During the last edition of the GAMERZ festival, i discovered the existence of the Copie Copains Club (Copy Companion Club), a community of artists who copy each other. To become a member of the club, you either copy a fellow artist or you are copied by them. It's that easy!

Copie Copains Club aims to highlight the art of copying in the Post-Internet era. Today, the works and their representations circulating on the web become themselves available materials, ready to be replayed by other artists. At a time when production companies and governments toil to outlaw copying, CCC aims to be a space where everyone can freely enjoy the copying: a playground where contemporary artists or geeks designers of all generations and all countries can question their relation to intellectual property and their own creation.

Copie Copains Club is a cheerful, provocative project. More importantly, it offers the art community an informal space to discuss copyright, creativity, plagiarism, fair use of existing images and other issues that the art world has long been debating over but that internet culture has reinvigorated.

It is also interesting to note that the initiative comes from France, a country where copyright infringement laws are particularly stringent.

Photo Luce Moreau for GAMERZ

Joëlle Bitton, Weather Desktop Project. Photo Luce Moreau for GAMERZ

.... inspired by Olafur Eliasson's The Weather Project

Copie Copains Club started as a platform and a licence but the experiment was given the opportunity to take on a physical presence when GAMERZ invited the artists behind CCC to curate an exhibition based on the works that follow the CCC rules. Some of the 'copies' merely put an humorous spin on the original, others added depth and an extra layer of reflection.

I talked to artists/curators Emilie Brout, Caroline Delieutraz & Maxime Marion about the CCC experience:

(The artists answered me in french. Just scroll down to read the original text.)

Hi, Caroline, Emilie and Maxime! I like the name Copie Copains Club. It's cheerful and melodic. Why did you chose this name? What did you want to convey with it?

We wanted a meaningful, funny and that sounded good. The CCC is a club of friends who copy each other. Like the project, it is "cute" but also a bit provocative, in particular because it includes the term copy, even if we're actually talking more about détournements, remixes and tributes. The acronym "CCC" is rich in references, and "CCC license" is a direct spin on the Creative Commons license.

Why did you start this project? I remember Maxime telling me in Aix-en-Provence about the situation of p2p exchange in France. So is there a political motivation behind the CCC?

There is of course a political motivation, especially in a country like France where the right to intellectual property is particularly strict. Add to that laws such as HADOPI and a long tradition in which the artist is both protected but also hindered in its practice. The artist is not necessarily a victim of the copy, it feeds on it. The CCC is intended to dramatize a little bit this issue, attacking the copyright idea collectively with a smile and some nice nuances. But we also wanted to create a playground, a space for exchange and dialogue that uses artworks as a go-between.

Djeff, Super Google Clouds. Photo Luce Moreau for GAMERZ

Djeff, Super Google Clouds. Photo Luce Moreau for GAMERZ

... inspired by Cory Arcangel's Super Mario Clouds

Many people like to repeat Picasso's quote "Good artists copy, great artists steal." Nonetheless, copying still has a bad rep' in society of course but also in the art world. Why do you think there is still a lot of stigma in art against copying?

Copying in creation is a very old question, and it is surprising to see that it is still raised in a society where ownership and piracy are completely mainstream (who has never used one of the first images popping up on a Google search without even wondering where it came from?) What remains sensitive, is the personal relationship that each artist has with their creation, their own "originality". Many artists are still afraid of being dispossessed, yet each work, inspired or not by another one, matters for the personality that the artist will inject into it. The CCC is also a place where you can show without any embarrassment works that look a bit too much like other works (whether they were produced before or after), a place where everyone and no one can be called a copycat.

S. Aubry & S. Bourg, One shot date painting. Photo Luce Moreau for GAMERZ

Arnaud Cohen, More Human Than Human. Photo Luce Moreau for GAMERZ

How was CCC received by artists whose work had been copied? Did they all feel flattered or did the copies create discontent? Did you find for example that artists who are used to working in tech/digital/new media contexts react differently from artists who are working with more 'traditional' media and ideas?

