Fear Industry

Taipei / Taiwan. 2020/11/14–2020/12/31

catalogus Fear Industry Taipei.Download

Museum of Modern Art, Taipei.

水谷藝術 Waley Art

waleyart  · Museum Modern Art Taipei – Taiwan.

Artists: Belu Simon Fainaru, Julia Kurek, Peter Puype, David Koronczi, Andrew Wasilewski, Thomas Wendland.

Concept: FEAR INDUSTRY. The title and poster are inspired by the work of Peter Puype. Fear has been one of the most effective tools for controlling people and entire societies. Fear of the facts. In becoming fact, it causes real actions, or lack of them, that push people into activity, or paralyze them physically and mentally.

* Work: ‘Communcation As Violece’ Video

Covid19 Face Mask

Kriya Art Foundation (The Netherlands & India) book project Life in Covid19 times and after Book project and online display 2020.

Proposed publication partner: Notionpress.com The book will available on Amazon hard copy & PDF form.

The aim of the project is to bring 360 creative minds together to express and document global concerns about COVID-19. The initiative will facilitate a view of great artworks and good ideas from around the world at one platform and a memory of the time and a tribute to the people who lost their lives in these crises. This project is non-commercial and initiated through humanitarian motivation. How does Art and creative expression matter in times when the World is being affected by COVID-19? http://www.kriyaartfoundation.org

My contribution to this book:

Manipulation is a main topics in my artwork. Therefor I invented the fake brand LICENSE – ‘creating fear as a brand’. Fear is the best selling product of this time. Just because LICENSE is questioning indoctrination, we can immediately refer to propaganda. Propaganda is the concept used by totalitarian systems to proclaim an ideology. The mechanisms used in propaganda are similar to the techniques in advertising. Both want to manipulate our thinking, your believe. During this COVID19 lock down, everyone was talking about protection. One of the main tools is the mouth mask. Since no one was prepared for such an epidemic, there was a big shortage on masks. So, a lot of people started to make masks themselves. I was thinking how much time and labor is needed to make just one mask by hand. It’s incredible how many steps are required: Buying fabric and standing in line in front of the shop, buying plastic zipper bags, buying stretchers on the internet, cutting patches, measuring, pleating and ironing, cutting the stretchers, sewing the masks and putting them in a plastic zipper bag. This type of manual labor is priceless in Western-Europe, because the wages are too high. Do we consider here a limitation of the Western wealth? To protect us against this limitation ‘we created’ low wage countries. Where people are working in sweat shops for less than a minimal wage and suffering from bad conditions in which they have to work. I made 50 LICENSE face masks with the slogan ‘Fear is a funny thing’ and sold them for €20. Due to the added ‘certificate’ (with number and signature), all the masks where sold out in no time. The customer was involved in this project and had the feeling of buying an artwork.

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Not For Sale / LICENSE / Hannover

‘Not For Sale’ is a part of LICENSE, Creating Fear As A Brand. This work is a critical remark on NGO’s as World Food Programme.

Kenyan economist James Shikwati says in an interview with Der Spiegel: “aid to Africa does more harm than good”.^* According to him, the food aid increases corruption as local politicians have the opportunity to steal some of the aid to bribe voters or to sell the aid in the black markets killing the local agriculture.^** He claims that the WFP people as an organization “are in the absurd situation of, on the one hand, being dedicated to the fight against hunger while, on the other hand, being faced with unemployment were hunger actually eliminated”. He suggests that WFP answers too easily to the calls of the corrupted governments, and supplies too much of food aid leading to reduction of the production of local farmers as “no one can compete with the UN’s World Food Programme”.  

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* SPIEGEL ONLINE; Hamburg; Germany (3 July 2005). “SPIEGEL Interview with African Economics Expert: “For God’s Sake, Please Stop the Aid!““. SPIEGEL ONLINE. Retrieved 17 May 2016.

** “Removed: news agency feed article”. the Guardian. Retrieved 17 May 2016.

Cairo Biennale 2018

‘license: creating fear as a brand. cairo / egypt :
this manipulation of the brain is reinforced by showing the ‘artwork’ (3 advertisement posters, arabic translation: ‘it’s the final countdown’ & ‘wealth in the west, chaos for the rest’) outside in the street and not in an art exposition room of the ‘something else’ / cairo biennale. a confusion arises, as the public sees these texts with a specific layout. the subconscious of the mind is also addressed here, because the public gets confused with this form of advertising, manipulation.

During the opening of the exposition, the Cairo Police took away the artworks.

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LICENSE: Gent Jazz / Jazz Middelheim

LICENSE – ‘Creating fear as a brand’, werd op GENT JAZZ en op JAZZ MIDDELHEIM voorgesteld als een reclame campagne voor het merk LICENSE. Dit is een fictief merk zonder producten. De verscheidene slogans werden voorgesteld in 3 mupi’s (reclame zuilen die van binnenuit worden verlicht).

De titel: ‘LICENSE’ – ‘Creating fear as a brand’. Is een verwijzing naar de hedendaagse (Westerse) samenleving waarin we constant met angsten geconfronteerd worden. Elk product, elk merk, is het symbool van het succes van de Westerse samenleving geworden. Om dit succes te handhaven leeft een groot deel buiten de veilige grenzen van het Westen in onzekerheid. De producten die we consumeren zijn vaak gemaakt in bedenkelijke omstandigheden. Toch worden deze steeds met een ‘happy advertisement’ voorgesteld.

