LIMBO INSTALLATIONS

Since the end of last year, I started to rebuild the next version of Stockartist, an art market simulator and artists stock exchange market. This is the 3rd Version and soon will be launched!!

For the last two years I have been working on the Limbo 100 project, but I reached a point where I wonder, why so many artists produce so many images, drawings, paintings, collages, etc and compete for attention with millions of other images. Where does the value reside? we are bombarded with hundreds if not thousands of images everyday, fighting for our attention, it is the art making itself important and it really is just another image between millions. We are saturated for images, the installation consists in the mixing of all visual printed elements I found everywhere I go..

Stockartist

"THE NEW ART MARKET FOR EVERYBODY"

UPDATE!! Stockartist Version 3 has been launched => https://stockartist.org

Since the end of last year, I started to rebuild the next version of Stockartist, an art market simulator and artists stock exchange market. This is the 3rd Version and soon will be launched!!

Stockartist is an art market simulator and a visual artists stockmarket, created and developed by the new media artist and actvist DHAdmann The first version of Stockartist was launched in 2006, it tooks 18 months of development and the calculation of the shares and behavior was feed by robots taking information from different online sources. The second version of Stockartist was launched in 2009, after a parnership with Artfacts.net the calculation of the shares was made taking the information of database of Artfacts. This new version have been launched in 2024, and the shares and the art market behavior is calculated by algorithms created by DHAdmann.If you want to know more about how the formulas of how the simulator works and the calculation of the artists shares. SOON!!

In 2009 I started a mixed media work composed of A4 pages. This project I called Neverending Painting. This should an artwork that never ends and extends infinitely in all directions, this is composed of 108 pages, shown one time at the Gallery Cruce in Berlin. Years after, in 2020 I continued the work creating and expanding the painting, creating others and inviting other artists to propose artworks based on this concept. Then I thought that would be easy to see the works creating an interface to navigate the works and see them complete virtually. This project I called X-Paintings

X-Paintings

X-Painting is a new model to create, visualize and acquire art. Every X-Painting is created and composed by individual pieces (drawing or paintings with a maximum size of A3) in unlimited quantity and can be extended by the artist in all directions. The X-Paintings can be acquired in any number from 1 to the number of pieces available. Visit the x-paintings website x-painting.art

Since de middle of November I have been working in the expansion of the project Capital KA or Capital Knowledge in Art. I found this project so thrilling, that I cannot stop. Actually I made a list of the next wonderful projects that I have been launching in the 2022. But for now Im concentrating the expansion of the Capital KA, that consist of three parts.

The first part is already developed and running and you can see it under the domain https://capitalka.tk/  in a few words it consist in to convert the content of different art blogs and art magazines in shares of knowledge it is a document with an specific value that represents the value of the appreciartion of the art for the art world.

The second part that Im working righ now consist into create a reference base of knowledge and sistem to evaluate the quality of a text referencing the art world, this is made crawling the information of hundred of texts produced by experts in art and Natural Language Processing Tecnology.  The third part consist en create a sistem to valuate the text based in their quality using the reference of the stock exchange market.

During my vacations in Mexico, I visited the Contemporary Art Museum of Queretaro. Queretaro is a city in the center of Mexico and counts with almost 1.5 million population. It has a province culture movement distributed in a couple of important museums for the city and one of them is the MACQ that is the newest one. After my visit in the museum, I watched their website and realize that they were too open for project proposals. Then I send the proposal of the ODBK/PTI Happening and they accepted to establish the ODBK for two days in the installations of the Museum.

Immediately I contacted some people who could help me with all the programs because it was a very exhaustive two days program. Conferences, debates, interviews in topics of inclusion of the Mexican Indians, women, LGBT group in the art world, the influence of the church in the appreciation of the contemporary art. We invited many relevant personalities of the intellectual community of Queretaro. The event occurred 6th and 7th of October and it was splendid and I have to thank you to the group of seven students of visual arts of the University of Queretaro for their help, enthusiasm and professionalism.