For an active member of the CCC, being copied is a great honor, it means that someone took the time to reflect on, study, question your work ... The 4th rule of CCC requires you to notify the original author of the fact that they have been copied with a message like this: "Hello, you have been copied with such project, unless you specify otherwise you are now a member of the club and are now free to copy whoever you want". This friendly approach may explain why there has ultimately never been any problem nor removal request. Regardless of age or discipline, the project was generally well received, even by the most recognized artists. And if there is no reaction, we assume that "Silence is consent." This is what the club advocates: we first copy, then we inform, which is subtly different from the standard practice.

How is the CCC database growing? Do you get regular submissions?

Everyone is free to participate and join the club as long as they follow the rules of the manifesto. Such as copying only living artists (Rule 2), or to copy a "buddy" if this is a first copy (Rule 1). The buddy list (nearly a hundred to date) continues to grow steadily. The more the merrier :)

Grégoire Lauvin, Brrrr! Photo Luce Moreau for GAMERZ

Grégoire Lauvin, Brrrr! Photo Luce Moreau for GAMERZ

Grégoire Lauvin, Brrrr! Photo Luce Moreau for GAMERZ

CCC 'got physical' for the last edition of the GAMERZ festival in Aix-en-Provence. How did you select the artists who were exhibited? Did you commission some works or did you only chose from the works already available on the CCC database?

Artists and projects were selected directly from the website, but some were still at the idea stage. For example, Brrrr! by Gregory Lauvin existed only in the form of sketches, and the Gamerz exhibited made it possible to produce it. As this was the first physical CCC exhibition, we selected pieces which references were easily recognizable, this facilitated the reading of the overall project.

However, each of these copies had their own relationship to the original work, have very different approaches: distant reference, resonance between personal experience and the one of the referent artist, purely formal détournement, criticism, etc. We were also pleased with the way the works became autonomous, conversed with each other and raised new issues, such as the relationship between "real" and "virtual", transhumanism ...

And do you otherwise work with the notion of copy culture in your own practice?

The concept of appropriation is fully integrated within our respective practices, so that this is not even a claim or a militant act as was the case for artists of previous generations (Sherry Levine, Christian Marclay, etc.) This is a medium like any other, and it happens to be ours. So we very often use the media produced by other people, we focus on their history, on the why and how they were produced, the people they were intended to reach, the paths they traveled and the way to reassemble them in order to produce new forms. This has naturally led us to reflect on issues related to intellectual property.

Thanks Caroline, Emilie and Maxime!

Photo Luce Moreau for GAMERZ

Annabelle Ameline, Où est Raymond? Photo Luce Moreau for GAMERZ

Emmanuel Laflamme, Survival of the Fittest. Photo Luce Moreau for GAMERZ

Réponses en français:

I like the name Copie Copains Club. It's cheerful and melodic. Why did you chose this name? What did you want to convey with it?

Nous voulions un nom explicite, drôle et qui sonnait bien. Le CCC est un club de copains qui se copient. A l'image du projet, il est "mignon" mais un brin provocateur notamment par l'utilisation du terme copie, même s'il s'agit en réalité plus de détournements, de remixes ou d'hommages. L'acronyme "CCC" est riche en références, et la "licence CCC" est une variation directe de la licence Creative Commons.

Why did you start this project? I remember Maxime telling me in Aix-en-Provence about the situation of p2p exchange in France. So is there a political motivation behind the CCC?

Il y a bien sûr une motivation politique, notamment en France où le droit à la propriété intellectuelle est particulièrement lourd, en plus de lois telles que Hadopi et d'une longue tradition où l'artiste est à la fois protégé mais aussi entravé dans sa pratique. L'artiste n'est pas forcément une victime de la copie, il s'en nourrit, le CCC a pour but de dédramatiser un peu cette question, en attaquant l'idée de copyright collectivement, avec le sourire et de jolis dégradés. Mais nous avions aussi envie de créer un terrain de jeu, un espace d'échange et de dialogue par oeuvres interposées.

