Storyboard.......................................................................................242
6.2 System Map....................................................................................256
6.2.1 Stakeholders network......................................................258
6.2.2 Mural Reproduction’s cost analysis...................................260
6.3 Business Model...............................................................................262
7. Pros and cons of the project........................................................................264
8. Future developments....................................................................................266
>189<
1.0
vision
Promote a closer connection
between artists and citizens
Enhace the art culture in the
city and in consequence the
art collection in the citizines
Make accessible art to
everybody
Chapter 4. Project development /////////////////////////////////////////////////////////////////////////////////////////////////////////////////
137
>191<
2.0
PSS Values
m
Co
Apreciate
on
m
ce
s
re
m
co
es
ac
so
n
tio
ini
pp
on
on
m
o
Em Contact with real actors
ART FOR ALL
s
ce
ro
t
a
li at
v
Re
sn
ot
ty
ult
es
er
re
ltu
cu
ate
riv
p
to
rt
th
da
lic
ly
on
an
b
Pu
s
u
rio
Cu
it
c
d
ar
s
’
y
ze
p
he
i
tiv
ea
Cr
m
Fro
e
et
Liv
le
op
pe
le
Acquire
Ex
y
njo
p
Ex
sp
pe
Produccion on demand
xib
e
l
F
n
rie
g.19
3.0
What//Where//When//Why
Aim; To provide an innovative space to show large-scale art works, where artists become the protagonists and art becomes
accessible to anyone. Reducing the gap between artists and the public in order to establish lasting relationships through
new public and private channels, which encourage fresh market scenarios.
A virtual artists’ portfolio. Unframed is
a system based in a virtual platform where
is possible to find different portfolios of visual art’ artists who work in large formats. The
artists who have applied to join the project
will be selected by important cultural entities in the city which support the quality of
work that is provided.
An art event in the city. Every two
months, four artists from the virtual platform are invited to work on the city’s walls
provided by the municipality or private outdoor spaces, which will allow the public to
appreciate the work in progress and give
a temporal lively scene to the city. The
ephemeral walls painted in the city will be
registered and virtually digitalized in other to
build an online gallery in the web platform.
The goal is not only to show their work but
also communicate the poetic side of it. In
this way, Unframed provides to the public
reading keys to help them understand the
artist’s intentions and context as well as the
opportunity to let them express their feelings when seeing the art piece.
Sensitizing citizens about art and
artists about city. Additionally living the
work in progress of the artist in the streets,
the citizens can vote online for their favorite
pieces that can become permanent for the
city instead of ephemeral. In this way, the
citizens start to generate a sensible feeling
towards an art piece and its producer, cultivating interest and appreciation for art.
A new market channel. These ephemeral works may come back to life inside the
citizen’s homes. The system gives them
the opportunity to purchase the murals
through a limited-edition digital reproduction with possible dimension customization, easy transport and to install. The
citizens can acquire the art piece through
the online platform, which will be shipped
door to door. Moreover, the service can
be found in quotidian places where users
can order the product according to his
needs, getting also advice if is needed.
These places will be remodeling and decorating shopping centers and museums.
Establishing direct and lasting relationships. The user can also directly
communicate with the artist and invite
him/her to his/her home to get to know
and understand their work in a more
friendly way, while receiving space design
suggestions tailored to his needs according to the artist’s style.
>193<
4.0
Touch Points
Website
Ordering
point
Exhibition
event
Mural
limited series
Communication
channels
g.20
// Website
// Home page
> Find general information about what
is Unframed and the Unframed’s exhibitions that are going on in the city
> Possibility to register to receive newsletter and information about what is going on.
// About
> Get deeper information about Unframed, what is the project’s aim and the
alternatives to access to it.
138
Website
>195<
Website
// Murals in the city
> Virtual gallery: All the murals made by
Unframed project will be in a virtual gallery showed as 3d space (360 °), also
the murals and public art that already are
in the city.
> The events: See the information of
upcoming events and the exhibition that
are happening now.
> In the map: it can be found the places
where murals will be or has been made,
it is possible to download the map for
Smartphone or print it.
// Murals in the city
> Watch behind the scene: each Unframed Mural, it is possible to see videos,
interviews, coments and pictures of all
the process to make the city mural.
