Lissitzky Distribution

This set of cards consists of twelve fragments of a painting by Lissitzky photographed by restorer Jan Diepraam. By selling the cards as ’new’ original fragments, they gain social as well as economical value. The painting multiplies through its representation of twelve diffirent cards instead of one default frontal full view of the work. ’Lissitzky distribution also adresses the image economy of the Van Abbe museum shop as a distributor of the museum’s identity. As soon as art turns into merchandise and transforms into a button or an image in a catalogue or postcard, it opens up possibilities of use. New media researcher Kim de Groot examines images as infrastructural and informational objects within the networked image economy and traces the relations between image, event and media. produced by the Van Abbemuseum and Onomatopee in the framework of the ’Tricksters Tricked’ exhibition (2010) at the Van Abbemuseum, curated by Freek Lomme and Hadas Zemer.

This set of cards consists of twelve fragments of a painting by Lissitzky photographed by restorer Jan Diepraam. By selling the cards as ’new’ original fragments, they gain social as well as economical value. The painting multiplies through its representation of twelve diffirent cards instead of one default frontal full view of the work. ’Lissitzky distribution also adresses the image economy of the Van Abbe museum shop as a distributor of the museum’s identity. As soon as art turns into merchandise and transforms into a button or an image in a catalogue or postcard, it opens up possibilities of use. New media researcher Kim de Groot examines images as infrastructural and informational objects within the networked image economy and traces the relations between image, event and media. produced by the Van Abbemuseum and Onomatopee in the framework of the ’Tricksters Tricked’ exhibition (2010) at the Van Abbemuseum, curated by Freek Lomme and Hadas Zemer.