Many people like to repeat Picasso's quote "Good artists copy, great artists steal. " Nonetheless, copying still has a bad rep' in society of course but also in the art world. Why do you think there is still a lot of stigma in art against copying?

La copie dans la création est une question très ancienne, et il est étonnant de voir qu'elle est encore sensible dans une société où l'appropriation et le piratage sont complètement banalisés (qui n'a pas déjà utilisé l'une des premières images renvoyées par Google sans se demander d'où elle provenait ?). Ce qui reste sensible, c'est le rapport personnel que chaque artiste entretient avec sa création, sa propre "originalité". De nombreux artistes craignent ainsi encore de se faire déposséder, or chaque oeuvre, inspirée ou non d'une autre, compte surtout pour la personnalité que l'artiste va y injecter. Le CCC est donc aussi un lieu où l'on peut montrer sans gêne des oeuvres qui ressemblent un peu trop à d'autres (qu'elles aient été produites avant ou après), un lieu où tout le monde et personne ne peut être traité de copieur.

How was CCC received by artists whose work had been copied? Did they all feel flattered or did the copies create discontent? Did you find for example that artists who are used to working in tech/digital/new media contexts react differently from artists who are working with more 'traditional' media and ideas?

Pour un membre actif du CCC, être copié est un grand honneur, cela signifie que quelqu'un a pris du temps pour se pencher sur son travail, l'étudier, le questionner... La règle 4 du CCC impose de notifier l'auteur original du fait qu'il ait été copié, avec un message du type : "Bonjour, vous avez été copié avec tel projet, et sauf mention contraire de votre part vous êtes à présent membre du club et êtes libre de copier qui vous souhaitez à votre tour". Cette approche sympathique explique peut-être qu'il n'y ait finalement jamais eu le moindre problème ni aucune demande de retrait. Indifféremment de l'âge ou de la discipline, le projet est généralement bien reçu, même par les artistes les plus reconnus. Et s'il n'y aucune réaction, nous partons du principe que "qui ne dit mot consent". C'est ce que revendique le Club : on copie d'abord, on informe ensuite, ce qui est subtilement différent de la pratique courante.

How is the CCC database growing? Do you get regular submissions?

Chacun est libre de participer et de devenir membre du club tant qu'il respecte les règles du manifeste, comme le fait de ne copier que des artistes vivants (règle 2), ou de copier forcément un "copain" s'il s'agit d'une première copie (règle 1). La liste de copains (près d'une centaine à ce jour) continue de s'allonger régulièrement. Plus on est de fous plus on rit :)

CCC 'got physical' for the last edition of the GAMERZ festival in Aix-en-Provence. How did you select the artists who were exhibited? Did you commission some works or did you only chose from the works already available on the CCC database?

Les artistes et projets ont été directement sélectionnés sur le site, mais certains n'étaient alors qu'à l'état d'idée. Brrrr! de Grégoire Lauvin par exemple existait uniquement sous forme de croquis, et l'exposition soutenue par le festival Gamerz a permis de la produire. Comme il s'agissait de la première exposition physique du CCC, nous avons choisi des pièces dont la référence était assez reconnaissable, pour faciliter la lecture du projet global. Mais ces copies, ayant toutes un rapport différent à leur original, présentent des approches très variées : référence lointaine, résonance entre son expérience personnelle et celle de l'artiste référent, détournement purement formel, critique, etc. Nous avons également été ravis de la manière dont les oeuvres, alors devenues autonomes, dialoguaient entre elles et soulevaient de nouvelles problématiques, telles que le rapport entre "réel" et "virtuel", le transhumanisme...

And do you otherwise work with the notion of copy culture in your own practice?