> Vote and leave opinion: During the
event, people can vote on the murals
that they like most so the winner can remain in the city. People also can leave
their opinion and experience of it.
139
Website
>197<
Website
// Purchasing a limited series
reproduction
> Each unframed mural made in the
city can be acquired as a limited series
reproduction. Also, other artist’s works,
which has been digitalized, can be also
reproduced.
> See the mural inside an interior: Virtually recreate a standard space with the
entire mural; to see how it can look before acquiring it.
// Purchasing a limited series reproduction
> Personalize dimensions: The dimen-
sions can be modified according to the
space to cover without losing the real
proportions.
> Product: The mural can be bought by
modules of 20x20 or by panels of large
format printing. It is possible to enter to
see the benefits of both products.
> Order: Online payment. Price will
change depending on the place where
the product will delivered. To order it
is needed to register, so Unframed will
have a data base of clients to address in
the future. It is home delivery, anyplace
on the world.
> If the limited edition finish the client
can ask Unframed for an extra-edition
(with an additional price)
140
Website
>199<
Website
// About the artists
> Portfolio: See the portfolio of visual
artists from the city who have worked in
large scale formats. They have been selected by cultural entities and art experts.
Each year new artists can enter.
// About the artists
> Read and see their aims and the story
behind his works.
> Get in contact with them, in order
to meet them and understand more
about their work as well as make more
personalized works in interior or exterior
spaces.
> See other kind of work the artist has
made by accessing to his personal web
page.
141
Website
>201<
User
Benefits
Website
Manage all the benefits and services provided by Unframed.
>
Know many important artists of
the city and understanding their
aims rather than only seeing a simple artwork.
>
Have a public outdoor museum;
online and in the city.
>
> Possibility to connect directly with
the artist to know his work, him and
make personalized works.
Possibility to give opinion about
what they like or not.
>
Be in an online platform that allows him to be seen worldwide,
and by new audiences and possible customers.
>
Have a new scene to make his
work know better.
>
Be with other quality artists that
have been also selected by different art experts.
>
Update and manage his own
data, not only by Unframed.
>
Artist
Benefits
Website
>203<
Exhibition
event
// Exhibition event
> From the artist that already are in the web
platform, (filtered by cultural partners). There will
be four artists invited each two months to make
a mural on outdoor public walls provided by the
municipality. Also private entities can sponsor Unframed and donate their outdoor walls to make
one of the murals.
companies or other material companies, if the
artist wants to use other materials they can acquired by themselves.
the artist and Unframed will be sign in order Unframed can have the copyrights for the reproduction.
> The artist will not be pay to make the mural
but he will benefit from the promotion and visibility
of his work.
> Videos, interview and pictures will be taken by
> Each artist has a different wall in different place
of the city. They will be provided with tools and
elements to make their work. The materials are
sponsored by private companies as painting
> People can see the artist working on the mural
for 3 days and interact with him.
> Before the mural is done, a contract between
Unframed in order to leave the memory of what is
behind the scene of the artwork done.
> A photo of high quality resolution will be taken
in order to make the digital printing reproduction
of the murals, which can be acquire in the online
platform, for interior space decoration.
Exhibition
event
142
>205<
Exhibition
event
>206<
Exhibition
event
143
>207<
Exhibition
event
>208<
Exhibition
event
Record of all the process
interview, pictures, video
144
>209<
User
Benefits
Exhibition
event
Chance to see artists painting
and appreciate works of art in different places of the city
>
> Get closer to and artistic work, the
artists and its process, in a common and not intimidating space as
it is the public spaces of the city.
See the city more alive and with
different appearance everytime.
>
Possibility to decide what should
remain in the city, due to the fact
that each mural will be ephemeral.
>
Watch a small documentary that
summarize the aim of the artist and
the process of making the mural.
>
Have a new space and one time
privilege scene to show his work
that can also be selected to remain
in the city, allowing more people to
see it than in a non open space.
>
>
Interact with the community
Be patronized with the tools and
material to work with.
>
Get a memory of the process
of one of his works with the short
documentary.
>
Artist
Benefits
Exhibition
event
>211<
Communication
channels
// Communication channels
The advertizing should be informative and awake
curiosity in inhabitants. Always showing the cultural side without seems only commercial.
Posters will be put in the mural made by the artist
from the first day that it will start to be made.