Click here to watch all videos of the Happening in the ODBK Facebook page

This will become one of the base documents for the ODBK Equality and Diversity Certification for Contemporary Art Spaces .This is a collective creation document where all people with an idea and interest of how to create equality and diversity in art museums for example can participate. This document pretends to be a legacy for all art institutions in the art world as a base to implement strategies and procedures in order to create equality and diversity in the selection of artists and artworks.

Click here to participate in the creation of this document

What does this long title mean?

With 'alignments' we understand the policies that have to be considered in order for decisions to be made in an art institution. With 'for curatorial and collection practices and processes' we mean the practices and procedures for the selection of visual artists shown in their physical or virtual space and/or with their name and/or represented and/or collected by the art institution. Similarly, there are two other aspects of art institutions that have to exhibit 'equality and diversity, both in terms of its employees and its visitors, this paper however will focus only on the exhibition of the two aforementioned concepts in regards to the artists exhibited by the evaluated institutions. With 'art institution' we mean all official or non-official institutions who are engaged in representing, collecting, and selecting visual artists to be shown in their physical or virtual space. This title for example can encompass museums, art galleries, private and public collections, biennials, triennials, and art fairs among others. Finally, by stating 'to ensure equality and diversity we highlight the goal and main ingredients that have to be taken into account to create and define all content in this document. We know that this goal will not happen overnight. But we want to describe a practical way for any art institution in the world to reach a high level of equality and diversity of the artists selected in a time frame between 3 to 7 years maximum.

Click here to participate in the creation of this document

I received an email from Medium, actually, I don't remember from whom, but the title of the articles are so seductive and the format of the article is easy and quick to read then after visiting and register in the website I couldn't stop. The free version offers only three articles for free, but soon there was not enough, so I bought a subscription for one year. I read and read, and I found people who have their income writing articles. For me writing articles in an easy and quick format started with the blog of ODBK, now I decided to become in blogger also, and enjoying transmitting my knowledge in contemporary art to all. Now I created my blog in medium and publish my first article.. hope you enjoy it and send me your comments: https://dhadmann.medium.com/

What does it mean the “Democratization of art”?

This is the 3rd, Album of the CCFAF project. It is a very special edition where the distribution of the artists shown in this project search to be equal and diverse. There are 300 artists organized based in a balance considering two parameters gender and race, resulting in six groups: woman black, men black, woman latin, men latin, woman arabic, men arabic, woman asian, men asian, woman white, men white. 30 of each group. Visit and acquire the CCFAF Cards and album www.collectionofthefame.net

On December 4th, 2020 ODBK launched the Equality and Diversity Certification for Art Institutions.

This document is part of a study ODBK is carrying out in order to jump-start the process of understanding a fundamental problem in the artistic sphere that persists unchanged. The issue refers to the historic inequality and non-diversity clinging to our artistic institutions. ODBK proposes the collective awakening from this problematic slumber and the formulation of new ideas, mechanisms, communities, processes and initiatives that will inevitably shift our understanding.

Click here to download the Equality and Diversity Report for Hamburger Bahnhof Musuem Berlin

Since 1996 Hamburger has consistently consolidated its reputation as one of the world’s most highly-regarded contemporary art museums. In 2004 the prestigious Friedrich Christian Flick collection encompassing ca 2,000 works by approximately 150 artists was housed in the refurbished former freight depots of the Lehrter Banhof which became the converted Hall, or East wing, known as “Rieckhallen”. As a long-term loan it will remain on display until 2011. In 2,002 the collection was again enlarged by the acquisition of Egidio Marzona’s collection of Conceptual Art and Arte Povera.