L'appropriation est une notion complètement intégrée dans nos pratiques respectives, si bien qu'il ne s'agit même plus d'un acte revendiqué ou militant comme cela pouvait l'être pour des artistes des générations précédentes (Sherry Levine, Christian Marclay...) : c'est un médium comme un autre, simplement c'est le nôtre. Nous avons donc recours extrêmement souvent à l'emploi de médias produits par d'autres personnes, en nous intéressant à leur histoire, pourquoi et comment ils ont été produits, à qui ils sont destinés, quels chemins ils parcourent et comment les réassembler pour produire de nouvelles formes. Nous avons donc été naturellement amenés à réfléchir aux questions liées à la propriété intellectuelle.

Merci Caroline, Emilie et Maxime!

Previously: The 10th edition of GAMERZ. From dancing trash bag to dichotomic perception + Hold On, when a joystick manipulates Hollywood.


Stacked rooms. Performance

Make+ is a Shanghai-based programme that stimulates collaborations between creativity, technology and science. Its main motivation is to 'make ideas happen'.

The recipe is quite simple: an individual comes with an idea, a team forms around it, mentors join in and guide the team along the way. At the end of the process, the idea is made reality. Participants come with all types of backgrounds, experiences and perspectives. They can be fashion designers, hardware engineers or painters.

The experimental and not-for-profit organisation also organizes educational workshops, talks and exhibitions that further encourage exchanges and raise public awareness about the kind of creativity that emerges when people from different professions meet and share ideas.

I met Sophia Lin, the Director of Make+, a few weeks ago. We were both giving a talk at the same moment at the latest edition of the Lift Conference in Geneva. Sophia is also the co-founder of Basement 6 Collective, a studio and community space located in an old bunker and dedicated to promoting the arts in Shanghai.

Since i missed Sophia's presentation in Switzerland, i thought that the best way to catch up with the activities of Make+ would be to interview her:

2014 Science Hack Day

Hi Sophia! How big is Make+? How many people are working on the program?

Make+ is supported by volunteers only. We have roughly 9 core volunteers, and 30+ volunteers who help out whenever it's needed.

The 2014 Make+ team

The Make+ program encourages cross-disciplinary collaboration. How do you make these cross-disciplinary collaborations happen? Is it by acting as a go-between? By making resources available? etc.

We do a lot of things to encourage these collaborations happen. We host events where professionals and students from different professions can meet and collaborate, we act as a resource database for those who need to reach the other end. We have also started a research project on methods of crossover collaboration.

Are there like-minded people, institutions organizations in Shanghai and in the rest of China? Who does Make+ collaborate with? Who are its allies?

We are seeing more and more institutions especially the universities opening their doors to these kind of experiments by having collaborative courses and programs. Make+ collaborates with art museums, galleries, makerspaces, libraries, hardware companies and foundations.

DIY biotech workshop. "Painting Class with E. Coli"

Workshop Painting with Bacteria

You told me in a previous conversation that Make+ doesn't have its own space. So how do you manage to organize meetings, workshops, exhibitions?

We usually host our events in our partners' spaces. We work hard.

And apart from having your own space, what are the biggest challenges that the program encounters?

Having a steady funding is our biggest challenge. Our currently method is to offset our cost by charging the event. But in reality, the income usually only pays for the materials and instructor, but never the organizers.

You also told me that you work with artists who might have a fairly classical view on art and with science & tech people who are not so used to working with artists. What makes these two worlds dialogue and collaborate? And does their perspective on their own discipline change after one of your Make+ events?

Yes, this is a very challenging problem. People have to really WANT to collaborate with the others to make it work. We learned from our experience that a forged relationship without a strong motive is hardworking and tiring. However, the participants who have had a successful collaborations often goes on to try more.

Saoirse Higgins, Overview. Video still-user with headpiece and balloon above. The Bund, 20th July 2013.

Ji Jiaqing, Firefly

Berni War, Vincent Harkiewicz and Brad Jester, Aaaiiirrr (Open Source Air Filter)

Kami, DT Robot at 2013 TedxTheBund

Could you give us some examples of projects developed during Make+ workshops?