//Poster to inform what is the project about
// Poster to inform about the artist who has
painted the mural.
// Poster to explain about the event and the
other places of the exhibition in the city (also it will
be put in other places of the city days before)
>
Before the event, it will be painted an adv
will painted on the murals that are going to be
painted in the next days, they should be updating all the days before starting the murals to wake
curiosity in the inhabitants.
> Promotion of the service: Stickers are going
to be made and distribute in homes as guerilla
advertising inviting the people to be curious about
the service and visit the webpage to get more
information
> Other promotional strategies: use of cultural
blogs, articles, newspaper, social net websites,
and other mass media according to the financial
budget.
Communication
channels
145
>213<
Communication
channels
>214<
// Communication for the event
Communication
channels
Banners
146
>215<
Communication
channels
Stickers, postcards, brochures
Social network
// Communication channels for
the whole service
Communication
Articles / massmedia / partners’ channels
channels
147
>217<
Communication
channels
> The logo is composed by the word “unframed” + the icon +
descriptive name. The name of logo has been created from the
idea of the promotion of art in large formats without frames and
the concept of no boundaries to produce it and to reach it.
The letters at the end of the word “unframed” MED also represent the city Medellin, where the project is base on.
Grey background
The blue icon represents a open frame, which symbolize also
the concept of non boundaries.
The descriptive name gives a open idea of the service, leaving the opportunity to enlarge the options that the service can
provide.
White background
0.47cm
0.47cm
2.0 cm
77.6 pt
8.2pt
10.0 cm
Negative B/W
Possitive B/W
> Color:
// Logo
> Typeface:
Main caption font:
Isocteur
Secondary caption font:
Isocteur
C:69 M:0 Y:4 K:0
R:50 G:188 B:228
C:68 M:59 Y:63 K:38
R:74 G:75 B:77
Communication
channels
147
>219<
Communication
channels
User
Benefits
Understand and be informed
about the service about, the mural, the artists and the other places where the exhibition is taking
place.
>
Receive information by other
linked channels of common use
>
Benefit of the promotion of the
service which he is member.
>
Give a known authorship to the
mural done and be promoted before and after make the mural.
>
Have more possibilities to make
visible his work and himself.
>
Artist
Benefits
Communication
channels
>221<
Mural
limited series
// Limited series mural
reproduction
> Each mural made in the city will be digitalized
in order to make a limited series of the mural that
can be acquired by any person. Other artist’s
works also can be digitalized to be able to do the
reproduction.
> The production is made on demand
> The dimensions are personalized before ordering, so it easier to adapt to small spaces or
different spaces by choosing the area of the mural to be print.
> A box contains modules of 20x20, with the instructions and the limited edition’s number, some
words of the artist and the possibility to download
a deeper information to the Smartphone.
Mural
limited series
148
>223<
Mural
limited series
149
150
> The mural reproduction is composed by several modules of 20x20cm,
easy to assemble. The mural’s material allows to place and remove the
mural anytime wanted without damaging the wall neither the module, giving
the possibility to keep it again in the box.
Mural
limited series
>225<
Module’s #
Mural
limited series
Next module to right side
151
Next module to bottom side
> Each module has a white edge with numbers; one corresponding to the module, and
other two corresponding to the side’s modules.
This white edge will be cover by the next module.
> All the modules of the right and bottom side
will not have number’s correspondence in one
of the white edges which have to be trimed after
installing all the mural.
> Adhesive Film polypropylene “attacca- stacca”
> Water resistant and bubble free.
> Attacked and repositioned several times to
smooth surfaces such as walls
> Not help of skilled personnel.
> It works as small suction cups that allow the
material to be attached and removed hundreds of
time
material
> Eco-solvent ink, gives faster drying time
along with a wider color gamut
> Not damage of the surface neither the
> Improved ink fixation with better scratch
resistance and chemical resistance.
> Possibility to keep it if is not going to be
> Environmentally friendly ink, feasible practical and economical.
//Technical paper ‘s
characteristic
use anymore.
Mural
limited series
152
>227<
Mural
limited series
153
// Brochure and
instructions
Mural
limited series
>229<
Mural
limited series
User
Benefits
Acquire a mural in a reasonable price made to measure than
can be easy installed, storage and
transport.
>
Have a limited series which
means that is original and not mass
produced.