The core elements of the museum’s collection stem from the legacy of Berlin collector Dr. Erich Marx who assembled some of the greatest masterpieces of the mid 20th century – works from contemporary giants such as the provocative German ‘enfant terrible’ Joseph Beuys, Andy Warhol, Cy Twombly, Anselm Kiefer. Amongst the key pieces are iconic works of art such as Warhol’s ‘Mao’ and Joseph Beuys’ installations including over 450 drawings from Beuys and 60 sketches from Andy Warhol. Conceived as a showcase for the multi-media dimension of contemporary international art the scope of the museums’ exhibits encompasses other contemporary art forms such as film, video, design and photography with installation work from Nam June Paik and experimental work from artists such as Sol Lewitt, Marchel Duchamp and Sigmar Polke and Jason Rhoades.

Click here to download the Equality and Diversity Report for Hamburger Bahnhof Musuem Berlin

In the last months I have been focused in the ODBK and their projects. The last project of the ODBK is the Equality and Diversity Certification for the Art Institutions, this project gave me the idea to produce a new version of the project Collection of Contemporary Fine Art Fame but now taking in consideration the physical characteristics of the artists: gender and race.

So I started immediatly to work in the selection of the artists, the objective is to create the cards for 300 artists and I organized based in a balance of woman and men and race, resulting in six groups: woman black, men black, woman latin, men latin, woman arabic, men arabic, woman asian, men asian, woman white, men white. 30 of each group.

I have to said that it was not easy the selection, actually and of course the white groups was easy to find and the latin, black and arabic ones were more difficult. Other criteria that I use was that was not repeated from other artists that are already in the CCFAF project, so the artists start not being main stream but also important for the art world.

I estimate that the project will be ready in one month, for the begging of February 2021 maybe before, but I will make a announcement of the launching of the project.

Click here if you want to get more information about the CCFAF project.

I am very surprised at the results that were obtained from said participatory exercise to create the installation of Los Socios y Cia. Mainly because I never imagined that so many people felt with the imagination and wanted to take the time to create a drawing at that time. I started with a few, a few days after the inauguration, the 200 drawings that I had set as my goal had been completed. However, the dynamics were so fluid and many of the drawings were so interesting that I decided to let the participation continue, I didn't know until when and how many. This reminded me of what Andy Warhol said, "In the future everyone will have their 15 minutes of fame", or want to be famous.

When the installation matrix is completed, they will begin to paste the drawings anywhere, and this is where the interesting thing comes from, when you give the participants so much freedom, you start to create a chaos, most of them who cared to leave his brand, many did not read the instructions for participation and were carried away by the impulse to create and paste, since many did not put his name to the drawing and neither the price. So these drawings I had to remove them from the installation and constantly review the new drawings to make a debug. At the end of the two weeks I had to stop this process, I almost had to go daily to the gallery to reorder and clean, in addition to the fact that the exhibition space was almost covered with drawings, with an amount that was twice as planned almost 400 drawings .

El precio inicial por pieza iniciò en 55 Euros, tuvo una variaciòn màxima de 63 Euros poco antes de la inauguraciòn pero despuès tuvo un comportamiento en picada hasta que frene la participaciòn llegando a un precio de casi 34 Euros. Esto me pareciò muy interesante ya que los primeros participantes que hubo eran artistas de todo el mundo. Normalmente el artista aprecia y valora màs su trabajo y pone un precio màs alto y las personas que no se consideràn artistas ponen un precio màs bajo, hasta el lìmite de regalarlo ò querer intercambiarlo por un abrazo, un beso ò algo conectado con una emociòn.

Esta ùltima observaciòn me comprobò que estaba en la direcciòn correcta, el modelo de distribuciòn homogenea de riqueza estaba funcionando las participantes que pusieron un precio màs alto al promedio obtenido recibiràn menos y los que pusieron màs bajo recibiràn màs.

This is a participative installation composed by 200 drawings/collages created by artists and attendants of the exhibition. The installation will be take place at the Galería Libertad, Quéretaro, México from 4th of July until 11th of August. The concept behind this project is to question the idea of the institution as selector or filter of the artists and art. The artist as creator of art and also the idea of the market as institution to set up the prices of the works.