In 2013, our creative camp incubate a fresh team that consists of designers, artists and engineer. They do not know each other at the beginning, and have never collaborate with other discipline before. After some very challenging weeks, they built a "emotion" room that responded to people's brainwave. The room would try to make you angry if you are calm, and try to calm you down if you are agitated. The team members became best friend and went on to collaborate on many projects.

Last year in 2014, we incubate a long-term not for profit project, where artists, designers and scientists would lead people to research trips to China's old villages to see if there anything they can help with.

Installation built by one of the teams of the 2013 creative camp. The audience was wearing a brainwave detector. If you are angry, the ambient light turns blue or green, if you are calm, the light turns red

What's next for Make+?

In 2015, apart from our regular programming and incubator programs, we have started a long-term research project on methods for a successful crossover collaborations. We feel that we need to learn from the successful teams and projects around the world about how to initiate a successful collaborations.

Stacked rooms. Performance by Moyo

Stacked rooms. Performance by Olaf Hochherz

Nicolas Maigret, Clement Renaud and Lionel Radission, The Ether Mashup

Thanks Sophia!

Staging Disorder, edited by Christopher Stewart and Dr Esther Teichmann.

(available on amazon USA and UK)


Publisher Black Dog writes: Staging Disorder brings together work that considers the contemporary representation of the real in relation to photography, architecture and modern conflict.

The concept of 'staging disorder' looks not to how photographers have staged disordered reality themselves, but rather to how these artists have recognised and responded to a phenomenon of staging that already exists in the world.

Military simulations of rooms, houses, planes, streets and whole fake towns in different parts of the globe provoke a series of questions concerning the nature of truth as it manifests itself in current photographic practice.
In highlighting the resonance that these projects have with one another, the publication develops a thesis on contemporary photography at a point when we are currently witnessing a shift away from a critical discourse that has been preoccupied by theoretical concerns related to artifice and illusion.

Richard Mosse, Airside

Richard Mosse, Airside

Everything in this book is fake: fabricated streets that barely look real, sculptures of airplanes that look like cheap overblown toys, American soldiers who pretend to be the enemy and paint anti-US slogans on the walls, etc.

These images come with a description that immediately imbue them with dread, tragedy, horror ad terror. There is often little to see though. An empty room with a chair in the middle or a wall with graffiti but that is often enough to have us speculate about the brutality deployed there. These are architectures specifically designed for rehearsal, for pre-enactment of conflicts and acts of violence. We will probably never see any of the locations documented by the 7 photographers whose work is included in the book but the photos are nevertheless chilling because the danger they evoke is often set in civilian, even domestic context.

The photos presented in the book are astonishing and often spectacular but they also make us reflect on a society that fears and feeds on threats and catastrophe. Staging Disorder also invites us to consider the role of photography, a medium which relation to truth is routinely being questioned, when it comes to documenting a reality that is fabricated.

Beate Geissler and Oliver Sann, Personal Kill #13, 2006

Beate Geissler and Oliver Sann, Church West, Übungsdorf, 2008

Beate Geissler and Oliver Sann, Personal Kill #11, 2006

In military lingo, killing with direct contact is called a "personal kill." Beate Geissler and Oliver Sann visited a place in Bavaria (Germany) where American soldiers are trained to do so. The settings are not the usual battlegrounds. They are mundane, civilian spaces where, increasingly MOUT (Military Operations on Urban Terrain) are taking place.

Richard Mosse, Airside

Richard Mosse, Airside

Richard Mosse, 747 Heathrow

The image of a plane on fire has always evoked fear. Our post 9/11 world has made the same image even more tragic, shocking but also strangely fascinating. In his "Airside" series, photographer Richard Mosse captures the disaster-response training practice of setting life-size model airplanes on fire.

An-My Le, 29 Palm

An-My Lê, 29 Palms

0moseairside2 4.jpg
An-My Lê, 29 Palms

An-My Lêtraveled to a Marine base called 29 Palms, in the California desert. This where soldiers train before being deployed to Iraq or Afghanistan. The series show the American soldiers both rehearsing their own roles and playing the parts of their adversaries.