>
Allow to personalize the space in
an original way.
>
Have an enjoyable experience at
the time of intalling the mural.
>
Give to more people the possibility to have a reproduction of his
work, making him and his work
acquire visibility.
>
Have a percentage of incomes
made by these sales. Limited editions which make his work more
valuable
>
Artist
Benefits
Mural
limited series
>231<
Ordering
point
// Ordering point
> An ordering point can be found in common places as shopping centers
for decorating and remodeling, as well as in the museums’ store.
> Self-service machine. Chose, pay, prints receipt and the delivery will be
made to the address provided. Employees of the store (or from the sponsor’s brands) can also give advice to the clients if it is needed.
> Possibility to see an example of the real product that will be purchased.
Ordering
point
154
>233<
Ordering
point
// Device
> It allows to see, customize
and purchase the murals available for limited serie reproduction, also it is possible to see
the information of the artists
and the map with murals in the
city.
155
156
// Receipt
> An invoice will be printed in
the moment as a prove of the
order. It can be keep.
Ordering
point
>235<
Ordering
point
User
Benefits
Reach the service easier and in
not intimidating places.
>
Have the possibility to ask for any
help if it is needed.
>
See a real example of the quality of product that is going to be
purchase
>
Give more visible his work, giving
the possibility to common people
to explore and buy or even contact
them in a easy way.
>
Artist
Benefits
Ordering
point
>237<
5.0
Who
{
The service focus on
satisfing the needs
two kind groups; the
artists and the users
that can be public
or/and client.
//Target group
the artists
The artist;
> Composed by women or men.
> With a background of visual arts as a profession.
> From emergent artists with already some trajectory of
experience.
> Working with large formats art works
> Living in Medellin
> Capacity to work with people around and interact with
others.
//Target group
the users
{
The client (For acquiring a product)/service;
> Composed by women or men mostly in the 30-50 group age.
> Users have a good level of education; more than 70% have a
higher school certificate or a university degree.
> Middle to high level of art appreciation
> The target group has middle to high income.
> Composed by people who mostly live in city areas.
> Alternative users: Tourists and Business
{
The public (For apreciating the artists and the event in the city);
> Citizens of every type of age and
sex, and education level.
157
>239<
//Personas
The artist
Gabriel
36 years old
He is a visual artist graduated in Medellin four
years ago, he spent one year abroad and also
made some exhibitions there. He came back
to Medellin because he loves his city. He likes
to dedicate 100% of his time to art because it
is his passion so he is always looking for new
opportunities in the city or abroad to show his
art, and in consequence, sell it. He likes to be
in contact with people and show through his art
the way he see the world.
>240<
/ Use different systems to
communicate his work
/ Open minded
/ Contact with people
/ Visioner
/ Connected with the city
where he lives
The client
Camila
33 years old
She works in a manufacturing company as a
commercial advisor, she used to visit clients all
days and thanks to her job she has the possibility to spend a lot of time going around the city.
She is single living in her own home from 2 years,
which has not finished decorating because she
is waiting to find more innovative things without
expending much. The objects that she appreciates the most are the ones that have a meaning
for her. She likes art but she does not attend
so many artistic events because she is not so
aware of it, but she has different framed posters
of art pieces that she likes.
/ Live for business and career
/ No family
/ Curiosity
/ Observer
/ Connected to Urban spaces
in her city
/ Strong character
/ Understand the meaning of
things
158
>241<
The client
Carlos and Erica
37 Years old and 35 years old
Both engineers married few years ago, one child.
They like to invite friends often to their place, and
because of that they take a lot of care to the
appearance of their home. They do not know
much about art, but they appreciated it, they
have even bought two art pieces to a young artist friend.
>242<
/ Curiosity
/ Exploring
/ Organized
/ Open minded
/ Pleasure in diverse tastes
/ Get advice before buying
The client
Juan Pablo
46 years old.
He is an Architect with his own studio for 8 years,
with deeply interested in discovering local talents
to work with. He likes to provide to his clients innovative ideas that complements what he design for
them. He likes to know different people and learn
about their experiences and the way they see life.