Net door het feit dat LICENSE een merknaam is en geen producten aanbiedt, kunnen we meteen verwijzen naar propaganda. Propaganda is het middel dat gebruikt wordt door totalitaire systemen om een ideologie te verkondigen. De mechanieken die gebruikt worden bij propaganda zijn gelijk aan de technieken in de reclame. Beiden willen ons denken manipuleren.

Deze manipulatie wordt versterkt door het plaatsen van reclame zuilen in de context van GENT JAZZ. Er ontstaat een verwarring, daar het publiek deze zuilen in het straatbeeld verwacht. Het onderbewustzijn wordt hier ook aangesproken, doordat het publiek zeer vertrouwd is met deze vorm van reclame, manipulatie. Terwijl ze daarbij zeer vreemd zullen opkijken eens de boodschap tot hen doorgedrongen is.

Het publiek wordt zowel objectief (plaatsing van de zuilen) als subjectief (inhoudelijke van de slogans) op de korrel genomen. Deze vorm van verwarring is een typisch kenmerk in mijn werk.

LICENSE sluit aan bij de oorsprong van jazz. De muzikanten die in de jaren ‘20 en ‘30 van de vorige eeuw (tot heden) een verbeten strijd  – een ‘tour de force’ – voerden voor culturele verandering. Zo straalt  GENT JAZZ een fris profiel uit en toont aan niet bang te zijn om het publiek een van bredere context te laten genieten.

Interview / verslag: http://www.theartcouch.be/events/license-creating-fear-as-a-brand-confronterend-werk-van-peter-puype-op-gent-jazz/

https://peterpuype.wordpress.com/2017/01/04/license-making-fear-a-brand/

https://peterpuype.wordpress.com/2017/01/07/license-creating-an-advertisement-campaign/

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Incubatie: Surveillance. Dani Ploeger & Peter Puype 27/03 – 07/04

Click HERE for more info about the incubation.

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Action:

 

LICENSE: advertisement campaign

Establishing the brand, raising brand awareness, aggrandizing the rate of conversions/sales.

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Research: first step is to do a market research for the product to be advertised. One needs to find out the product demand, competitors, etc.

Know the target audience: one need to know who are going to buy the product and who should be targeted.

Setting the budget: the next step is to set the budget keeping in mind all the factors like media, presentations, paper works, etc which have a role in the process of advertising and the places where there is a need of funds.

Deciding a proper theme: the theme for the campaign has to be decided as in the colors to be used, the graphics should be similar or almost similar in all ads, the music and the voices to be used, the designing of the ads, the way the message will be delivered, the language to be used, jingles, etc.

Selection of media: the media or number of Medias selected should be the one which will reach the target customers.

Media scheduling: the scheduling has to be done accurately so that the ad will be visible or be read or be audible to the targeted customers at the right time.

Executing the campaign: finally the campaign has to be executed and then the feedback has to be noted.

 

‘LICENSE’

LICENSE: creating fear as a brand.

The art project LICENSE® is questioning marketing and how the brain gets manipulated by commercials and product branding strategy.
There’s no such a big thing as FEAR in this contemporary society. Smart marketing campaings responding on the political, social and economical environment in which we are surrounded with.
The LICENSE® messages doesn’t bring a sparcle of hope. This is for most of the population difficult to swallow. All commercials we are confronted with are bringing us a ‘happy’ message, they fulfill our desires, to consume.
LICENSE® is itchy, irritating and crawles under your skin in it’s rawness. That makes LICENSE® unique. Since there is no such a thing on ‘the market’ nowadays.
The concept LICENSE® is an art project created by artist Peter Puype and is totally settled in his other art work.

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LICENSE® is using the biggest issue of this time: fear
LICENSE® is criticising the (art)market
LICENSE® is usuing Puype’s own slogans (see http://www.peterpuype.be)
LICENSE® is playing with the market, while it’s inside the market

 

ICONOCLASM – Mediations Biënnale – Poznan – Poland.

An Iconoclast is someone who attacks and seeks to overthrow traditional or popular ideas or institutions. Mother Mary, the Holy Virgin, is in that sense a metaphor for the Westeren ideology. This work is not only an attack on the Christian Church, it’s symbolic attack on the West. On the vernisage of the group show ‘That’s All Folks’ (2010 / Bruges / Belgium / artists: Art and Language, Carlos Aires, John Isaacs, ) the visitors could throw stones to the plaster statues of the Holy Virgin. ‘Iconoclasm’ is now on view on the Mediations Biennale in Poznan, Poland.

The visitors who threw stones are unaware about the manipulation of the artist. It’s easy to play with the consciousness of the audience on an opening night of an exhibition. They just want to be a part of it and embody the artwork. A personification, as they have made it themselves. This is also the reason why some people want to pay so much money for an art work and how capitalism works. The same mechanisms of manipulation in ‘Iconoclasm’ is to be found in all religions.

Article in ‘Flash Art’: “The most intriguing highlights of the program include a show by Belgian artist Peter Puype”  http://www.flashartonline.com/2016/10/mediations-biennale-poznan/

Article in S Z U M: “Podejście kuratorów biennale do polityczności najlepiej oddaje instalacja Iconoclasm Petera Puype. Bazująca na prostej logice „daj się skusić i rozbij Maryjkę” religijna strzelnica operowała wymownym, ale łopatologicznym przekazem.”  http://magazynszum.pl/krytyka/poznanski-standard-5-mediations-biennale-fundamental

Propaganda Project – MKH Biennale – Halberstadt – Germany – Aug ’16.

2 Posters made for the MKH Biennale – Halberstadt – Germany

“Ich bin, was Du vergessen hast”

“Wenn Du Deine Ambitionen hinter Dir läßt, wirst Du ein Heiler sein für alle”

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