The nature of this platform is one of the communication and cross-polination of experiemts and methods in the realization of these transitional or reformed artworks. Works which both form and which utilise the communal collection.

An image for example, can be relized in so many different ways, an obeject has various potential "positions" for reconstruction, positions which hold different capcities in their reference towards their own nature.

bite-sized fabrika, coined on thursday the 9th of Febuary 2006, is concerned with the reformation of contents which have been "transported" throught the cyber -net- space in some way. It is a method of realization, of communication and of an omni-presence in materials.
Bite-sized fabrika is concerned with the minimalization of costings in the organization and collection of curated elements; an application of the particular spacial order of bite-sized fabrika through the aquisition of objects from the cyber-net and objects of similar value which the artist has happened upon whilst "traveling." Any "environmental" objects serve as a vessel through which these "transitional" works can escape from the monitor or screen and find their way into other environments.

collaboration initialy works in this first ''selected" stage, then in its potential - through the fragmentation of elements which remass in digi-transitory nature of the communication between other "environmental manifest."

In light of this order the role of curator becomes merged with that of the creator. The transference of concepts and matters into new forms, reappropriated, cross polinated and shared through the spacial finding order of bite sized fabrika into an omni-present collection manifest in each of the trouveres' immediate environment.

collection and manifestation.
fabrikation of artworks, instalations or exhibitions from the transitory materials: components which are known as "the generators."

memoria in aeterna

The most recent evolution of the bite-sized fabrika initiative. An open call, or perhaps an open challange to the production of collaborative instalations and exhibitions which site the particulars of bite-sized fabrika in a proposed instalation and must also be acompanied by a typewriter in some shape or form. Other than this distinction the exhibition will consist of works which comply to any of the main factors of bite-sized fabrika. Anything which can be frgmented and recomposed, which can be found by other collaborators and interpreted.

memoria in aeterna_position 1

a piece of three or more parts:
1. hung on the wall (position 2
- as seen in image left.)
2. a full set of piano keys coiling
through the air in a forest
(photo of an instalation.)
3. the keys layed on table
(as in 2006 04 11/ position 1).

כותל מערב

Wall west. by Arik Caspi and bud. translated from the hebrew by qui que.
[img: doll - trouver sur la route en Tel-Aviv - featured in "Wall west"]


In the course of the years we lived together, my flat-mate bud and I accumulated many things. Amongst the objects were works of art from friends, artisitic exchanges and works that we had made whilst living our home, an apartment of two rooms.
Bud suggested that we will hang all of them on wall of the kitchen. I proposed that this suggestion could become a game: she would hang something and later on I would hang something in reflection to her act [and that the placement of objects would not be subject to any change or repositioning] and so on - until the wall was full.
We had been sat in our kitchen - three meters in wide and twenty in length - for four hours staring at the twenty seven objects in front of us. Initially, I understood the wall as a solution to storage issues, more generally as open spaces that expand from the through space. As we discussed the ideas we had towards displaying the art, screening every part of the collection in front of us. As time went on, a transition occured between the art works and their targeted space, I found my self increasingly listening to the wall.
After we had completed our game, there arose a further development; to build the wall on the internet. To tell story of the act, the circumstances of how each of the objects came into our posession and consiquently arrived on the wall and to also offer surfers the opportunity to organize the wall in their own way, in a different and new collection to which they could add objects themselves.

כותל מערב

הבית הקודם, היה דירת שני חדרים. לניצן ולי נצברו במהלך השנים, הרבה דברים. בין החפצים היו עבודות אמנות של חברים, החלפות אמנותיות עם מכרים ועבודות שעשינו במהלך השנים. בשלב ההתמקמות בדירה מצאנו את עצמינו מול ערימה. ניצן הציע שנתלה את כולם על קיר המטבח. אני הצעתי שנעשה מזה משחק, היא תתלה משהו אחד ואחר כך אני אתלה משהו, עד שיתמלא הקיר. לה ולי אין זכות להזיז או לא להסכים.