Sarah Pickering, High Street

Sarah Pickering, Public Order

Public Order is a series of photos of the Metropolitan Police Public Order Training Centre, a simulated urban environment where officers rehearse responses to football riots, protests, acts of terrorism and other acts of civic unrest.

The fabricated training locations look a bit like the fake backdrops used to shoot Western movies. The largest of these, Denton, is a huge network of fake streets and cinder-block facades, with all of the hallmarks of a midsize British working-class city, including a football stadium, a nightclub, and a Tube station.

Pickering's images demonstrate better than any newspaper article the omnipresent anxiety and fear of terrorism that pervade our society. "My work explores the idea of imagined threat and response, and looks at fear and planning for the unexpected, merging fact and fiction, fantasy and reality," she states.

Claudio Hils, Close Quarters Battle Range, village centre

In military context, Red Land-Blue Land are terms that define a site divided into the territories of friend (blue) and enemy (red.) The military training ground of Senne in Germany is one such site. Claudio Hils documented a ghost town that looks normal until you start to identify cartridge cases, overgrown graves, human-shaped targets, wooden backdrops that represent streets, etc.

Christopher Stewart, Kill House, 2005

Christopher Stewart, Kill House, 2005

At the time of the work, an estimated 25,000 private military personnel were stationed in Iraq, collectively forming the second-largest fighting force in the country after the US Army. Mostly funded by US tax dollars, these armed security services handle tasks that include training local forces, surveillance, fighting but also 'clearing' domestic houses in war zones such as Iraq or Afghanistan. The mercenaries aren't trained in US boot camps but in places like the one located in a vacant area of Arkansas and depicted in Christopher Stewart's photographic series Kill House.

Adam Broomberg & Oliver Chanarin, Chicago #10, 2006

Adam Broomberg & Oliver Chanarin, Chicago #2, 2006

The Chicago series documents a fake Arab town built in the middle of the Negev desert by the Israeli Defense Force for urban combat training. "Everything that happened happened here first, in rehearsal," write Adam Broomberg & Oliver Chanarin. All wars led and to be led by Israel in the future get a test run in the streets of Chicago, where the only traces of human beings are photographs of Arab militia used for target practice. Chicago comprises different settings that reflect the terrains where the IDF might have to strike: a fake refugee camp, a fake downtown neighbourhood, a fake rural village, a dense market area, etc.

Staging Disorder is also an exhibition currently open in the galleries of the London College of Communication. The show runs until Thursday 12 March.

The so-called Centennial Light has been burning for 113 years. It graces the ceiling of the Livermore-Pleasanton Fire station (in California), has its own live cam and is often cited as evidence for the existence of planned obsolescence in later-produced light bulbs. It also provides me with a fairly simple way to ease into the concept of 'disnovation'...

The Livermore Centennial Light Bulb, at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret.

A few months ago, the festival accès)s( in Pau (France) invited the audience to take a critical look at the idea of a techno-driven progress, at a propaganda machine that promise that new 'advances' in information and communication technologies will solve our problems and fulfill the dreams we don't even know we had. All we need to do is update, upgrade and replace our devices.

The problem is that this quest for the new, this confusion between 'innovation' and 'progress', has been seeping into other areas of the public sphere: politics, economy, eduction and art. This global phenomenon has contributed to institute techno-sciences as the core of modern dogma and the consommation / innovation pair as the driving force for the economics.

This 'Disnovation' (a term coined by Gregory Chatonsky), this techno-capitalist innovation that feeds on our fear of obsolescence raises a series of questions:

Are the continuous flight towards novelty and the negation of preceding values a human obligation, an intuitive tendency, an end in itself, a salutary value? Is innovation the expression of an ideal whose purposes are dictated by mere economic and industrial choices? How can artists become tacit actors for the spreading and popularization of innovations? How does this context result as counter-relief in hijacked, critical, poetic, alternative practices?