The dinamic of the work is to stick the drawings and collages on the Gallery wall making a big matrix until the number of 200 is reached. David Hinojosa will create composition(s) with the drawings/collages moving it from place and executing interventions. A board will be installed and the current price of the single priece will be displayed, recalculated on each work is installed on the matrix. The calculation is the average price value of the total prices set them up for each one of the participants.

Call for Artists! to participate in this project click here to know how

At the end of May2019, Ill participate in the Conference Tools for the future: Researching Art Market Practices taking place at the Kingston University of London. Ill talk about the "Pure Taste Indicator" the main project of the ODBK.

As the art market has grown and evolved worldwide, there have been many instances where new areas of production, trade, collecting and valuation of art have emerged. This academic conference and workshop focuses on exploring new paradigms and ways that art markets function, whether in the primary or secondary sector.

The aim of this two-day conference and workshop is to evaluate, analyse and explore the range of mechanisms by which a particular ‘product’ enters the art market, how these markets evolve and who are the key players whether collectors or dealers,) individuals or institutions as well as the range of other agents. Well document prior areas of research into art market innovation, emergence and growth include17th century imports of Chinese and Japanese ceramics, lacquers and textiles; the market for 17th century Dutch and Flemish paintings in Paris and London during the 18th century; and the rise of the Barbizon school in 19th-century Paris. More recently we have seen the emergence of photography and street art as important areas of production introducing both opportunities and risks to existing and new players. New art forms such as digital and video art raise further questions as to whether existing models of agency are still appropriate and thus, whether new technology is fundamentally changing the creation, trade, consumption and validation of art.

This conference invites new and existing research around the emergence of art markets, their evolution and dynamics. Conference topics will include: the role of the state in the development of markets, the role of the artist. The art fair and the collector the creation of new markets, the dealer and the market, mapping markets, the role o f new media and impact of social change – with an ongoing focus and discussion on the tools, techniques, research methods and strategies which enable the study of art markets.

In-depth discussion following each group of papers will allow participants to explore the complex relationships between the different factors that create, support and sustain the rise or fall of particular markets. The workshop ends with two round table discussions to explore further the methodologies involved in researching new markets.

06 May 2019

[ CLICK ON THE WORKS TO CHECK THE SERIES]
It's been more than three years since I separated and my graphic work has turned into a catharsis to project my situation and what I feel. I have gone through different emotional stages and psychics from impotence to total anger and hatred.

This I have reflected mainly in the series of drawings "Cucurrucucu", the paintings from from 2017 until now (May 2019) and in some sketchbooks. The series of drawings "cucurrucucu", are characterized by an almost narrative figuration and where I integrate pieces of text with thoughts that I have at the moment of the creation of the work. Name "cucurrucucu" comes from a well-known Mexican song that speaks precisely of suffering of a man is that abandoned by his wife, to the point of dying.

The paintings are a combination of images taken from women of combined style magazines with my emotions and feelings, and where occasionally I integrate words. Other series produced regarding this stage are in my sketchbooks, which in the end are drafts for paintings Larger, they are not on the website but here I show some.

22 January 2018

We all born with some special skills and during our life we have to decide to use that skills and specialize in some topics, we can not be experts in all, I recognize that and that's why when something become very complex for me I try to find someone that is an expert to help me. So in this case I decided to post an ad looking for someone with excellent skills as strategist and contacting and connecting high level people. So I post this ad in the Berlin craiglists and London craiglists. You can see a copy of the post in the images attached. Well the results were amazing more than 50 people wrote me, I was offering a monthly fee plus a two thousand euros of reward for every success. Maybe the ad was not perfectly clear because some of interested offering their skills as designer or social media managers. Then when I explained back then most of them didn't wrote back. So the list shorted to two persons, that I meet them over a coffee to see what our expectations were and if we made a match. In the next page of this journal I will explain what was the results of those meetings and the next steps on this idea.