In his free time he likes to go to cultural events
and travel. He likes art but he has never bought
something in a gallery because he doesn’t feel
confortable and there are not many options
/ New experiences
/Open minded
/ Discovering
/ Contact with people
/ Fresh
/ Arquitecture|Art
/ Need to be original
159
>243<
the artist
gabriel
6.1 How; Storyboard
>244<
The next month he is invited to make a mural in
3 days in one of the walls of the city. The sponsors of Unframed will give him all the materials.
At the same time there will be also other artists
painting in the city.
Gabriel participates on it this year in the call of
Unframed which is every year. He has to meet
certain requirements as CV, exhibitions already
made and show that he has worked on large
scale artworks. Experts of cultural entities will
evaluate the artists that will be part of the service.
160
He likes people seeing him working as well, as
speaking with them.
He is selected and he has to upload a portfolio
in the web platform of his large formats artwork.
He can manage the information by himself.
>245<
Unframe will record all the process and will do
some interviews with him to show behind the
scenes how was made the work and what were
his intensions of doing it.
The mural will be erased after 2 months, so a
picture of high resolution will be taken after the
mural is finish in order people can buy limited
series of it to have it their homes.
camila
After painting the mural he will not have only his
portfolio online but also he will be part of the
Unframed gallery, and maybe his work will be
selected by the people to become permanent
instead of ephimeral.
the client
161
Camila sees one of the artist of Unframed
making murals near to her home, she was very
impresed with the work of the artists so she
decide to know more about it, she found the
information in the posters of unframed.
>247<
She explores the virtual gallery of the murals, the
artists and how they work , then she chooses
one she likes the most. She sees how it looks
in a interior home and decides that it can be
also nice to have it in one of the white wall in
his home.
She put the dimensions and chosees the part
of the mural she wants for cover the wall, then
purchase it.
162
The next days, the mural is delivered to her home.
>249<
She can install it easily because it comes in modules that can be stick and removed many times
she wants.
163
She feel pleased to see the mural of an artist that
she knew and that she liked his way of doing it
and the meaning of it. She can keep it or put it in
another wall,if one day he decide to move.
>251<
the client
carlos
erica &
>252<
Erika and Carlos go to the decoration shop center to make some decoration in her walls. Inside
it, they found Unframed ordering point.
They explore the options of the murals available
for ordering, and also ask some advice to the
specialized personnel from the store.
164
They decide to have one of the murals and purchase it, The machine will print a special invoice which confirms the acquisition and
give them a memory of the artist and the whole mural that was
made in the city.
>253<
the client
pablo
>254<
He sees an article about unframed in a magazine. He needs to remodelate his office in a very
original way, so he thinks Unframed can be a
good idea.
165
He enters to the website and explore
the artist portafolios. He likes one of
them and wants to meet with him.
>255<
The next days the artist goes to meet with him.
So he can tell him more about his work and what
kind of projects they can develop in a original
way fro his office.
166
The artists make the mural in his office. Juan
pablo likes to apreciate also who the artist
work. He likes his job and want to continue
with him for future projects of his architecture
designs.
>257<
6.2
How; System map
Unframed
Artist
de
ovi
/pr e
Ask dvic
A
Information flow
Material flow
M Con
p a
on ain ke d nec
us t a ea t
er m l t
`s ur o
ho al
m
e
al
ur
m ty
t a e ci
n
i h
Pa in t
Pr
ov
ma ide a
Po nag nd
rtf e
oli
o
Finantial flow
Starting the
company and updating
every year
Working system
% of
of the sell
repro mural
ducti
on
Unframed`actors
Suppliers
Unframed service
and touch points
MURAL
MODULS
Ge
se t lim
rie i
m ted
ur
al
Pu
lim rcha
ite nce
d
mu seri
ral e
ORDERING POINT
DEVICE
See artists portfolio,
murals in the city
Documentary (video)
Purchance
limited serie mural
Cultural
Entities and
art experts
User
ce
an
ist
ss
s
la
ist
rt
na
da
sio
te
es
m
ec
of
or
el
Pr
s
nf
of
io
at
st
lic m
pp culu
s A ri
t` Cur
Create virtual
gallery
WEB PLATFORM
4
Public
Li
tis
Ar
EXHIBITION
IN THE CITY
t
ac
ter
/ in vote
e
Se and
Open Call every year
Bringing artists, art and people closed together
1
Municipality
Municipality
venture
systems
Tools and materials
sponsor
Application form
Curriculum
Financial
sponsor for Ads
2
City`s wall
3
City
Artists
Sponsors
suppliers
g.21
>259<
STAKEHOLDERS
// Stakholders
network
Municipality
>260<
Material Supplier
EXAMPLE
/ Ministry of Culture
/ Pintuco; Paint and paint’s tools
producer
/ Homecenter; Distributor of different materials and tools
/ Wereing Aristea and Grafix srl;
Producer and printing on the special paper for the reproduction
Cultural Entities and
art’s experts
/ Museum of Modern Art Medellin
MAMM
/ Colombo Americano Art Gallery
/ Individual curators
Private sponsors
/ Private users with outdoors
urban spaces
Venture capital
investors
/ Municipality contest. Capital
semilla, Cultura E
/ Private financial investors
WHAT
/ Supplier of the public spaces for the event
/ Economical sponsorship
/ Provide the material to make the mural in the public
space
/ Provide the space for the ordering touch point and
the experience in decoration centers
/ Provide the material to make the
mural reproduction
WHY
/ This service will improve the appearance of Medellin’s
zones, and will provide leisure activities to people in the
zone where the mural will be done.
/ Opportunity to Support city’s artists
/ These brands will be advertized as brands that supports city’s art
/ Opportunity to Promote their tools as tools used by
experts
/ Jury to help in the selection of the artists
/ Professional Assistance for artists
/ Provide support and experience for unframed
/ Promote Unframed using their communication channels
/ Provide Space in their museum’s shop for Ordering point
/ Support cultural enhancement in the city without being in charge of it
/ Opportunity to continue training and sensitize the
public.
/ Possible supplier for outdoor spaces to make the
murals
/ Opportunity to have a temporary o permanent
mural that will improve the appearance of the place
/ Opportunity to Support city’s art
/ Economic financial /Assistant and consultancy for improving
business strategies
/ Support city’s art
/ Economical profit according to deals
g.22
>261<
// Mural Reproduction’s
Cost Analysis
REVENUES’
DISTRIBUTION
Artist
13%
Unframed
50%
Product’ cost
37%
100%
30
euros
Product cost Sqm
Stimated unit price Sqm
80
euros
* Copyrights of reproduction for Unframed;
Rights for reproduction the work done in
the event according to previous agreement
with the artist
* Unframed’s revenues are used to cover
other cost of the service.
* Whitout taking in account i.v.a and delivery charge
Artist
/ 33 years old
/ 6 years of trajectory
/ National and International exhibitions
/ Prizes
4000
euros
768
To cover a wall of
2.40 x 4 mts
euros
EXAMPLE
Comparation with
a real painting
g.23
>263<
KEY
PARTNERS
> Municipality
6.3 Business Model
> Cultural entities and art experts
> Material’s supplier for the reproductions
> Material’s supplier for the event
> Venture capital for startup
KEY
ACTIVITIES
> Select artists
> Make exhibition event in the city
each 2 months
> Update and manage online
platform / network
> Record all the process of each
artist in the event
> Produce the reproduction when
there on demand
> Platform and event promotion
KEY
RESOURCES
> Copyright from the artist’s mural
for do reproductions
> Special paper for do reproductions
> Tools and materials for give to
artist to make the mural
> Expert photograph
> Financial Partnership
> Webpage server
> Manager
> Art’s Expert for selection the artists
VALUE
PROPOSITIONS
> Connect artists with common
people
> Accesibility to the user to apreciate and acquire art
> Give to artist a new visibility
channels
> New spaces to show largescale art works
> Live the process not only the
result
> Revilatazed city’s art
> A platform with artists’s portfolio
and their aims
> An event and murals in the city
> A flexible and practical limited
series of a mural
CUSTOMER
RELATIONSHIPS
> Personal and automated service for user /unframed
> Personal service artist/unframed
> Personal and automated service artist/user
$
$
COST
STRUCTURE
> Fixed cost;
/ Website managment
/ Service manager
/ Photograph and editor each two
months
/ Event realization and promotion
(artist is not pay)
> Variable
/ Paper stock (should be exported)
/ Printing on demand
/ Mural delivery on demand
CUSTOMER
SEGMENTS
CHANNELS
> Multi-sided markets
> Public; Citizens of every type of
age and sex, and education level.