Nicolas Floc'h, Grand Troc Chili, 2008

A performance by Yann Leguay at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret

Julian Oliver, The Transparency Grenade at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret

The curators of accès)s(, artists Nicolas Maigret and Bertrand Grimault, invited artists and thinkers who question, comment on, fight or reveal this culture of disnovation. The festival was a breath of fresh air in my peregrination of media art events which often seem to celebrate far more than they challenge technology. The programme of exhibition, talks and performances Grimault and Maigret devised was by far one of the most exciting moments of the year 2015 for me. Sorry, i meant 2014. I am, as often, a bit behind schedule with my reviews.

I did blog about some of the works on show a few months ago but allow me to add a couple more key pieces in the exhibition:


RYBN, The Algorithmic Trading Freak Show, 2014 at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret

RYBN.ORG has spent the past few years studying obsolete trading algorithms. These automated traders execute pre-programmed instructions based on forecasts that become obsolete as soon as conditions change (in times of crisis, for example.) Some traders actually believe they might have as much chance of getting it right if they based their operations on blindfolded monkeys playing darts.

RYBN.ORG dissected and analysed the mechanics of these algorithms. Then, they selected the wackiest and ogranised them into a kind of cabinet of curiosities.


Nicolas Floc'h, Grand Troc Chili, 2008. View at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photos by Nicolas Maigret

Nicolas Floc'h was showing a brilliant project called Grand Troc Chili. He invited people living in an underprivileged community in Chile to a 'workshop of desires' and asked them to use discarded material and craft the objects they most needed but couldn't afford to buy. The pieces were then exhibited the objects made and even offered for barter: anyone interested in buying the sculpture made during the workshop could trade it for the actual object, which was then given to its author.

Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret

Clémence de la Tour du Pin, Computer store original, 2013 (Production accès)s( @ IFF inc). Photo by Nicolas Maigret

Clémence de la Tour du Pin worked with professional perfumers to capture the smell of «the brand new». Visitors of the show could take away a little sample of liquid that has the typical smell you detect as you enter a computer store.

General view of the Disnovation exhibition. Photo by Nicolas Maigret

Sloan Leblanc, Hoover contre Kaisui, 1997 at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret

Hoover contre Kaisui are two vacuum cleaners, one from a U.S. brand, the other French. They intermittently powered up and fought each other above the head of the visitors.

Julien Prévieux, Anomalies construites (extrait)

In his video Anomalies construites, Julien Prévieux highlights the tension hidden within Google Sketchup. The 3D modeling computer program allows users to create 3D buildings inside Google Earth. The software is free. Is building architectural or civil engineering structures a form of creative leisure? Or is it a camouflaged (albeit entertaining) way to work unpaid for the corporation?

Melle Smets and researcher Joost van Onna in collaboration with the community of Suame Magazine, Set Up Shop, Turtle 1, 2013 at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire 2014. Photo by Nicolas Maigret

Performance by Jon Satrom at Disnovation Exhibition @ accès)s( Festival & Bel Ordinaire, 2014. Photo by Nicolas Maigret

James Bridle, DIY Drone Shadows

The 14th edition of the festival closed on November 16th, 2014. If you've missed it, you can still follow the research on the Disnovation tumblr.

Programme curated by Nicolas Maigret and Bertrand Grimault.

Previously: How to build an African concept car in 12 weeks, The Terminator Studies and Retail poisoning, a disruption of consumerism.
accès)s('s photos of the exhibition and of the talks and performances. My photos.

Printing Things. Visions and Essentials for 3D Printing, edited by Dries Verbruggen and Claire Warnier.

Available on amazon USA and UK.


Publisher Gestalten writes: 3D printers will soon be found in more and more workshops, offices, and homes. With them, we will be able to print out small pieces of furniture, prototypes, replacement parts, and even a new toothbrush on-site at any time. Consequently, new production methods and business models are developing--along with a new visual language of multidimensional formal explorations. Today, 3D objects and complex forms can already be printed out that were previously impossible to achieve with traditional methods.