*

לאחר כארבע שעות ישבנו במטבח באורך שלושה מטר וברוחב מטר ועשרים, בוהים בעשרים ושבעה אובייקטים דו ממדיים. בהתחלה, הבנתי את הקיר כפתרון אחסון, כפתחים המרחיבים את החלל, כדיבור על דרכי תצוגה של אמנות ונהנתי מכך שניצן ואני מסוגלים ליצר משהו שהוא יותר מסך כל חלקיו. יותר ויותר מצאתי את עצמי מקשיב לקיר.

*

ואז עלה הרעיון לבנות את הקיר באינטרנט. לספר את סיפור המעשה, להציג את האובייקטים ולספר אודות נסיבות הגעתם לקיר, להציע לגולשים (באמצעות תוכנה מיוחדת) לארגן את הקיר אחרת ולהוסיף אובייקטים של עצמם, למכור טפט קיר של הקיר על פי מידות הלקוח. ניצן צילמה את האובייקטים, ואת הקיר בשני חלקים (לא היה מספיק מקום להתרחק), אנחנו עובדים על תוכנית עסקית לאתר ומחפשים משקיעים. (חבל שבנתיים הנסדק נפל).

The Org exhibit

socialmediagroup's "Org exhibit" and the subjective nature of art itself gave us an opportunity to present our findings in dynamic ways. When dealing with the creation of artworks, statements and ideas; we are presented with non-linguistic patterns that translate into first-hand experiences of the viewer/participant. We questioned how we might best give our audience a firsthand, full spectrum experience of the potential in alternative systems, so the exhibit included a large number of photos in a wall-based installation.

We also wanted to share our knowledge of the rooftop garden as an extremely viable [and cost affective] way to raise food in Metropolitan cities - passing on the ephemeral experience of watching a garden grow, we brought the now dormant soil into the gallery and planted it with the seed of hard red spring wheat.

RE:GENERATIONS

the omni collection

The omni collection [defecit/ composit of the bite-sized fabrika project] is available - royalty free - to other practitioners.

If you would like to partisipate/ collaborate in any way, or to submit images to the collection please use the following address: info[at]cultura3.net (replacing the [at] with the @ symbol. All formats and sizes are greatfuly accepted.)

allume
par chemin de qui que.

allume is an interactive continuous "piece," the produce of allume are two fold: in the first instance allume is an object without defined shape or nature.

Participants are asked to send a match-box of the ordinary dimentions [5cm x 3.7cm x 1.3cm apprx.] along with a return address - to the address marked below.
In return another matchbox - one baring one of the works in the bite-sized fabrika collection - will be sent to the return address.

The collected matchboxes will be desplayed in a similar fassion to that depicted in "-" [below] As the collection grows, it will be reframed -growning outwards - sideways until the collection becomes too big for a singular frame and is split in two - ordered chronologicaly.
The dispersed exhibition of the bite-sized fabrika collection will occur upon table-tops and in hands and pockets across the globe.

To participte in allume please send your matchbox(es) to 10 Gisborne Rd., Sheffield, South Yorkshire, England. S11 7HA.

art bags
one in the pipelines - par chemin de cultura on air.

xbyx
par chemin de NORDSTROM AND BAILEY.
Wall mounted works from the omni collection are presented in alignment with a grid format of x by x rows and collumns.
A counterpart referencing the items on sale should be exhibited as a part of the installation.
All individual art works exibited in an xbyx instlation should be a one off print within the host city.

que-able
par chemin de sarawut.
A concept for instalation which works from the bite-sized fabrika collection are desplayed in a continuous cable or continuous series creating a line or chain of works around the entire perifary of the selected exhibition space.

related articles

from cultura.3

russian roulette

[link]
par chemin de carlos karastrofsky.

art calling

[link]

par chemin de chiara passa.

NOISE & system 2005-01-15 13-39

[link]

par chemin de qui-que.

published:

2005 - 6 page feature,

deficit. arts journal - winter edition 2005.
exhibited:

2002 - the Lescar Project, Sheffield.