> Client; citizen, 30-50 years old,
middle to high income.
> Artist; visual artist, make large
-scale artwork, citizens.
1. Awareness
> Posters in during and after the
event
> Guerilla adv
> Articles in newspaper and magazines
> Use of Partner channels
> Rss
> Use of socialnetwork
$
REVENUE
STREAMS
> Asset sale of the reproductions
(share revenue with artists 15%)
> Advertising partners in the
event
> Artist / user deals do not give
revenue to Unframed
Fixing pricing
> Produt feature dependent
>Credit card payment
2. Evaluation
> By attending to the event
> Online platform website
3. Purchase
> Online platform website
> Ordering point online platform
4. Delivery
> Artist in the city making murals
> Home delivery product
> Meet with artist
5. After sales
> Website
> Phone numebr /email
> Partners personal assistance in
ordering point
g.24
>265<
7.0
Pros and Cons of the PSS
Pros
> It occupies a niche in the market from the point of view of the
service as the platform as the products
> It stimulates the culture of appreciation and collecting art in the
city. By also knowing the insight not only the result.
> It gives the opportunity to large format/murals art to have a market and be appreciated by everyone.
> It provides different alternatives to make accessible art to people, economically and socio-culturally.
> It uses new material for reproduction which give a higher value
to the product
> Be supported by cultural entities and municipality give to the
service more credibility for the artists and for the public and potential consumers
> It provide a database of quality artists which will be always updated by artists and by Unframed
> It gives an opportunity to make city’s public art be seen as a
museum
> It sensitizes and educates youth public, through art reproductions acquisition, to make them a possible future collector.
> It provides new opportunities for customers to decorate their
homes
> It allow the user connect directly with the artist. No commission
taken from unframed when there are deals made between artist
and user.
> It offers visibility for large-format works and ephemeral ones, on
the web as well as in the city.
> Based on the trust and respect that public give to the artist and
the piece of art in the public space
> The availability of the options of murals will be few the first year
that the service will be working
> The material chosen to make the reproduction is not available
in the moment in the country, so it should be exported directly
from the distributor. It is a new technology of few years, so it is
needed to wait to lower prices and get more availability in the
market.
> Climate changes can affect the performance of the event to
make the mural in the city.
> The digitalization of the mural (photography) can be affected by
environmental surrounding of the mural
Cons
>267<
8.0
Tomorrow/what’s next?
> Work no only with local artists but also in a
national or and international level.
> Not only with murals but other kind of art
> Use of art merchandising in different products
as alternative to arrive to more people, giving
a higher value to common products. Working
by the hand with product companies.
> Make a bussiness plan with a deeper analisis of the context and the market
>269<
Bibliography
Cited and consulted
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Chapter 2
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Chapter 3
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Bibliography/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Interviews
Project
> Lucrecia Piedrahita / Museolog and curator Casttle Museum ( Oct 2010)
> Credits; Art works used to explain the concept:
/ Jean Gabriel Thenot
/ Anibal Vallejo
/ Fredy serna
> Oscar roldan /Curator of Museum of Modern Art MAMMM ( Oct 2010)
> Juan carlos mejia / Consultant in the gallery Naranjo & Velilla ( Oct 2010)
> Juan Alberto Gaviria /Director of the Colombo Americano Gallery ( Oct 2010)
> Alma ramas /Director of International Fund of Latinoamerican art in Spain and curator ( Oct 2010)
> Luis Ignacio Correa /Art collector for 15 years ( Oct 2010)
> Anibal Vallejo / Artist ( Oct 2010)
> Gabriel Mario Velez / Artist ( Oct 2010)
> Patricia Bravo / Artist ( Oct 2010)
> Jorge Gomez / Artist ( Oct 2010)
> Jean Gabriel Thenot / Artist
> Fredy Alzate
People’s Homes
> Sebastian Tejada (Medellin Oct 2010)
> Ximena Ruiz (Medellin Oct 2010)
> Carlos Cardona (Medellin Oct 2010)
> Ivan Machado (Medellin Oct 2010)
> Juan Pablo Aristizabal (Medellin Oct 2010)
>273<
Accomplished By
Sarah Thenot
20 December 2010
[email protected]
>274<

Research and analysis of Murals painting Chapter 2.

Transcription

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