Christophe Bruno
Since the beginning
Works in Paris France

Christophe Bruno lives and works in Paris. Awarded with an Honorary Mention at the Prix Ars Electronica 2003 for his piece The Google Adwords Happening, his work has been shown internationaly: FIAC Paris, Palais de Tokyo in Paris, Transmediale in Berlin, galerie Sollertis in Toulouse, ICC in Tokyo, Nuit Blanche de Paris, File Festival in Sao Paulo, Modern Art Museum of the city of Paris, Tirana Biennale of Contemporary Art, f.2004@shangai, ReJoyce Festival in Dublin, Ichim in Paris, in Berlin, Microwave Media Art Festival in Honk-Kong, Read_Me Festival in Dortmund and Aarhus, Vidarte in Mexico City... He divides his time between his artistic activity, teaching, lectures and publications.

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Re: Buy Nothing Day


I thought this "quiproquo" was quite interesting, since the buynothingday
belongs to an anti-globalization and anti-imperialism process, but it's true
that the way it was presented here is full of irony : as if the very people
who support this movement were unaware that the rest of the world (the World
minus the U.S, Canada or so) doesn't give a shit of Thanksgiving, as Ivan
pointed out. We would have expected that at least THEM, know this. If not
even, how can we get out if this? Please don't take this as personal, to me
it's just a funny situation. But which deserved to be noticed I think.

Anyway does it mean that we have to adopt first US hollidays (as we did
recently for Halloween in France) in order to fight this globalization and
the "unique thought" phenomenon properly ?


Christophe Bruno

----- Original Message -----
From: "Ivan Pope" <>
To: "Francis Hwang" <>; <>
Sent: Tuesday, November 26, 2002 12:20 PM
Subject: Re: RHIZOME_RAW: Buy Nothing Day

> ----- Original Message -----
> From: Francis Hwang <>
> > And although some of the references in the NAN piece could've been
> explained for the benefit of non-USian members, overall I don't see why
> topicality should be in question, considering how political this list is.
> the U.S., we consume a tremendous amount of junk, and then our government
> enforces economic imperialism using a number of brutal mechanisms, ranging
> from armed intervention to the Bretton Woods institutions. It's a problem
> that comes out of the U.S., but it affects the entire world in a fairly
> direct way.
> >
> > Saying U.S. consumerism is only of interest to U.S. citizens is like
> saying the Holocaust is only of interest to Germans.
> Actually I was saying that Thanksgiving Day only means anything to
> of the US. In the UK there is no buying surge at this point of the
> And we don't know when Thanksgiving Day is or why. So to tie a no buying
> to a purely US event means the day is at least conceptually a US thing.
> I know its sometimes hard for US residents to see that we do not
> automatically understand your cultural references - but surely that is
> of the problem.
> Cheers,
> Ivan
> + the internet is not your life.
> -> post:
> -> questions:
> -> subscribe/unsubscribe:
> -> give:
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at


Re: Pondering the social sculpture, P1

Pondering the social sculpture, P1Hi Liza

well it's good to hear the opinion of a mother

and indeed FATHERHOOD, which is the topic of the whole discussion, is much =
more problematic


----- Original Message -----
From: Liza Sabater
Cc: thingist ; Rhizome_Raw
Sent: Saturday, November 16, 2002 6:39 PM
Subject: RHIZOME_RAW: Pondering the social sculpture, P1

--- "t.whid" <> wrote:

> beuy's idea of social sculpture.

Just to help locate this thought:

"Social Sculpture refers to a conception of art,
framed in the 1970s by Beuys, as an interdiscplinary
and participatory process in which thought, speech and
discussion are core 'materials'. With this perception,
all human beings are seen as 'artists' responsible for
the shaping of a democratic, sustainable social order.
Social Sculpture lifts the aesthetic from its confines
within a specific sphere or media, relocating it
within a collective, imaginative work-space in which
we can see, re-think and reshape our lives in tune
with our creative potential."

I have been following the thread and have been pondering ponderous though=
ts, especially because I am so ambivalent about Beuys and Conceptual Art in=
general. When reading your definition of social sculpture, I could only th=
ink of monasteries and convents as work spaces where people can reshape the=
ir lives in tune with their creative potential. Which is probably why Beuys=
' work has always struck me being a bit too monastic ---not religious but m=
onastic; as in focused on the process of become a saint, not so much on the=

Then I read something like the following (found at http://www.walkerart.o=

Beuys rejected Duchamp's critique of Fluxus--that their ideas lacked in=
genuity since he had anticipated them. He also rejected Duchamp's anti-art =
concept, or the notion that ordinary objects are elevated to the status of =
an art object simply by being deemed as such by an artist. Beuys did not be=
lieve in the elitist isolation of the art object from everyday life, saying=
, "It has become the territory of a few intellectuals, far from the life of=
people." He renounced the distinction of the category "aesthetic" by claim=
ing "aesthetics is the human being in itself." In moving beyond this limita=
tion, he hoped to apply the artistic principle of creativity directly to so=

And I cannot but help but say, yeah, but, boy oh Beuys, you're work is co=
llected in museums and you're included in art history books.

The moment Beuys "thingifies" creativity and exhibits it in front of a ga=
ggle of curators and critics, that is the moment that he has created art. =
The limitation that I see in Beuys is that he is more like the an evangelis=
t-cum-madman in the attic of academia, struggling to show the way to those =
who have not seen the light. Testifying that, YES, creativity can be found =
everywhere AND THUS should be embraced by the museum, the academy and the s=
alon. He cannot but help to function within that socio-economic framework.

That's great if you want to be an artist but ART is not Life. It is an as=
pect of it. Actually, Art is a spec in the multiverse of LIFE.

If everything is art, then DOMESTIC LIFE is art. MOTHERHOOD is art. Why i=
s it then that motherhood is still considered breeding and not a creative p=
rocess? Because mothers have had bad PR. Art is a commodity and the more yo=
u market your work as art, the more people will agree with you that, yes, b=
ut of course, how can I not see that it is indeed art! If I had spread my =
greatness to the world and called the birth of my children performances, th=
en I would have the cachet of being a artist. Alas! a breeding Annie Sprink=
le I am not.

If life is creativity and creativity is life, it cannot be sculpted, mold=
ed, qualified or quantified. Life and creativity cannot be art because the=
y cannot be curated nor collected. Art is the attempt to apprehend the unat=
tainable. It is a failure that some make it look more fabulously than other=



New work on newsletter, october 2002

New work on
by Christophe Bruno

Originally this piece was conceived as a multi-user chat where a fictitious=
character, named Gogol, lives. This character has a mythical status, since=
his speech tends towards the sum of all speeches of mankind. Gogol IS the =
After the completion of this work, the chat was "infiltrated" by Jimpunk. S=
ince then a quasi-permanent happening shifts the chat beyond the dimension =
of meaning and communication.


Christophe Bruno



Have you met my friend Gogol ?
Contrary to the "Karei" program, Gogol is very real; he knows about
everything and is always on my chat, uttering.
My other friend, Jimpunk, also comes from time to time.

Chat with us on
or visit

Christophe Bruno