After a coupe of days later I was drinking a coffee with the only Mexican friend that I have in Berlin, Hugo Fortis. Actually I could write a book about the amazing life of this guy but is not the topic of this journal for the moment. I was talking with him about the idea of being selected at the next Venice Biennale and the Documenta. Immediately he started to think in his contacts in Mexico who would be good to connect with and get into the way of be wired with the curators related with the venues. He mention an mexican artist whom he was hanging around many years ago and created a group selected for the Venice Biennale two editions ago, Diego Teo and Nicolas Pradilla, he told me to contact them trough Facebook and ask them that you admire their art and what to become a pupil of him, they have a big ego and this will be the best way to approach them. I told him yes I will do it, and shared with me the contacts. But the best came later after keep taking about the topic, he ask me, Why you don't involve the Organization (ODBK www.odbk.tk) on this? Then my mind suddenly started working like a speed ball and couldn't stop image it and building a project to get into the Venice Biennale. After two days with the idea in the mind, and reading some article about the Biennale, bing!! I got it!! that's it! A Democratic Pavilion for the Venice Biennale 2019. Fantastic!! A set of artists selected not by a curator but by the Art Market Regulation Commission (AMARC). For first time in the history of the Venice Biennale will be set of artists selected by a democratic process. So , I immediately started to work in the concept, rules, building the application form for artists, write it down and creating the pages in the ODBK website. So we launched a campaign "call for artists" and a campaign "call for art world participants" to become part of the selection process for the artists. You can check the page of the project here: http://www.odbk.tk/the-democratic-pavilion-for-the-venice-biennale-2019/

mmmm...Yes I don't forget about the document that I will send directly to Ralph Rugoff. The thing was that the document has to be perfectly described and clear. So I posted another message looking for a writer with experience writing for the art world. After receiving many offers I found a girl Jazmina Figueroa, she told me has wrote a lot for the art world, like for galleries, artists grants, art magazines, etc. So I thought this is perfect for this task. I contract her to proof reading and fixing my writing for 50 Euros. Actually I still don't know if it is much or less, but she accepted and start working, the process delayed around 10 days, bouncing between she and me the document making corrections, adding and removing texts. And finally this is the proposal that I will send with three art projects. DHAdmann_Proposal_for_Venice_Biennale_2019

07 January 2018

As artist I have faced many challenges, most of them brave and happy. The biggest one until now has been keeping being an artist after 10 years. But since the start I keep the dream and vision of being at the top of the mountain. And since then I have been waiting for the best conditions to start climbing that mountain, or maybe waiting for "someone" to push me up into the "way" stablished by the system. But now I realize there is not such "way", the "way" is the one we create. So I decided that I will not wait anymore, I will start climbing that mountain even when it takes me all my life. That's why I'm writing this journal, first as an art project, second as a legacy and inspiration for other artists and third as one of the tools that I will use to reach that mountain.

My name is DHAdmann and I'm a mexican visual artist, activist, web developer and entrepreneur. I live in Berlin, Germany since 12 years ago. I have two children (two beautiful girls) and an ex-wife... but wait!...What is that top of the mountain you were talking about? What are those challenges? Aaahh ok!..those challenges are the two top events that any high end artist would aspire. Those challenges are the Venice Biennale and the Documenta. And Im not talking about just being there, but be selected by one of the participants of the curatorial team. For the people who knows the art world, you know I'm talking about the "big leagues" of the high end art world. But why I dare to aspire to those events? I have been a the Venice Biennale three times and at the Documenta two times and comparing the works that I saw there with mines, I can proudly said that my works are at the same level of the ones selected, conceptually, aesthetically and concerning the contemporarization of the topics. So the question would be, what is the reason why I'm not there? And this is something that I will figure out in thought this project.

So where should I start? the Venice Biennale (VB 2019) is in less than two years and the Documenta (Doc 2022) in little less than four years. At 15 December 2017 I received a newsletter from Artnet news anouncing Ralph Rugoff as the Art Director of the next Venice Biennale in 2019 (https://news.artnet.com/art-world/hayward-director-ralph-rugoff-chosen-artistic-director-2019-venice-biennale-1181045) He is the current director of the Hayward Gallery in London. So the first idea and  the one with the most common sense (many people from the art world would think that is the most stupid) is to send him directly a letter with my project proposal for the Venice Biennale 2019. This option is always discard by most of the people, so if all discard this option then the competition is lower and probabilities higher. For another side, what do I have to lose: just two euros for the post stamps. So I started to write a document with three project proposals for the VB 2019. At the same time I post an ad in Peopleperhour, Upwork and Craiglists searching for a writer with experience in fine art wrinting. And at the end I found an American art magazines writer throught Craiglists.  

(In the next journal page I will post a link to the document with the proposals and tell you about the other ideas that came..)

Continue....

The publication of this book intends to gather artworks realized with any media committed to show what we can define "aesthetics of seriality", an aesthetic based on the repetition of forms understood as an allusion to the industrialized production cycle and to the "copy and paste " of the digital era models, inspired by the dialogue between the forms, the light and the space that imposes optical-perceptual messages favored by the use of repetitive and serial strategies.

More info at: https://www.loosenart.com/pages/exhibition-modules-2

• Which artists should participate in the spaces: public museums, public art spaces, non-profit organizations spaces, AMARC certified private spaces.
• Top prices of artworks in primary and secondary market
• Distribution of public funds for visual arts

1. Is understood as social mechanism a flow of linked entities, actions, procedures or events (X) that give as a consequence, in certain circumstances, another event, object or entity (Y) in the realm of human social relations.

2. Social mechanisms are used by the society and human mind to structure the way to reach a goal or understand the functionallity of a system.

3. There are many social mechanisms used daily in common life. The observation and understanding of those mechanisms can help artists to create art works / art projects.

4. Social mechanisms can be used, copied or appropiated totally or partially to create art works / art projects.

5. Artists should define cleary witch social mechanism is used, copied or appropiated to create a mechanitist art work / art project.

6. A mechanitist art work / art project can be used as a vehicle to reflect behaviors or critize systems, etc. A mechanitist art work / art project has to have a mission or goal cleary defined by the artist.

7. Can be used any media or art form material or immaterial to create a mechanitist art work / art project. It could last from one moment to many years.

8. A mechanitist art work / art project does not harm any life form in any way to reach their purpose, goal or mission.

9. A mechanitist art work / art project can be inserted and exist or coexist in real environments of the society and not only restricted to exist in the boundaries of the art world.

This is the main question I try to answer through my painting process. In this process, I normally take images I find on the Internet or style magazines used primarily for advertising or illustrating a concept, an idea or a product (in the end ads are also trying to illustrate something) and I transform them into non-concept compositions. What this means to do it take the already contextualized ‘ready’ image and transform it into something decontextualized and cut off of its initial purpose/use. But being in a non-concept environment is a concept in itself, so the end product (painting, drawings or collage) is in a constant concept / non-concept variation stage. The moment the work is shown in a new space whether this is digital, physical or ideological, it acquires a new meaning, a new interpretation and definition.

However, this interpretation and concept is subject to criticism by the art world and the society which to a grand extent decides what an art work can be. The work might suggest that it has a non-concept status but the environment might classify it otherwise. Therefore, my job at this point is to blur the limits as much as I can between what I consider a non-concept / concept artwork and criticism considers a good artwork. What I am always interested in is to explore these dynamics and understand through my work what makes a good or bad artwork, if such terms can apply to art.

The end product functions as an anti-illustration ‘activist’ placard, which again returns to the art historical point of opposition to concept, which constitutes a concept in itself.