Printing Things is an inspirational and understandable exploration of the creative potential of 3D printing. The book not only introduces outstanding projects, key experts, and the newest technologies, but it also delves into the complex topics that these paradigm-shifting technologies bring up, such as how to handle copyrights and seamless manufacturing.

Dave Hakkens, Precious Plastic

Unfold, KIOSK

I've no idea why i waited so long to get my hands on Printing Things. Visions and Essentials for 3D Printing but i've just finished reading it and it is brilliant. Which shouldn't surprise anyone who knows the work of the authors of the book. Dries Verbruggen and Claire Warnier are Unfold, a duo of designers who have worked, experimented and provoked debates with their 3D printing experiments.

In 2011 already, the duo walked around the Salone del Mobile in Milan with their mobile Kiosk, making 3D scans of the new objects presented at the fair. They then started to appropriate, sample, remix, improve, up/downscale or copy new objects 3d-printed on the spot.

And because the members of Unfold believe that 'there can be no revolution without disruption', i'd say that it was a brilliant idea to let them edit a book that sums up and illustrates the opportunities and challenges offered by 3D technology.

Printing Things starts with a few pages that explain very clearly and briefly what 3D printing is and how it works. Then come a series of essays that explore issues such as the empowerment that the technology gives to people and the responsibility that comes with it, the right to copy and create derivative content, the way 3D printing affects the figure and role of the designer, the decentralization of production, the peculiar aesthetic characteristics of the technology, the compatibility with craftsmanship, etc.

After these first 50 pages of reflections and ideas, you get almost 200 pages of pure Gestalten paper entertainment: photos and short texts that highlight the best of what artists, designers, architects, and even experts in prosthetics are 3D creating today.

The boyfriend has been a 3D printing maniac for a couple of year. My involvement with the technology is much more distant but we both really enjoyed reading this book. I particularly appreciated the way the 'case studies' and the introductory texts cleverly balance the down to earth practicalities of 3D printing and the near future scenarios the technology might give rise to.

I'm going to leave you with some of the projects i've (re)discovered in the book:

Axel Brechensbauer, Peace Drone

Axel Brechensbauer 3Dprinted a cheerful-looking UAV that would playing loud 'clown music' and spray 'terrorists' with a cloud of Oxycontin, a pain-relief drug that also induces feelings of euphoria, relaxation and reduced anxiety. I used to think that a weapon could never be more devious than a predator drone....

Léo Marius, Open Reflex

The OpenReflex is the first open source 3D printed analog camera with a mirror Viewfinder and a finger activated mechanic shutter. All the pieces can be printed and assembled at home using a RepRap-like ABS 3D-printer.

The DIY instructions are up on Instructables.

Jesse Howard, Transparent Tools (Improvised Vacuum)

Jesse Howard designed household appliances for a not so distant future that will see people being increasingly involved in making, repairing, and customizing their own products. Each appliance is constructed from 3D-printed and CNC manufactured components based on OpenStructures, standard components, and parts salvaged from discarded appliances.

Amanda Ghassaei, 3D-Printed Record, 2012

Amanda Ghassaei, 3D-Printed Record, 2012

Amanda Ghassaei created a technique for converting digital audio files into 3D-printable, 33rpm records that play on ordinary turntables. Though the audio quality is low, the audio output is still easily recognizable.

David Bowen, Growth Modeling Device

David Bowen, Growth Modeling Device (photo)

This Growth Modeling Device scans an onion plant, 3D prints a plastic model of it and then displays it on conveyor belt. The process is repeated every twenty-four hours. The result charts the growth of the plant in little plastic models.

Dries & Verstappen, Solid Spaces (Bergkerk), 2013

Dries & Verstappen scanned the interior of buildings with their own developed hardware. The resulting 3-D sculptures are materialized with a 3-D Print.

Foster + Partners, Habitable Lunar Settlement

Foster + Partners looks at how 3D printing might be used to construct lunar habitations, using raw lunar soil as building matter.

Matthew Plummer-Fernandez, sekuMoi Mecy

Stilnest, The Cuckoo Project

Views inside the book:














sponsored by: