me, kdg
Kim de Groot is a design researcher with an MA in new media. She is part of the lectoraat Communication in a digital age and teaches new media at the Willem de Kooning academy Kim's research deals with the inverted relation between image and reality. Moving from representation to the performative, from the visual to the infrastructural, images are no longer created to represent a reality but to manage it. Kim examines images as informational objects and traces the relations between image, event and media.


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Lissitzky Distribution > opening at van abbe on 23 oct 2010!!

'Lissitzky Distribution' is about the image economy of the museum shop as a distributor of the museum's identity.
De Groot deals with the border between the autonomy and instrumentality of art. As soon as art turns into merchandise and transforms into a button or an image in a catalog or postcard, it opens up possibilities of use. Buying a catalog in the shop is a moment of appropriation, art turns into an approachable object.
By proposing the museum shop as a model for the museum, in which derivative but autonomous images can be produced, De Groot tries to move beyond the fear of the copy. To illustrate this she has redesigned a museum shop classic; the postcard. The cards are an add-on to the existing Lissitzky merchandise of the Van Abbe museum. They do not only extend the concept of merchandising but also stress the value of Lissitzky as the brand of the Van Abbe museum.
By selling the cards as 'new' original fragments of the artwork, they gain social as well as economical value. The painting multiplies through its representation of 12 different cards instead of one. The role of the public is crucial in this image economy; by buying one out of the 12 cards the public chooses her favorite image. This way the cards serve as statistics, the public's ranking of the artwork delivers valuable information for the further branding of the Van Abbe museum.

Design researcher Kim de Groot onderzoekt beeld als infrastructureel en informationeel object binnen de beeldeconomie. 'Lissitzky Distribution' introduceert een alternatieve omgang met de beeldeconomie van de museumwinkel. De Groot zoekt de grens op tussen de autonomie en de toepasbaarheid van kunst. Zodra kunst merchandise wordt en transformeert tot afbeelding op een button, in een catalogus of op een ansichtkaart lijkt er ineens meer mogelijk. In de winkel wordt kunst benaderbaar en is het kopen van een catalogus een moment van toe-eigening.
Met als doel de grens tussen museum en winkel te vervagen en de museumwinkel als model voor het museum voor te stellen heeft De Groot een bekende klassieker opnieuw ontworpen; de ansichtkaart. De ansichtkaarten zijn een voortzetting van de bestaande Lissitzky merchandise van het Van Abbe museum. Niet alleen is het de bedoeling deze merchandise op te rekken maar ook om Lissitzky als het merk van het Van Abbe museum te benadrukken. De Groot stelt de museumwinkel voor als een model dat voorbij gaat aan de angst voor 'de kopie', waar beelden worden gemaakt die afstammen van een origineel kunstwerk maar een eigen autonomie hebben.

Door de kaarten als 'nieuwe' originelen te koop aan te bieden, wordt niet alleen de identiteit van het kunstwerk maar ook die van de toeschouwer relevant. Door de uitsnedes krijgt het werk een economische lading; het schilderij vermeerdert zich van 1 naar 12 kaarten, de oplage verhoogd, er kan meer verkocht worden. Het publiek heeft in deze beeldeconomie een cruciale rol; door één van de 12 kaarten te kopen spreekt ze zich onbewust uit over haar favoriet. Zo fungeren de stapels kaarten als een statistiek en leveren ze waardevolle informatie op voor de verdere 'branding' van het Van Abbe museum.


Tricksters Tricked: Museum chapter

The museum is a producer of cultural identity, mirroring socio-political changes with its collection policy. But how does this mechanism manifest its own identity in the age of entertainment?
Designer and researcher Kim de Groot investigates the manner in which museums consciously use their stock of art as brand icons. Opening up new possibilities of representation, De Groot offers alternative merchandise for sale to the self-conscious visitor.

Het museum is producent van culturele identiteit; haar collectiebeleid weerspiegelt de sociaal-maatschappelijke veranderingen. Maar hoe profileert een museum haar eigen identiteit in het tijdperk van entertainment? Ontwerper en onderzoeker Kim de Groot bestudeert de manier waarop het museum sleutelwerken uit de collectie gebruikt als beeldmerk. Ze geeft nieuwe manieren van representatie door alternatieve handelswaar te koop aan te bieden aan de zelfbewuste bezoeker.

more to read on the exhibition and participants


Tricksters Tricked

From 16/10/2010 till 30/01/2011 I will take part in the exhibition Tricksters Tricked at the Van Abbe museum. Tricksters Tricked zooms in on the construction of identitity; the ‘designing’ of ourselves, our city, our nation and our museum. I will work on the Museum chapter.

The exhibition will open during the Dutch Design Week 2010, 23 - 31 oktober and is transformed into a live exposure of various initiatives of artists and designers that stimulate the public to actively join the production of (their own) identity..

Tricksters Tricked is a zoom in on cases of identity representation and the dual role of design in shaping contemporary reality. "Designing" ourselves, our city, our nation and our museum.

What do we gain and what do we lose by constructing the identity of our self, our city, our nation and our museum? Tricksters Tricked is a zoom-in on cases of identity representation and the dual role of ‘design’ in shaping our contemporary reality.
When we design an identity for a specific purpose, we simultaneously create and destroy, communicate and manipulate. The choices that we make and apply in the process inevitably result in an artificial product. Designers, the trendsetters in the process, articulate the strengths and ignore weaknesses, just like make-up that can highlight or mask the face. Tricksters Tricked focuses on the tension inherent in the designing of identity on four levels: self, city, nation and the museum, and reviews these levels in the context of a world in constant change.

Contributors: Kim de Groot, Jonas Staal, Jozua Zaagman, Maartje Dros, Jacqueline Schoemaker, BAVO, Xijing Men, Werkplaats Typografie, Philippe Parreno & Pierre Huyghe, Marjetica Potrc, Bureau d'etudes.

Opening: Saturday, 23 October 2010 17:00


Opening #liketheoilspill project

Floating tagcloud + projection of the oilspill twitter tool at Onomatopee:

releasing the tweetsreleasing the tweets


Embed, Buzz, Tweet, Retweet, Rank, Comment, Digg, Rate, Sponsor, Spill, Connect, Link, Record, Share, Like the #oilspill


Live Twitter event at Onomatopee in Eindhoven including blue birds and floating tagcloud... You are invited!

On the first of July I will talk about my project Like the #oilspill and present a floating tagcloud at Onomatopee's project space in Eindhoven. Afterwards we will boost the topic #liketheoilspill together through live tweeting. It all starts at 20:00, hope you can make it and in the mean time... turn #liketheoilspill into a trending topic on Twitter!


Embed, Buzz, Tweet, Retweet, Rank, Comment, Digg, Rate, Sponsor, Spill, Connect, Link, Record, Share, Like the #oilspill


#liketheoilspill is a Twitter topic introduced by Kim de Groot to discuss the livestream as a media form that seems absent of any editorial process. Yet on the other hand shows an overdosis of distributive options such as 'Liking it' through Facebook or 'Sharing it' through Twitter.
The topic is inspired by livestreams of the BP oil spill such as and The exclusive content that contextualizes these streams are Twitter feeds or comment sections; raw data immediately hits metadata.
Join me in turning #liketheoilspill into a trending topic by twittering your thoughts and reactions on the transformation of editorial processes and the role of metadata such as tweets and comments in the news!
Is the livestream a form of news without editorial process? Or has news reporting turned completely political since the broadcaster can turn it's live channel 'on or off' at any time? Has the Tweet, as a kind of headline, replaced the main article, the reporter and thus some kind of middle ground?

The image above is a screenshot of the tool I made for this intervention. The tool shows the livestream of the oilspill and next to it, the twitter channels: #oilspill, #bp, #gulftour and #obama, the topic that are mentioned most in the context of #oilspill.
I was asked by Onomatopee to intervene in the ongoing exhibition, The Form and the Frame in which two editorial boards critiqued the editorial design of media such as the Elsevier, Vrij Nederland, De Groene Amsterdammer and HP de Tijd.


Decentral Editing: a life in metadata An intervention by Kim de Groot at Onomatopee

Between the 4th of june until the beginning of july I will be working on an intervention at the Onomatopee project space in Eindhoven as a part of the Form and Frame project.

Whereas politics and printed media used to speak with the voice of authority, we are now taking matters into our own hands. For example by continually posting comments online, writing blog entries, or twittering. The authority of the traditional media like newspapers is increasingly judged by what it can immediately provide us with: what we see is what we judge. The classical top-down cultural regulation through dissemination to the masses has become inoperable because of its one-to-many construction without any flexibility for editorial positions.

However, the traditional media can only be judged from the margins, by commenting on articles. Outside of these traditional media, authority increasingly transforms itself from a central organ into a hybrid body of metadata: stacking multiple layers of information, and formed in a decentralized and modular way.

Which forms of opinion are allowed by online media? Does the form of online media permit a sufficient amount of nuance that prevents opinion from remaining an ‘expression of thought’, and the grading of commentaries via the ‘Like’ button? The new construction of online authority includes, among others, the following questions about editorial and visual design:

What exactly is the position of the editor/reader in the metadata game: how does it support the construction of a new type of authority?

What is the form of online opinion?

Which forms of opinion are possible within the decentralized metadata structures?

Kim de Groot researches and creates images about metadata culture in which text, image, and opinion are superimposed. Within the context of ‘The Form and the Frame,’ Kim will (re)design several infrastructures for opinion in which the evolution of form and frame through new media will occupy a central position. Starting June 4, she will elborate on above questions as a supplement to the exhibition ‘The Form and the Frame.’


The image of art as operational image

Matthijs Kouw from the Virtual Knowledge Studio (Amsterdam/Maastricht) invited me to give a talk as a part of the workshop: The digital making of art and science at the Maastricht university.

The main thread of my talk was:
The transformation of images turning into network protocols and into units of production and how it inspires me to reinvent existing institutional approaches, such as that of museums, to images. The process of restoration in museums can turn into an inhouse copy culture if only one would focus on the concept of metadata for example...

Matthijs writes in his report on the event:
"Kim de Groot presented her work on the networked image, and presented various configurations and reconfigurations of 'the image' as facilitated and enabled by digital technologies."

Sarah de Rijcke blogs about my work and that of Coralie Vogelaar:
"It is very interesting how their work really embodies the idea that images are not merely tools, but are themselves sites of knowledge production and dissemination."

Other speakers at this event were: Sarah de Rijcke of the Virtual Knowledge Studio in Amsterdam, Peter Peters (Maastricht University, Hogeschool Zuyd) and Ruth Benschop (Hogeschool Zuyd) on Artistic Research, Stijn Verhoeff (Jan van Eyck academie), Klaas Kuitenbrouwer (Virtueel Platform), Angelo Vermeulen (Artist) and Caroline Nevejan.


Flickrs of Possibility, an interview in The Copyist

Metahaven talks "metadata" with Kim de Groot as she maps opportunities for change in institutional approaches to the contemporary image economy.
For the Copyist, a journal that accompanies the Play Van Abbe, Metahaven interviewed me about my research on image production in Flickr and You Tube and the concept of the operational image.
(download the interview below)

Extracts from the interview:

KdG: With my 3D models I aim to show internal hierarchies in the image, by looking at its ‘popular spots’. I try to design the image as a unit of production, and reproduction. Images are permanently (re)produced according to the growing amount of users and tags that are added to it. Comment sections and other metadata categories start to integrate with the image itself. The production and distribution of the image is no longer a preface to the end result, it is part of the image. Definitely, metadata is one of the founding mechanisms behind this transformation


MH: What is an operational image?

KdG: Museums should think about how art exists as an image, and not only how it should be presented as art. Application means to put things into operation. The image of art offers potential to do this. Corporate art collectors acknowledge this or at least make use of it by using art as a visual brand. What is the potential of the image of art for a museum? I think that considering the artwork as an operational image may allow the museum to design new dynamics around the actual work. The museum could produce series of derivative images, itself based on a kind of information and metadata which only the museum possesses.

Lissitzky DecayLissitzky Decay


the grey 19

In many ways, Malraux's vision has become much more than true: Taken literally, today's "Musee imaginaire" will most likely be a sort of semantic museum, a virtual collection of all artworks online, eventually re-arranged in an hypermuseum that is perfectly accessible through the algorithms of a search engine or an encyclopedic approach which sets out to categorize all kinds of predominant styles in art. But to the same extent as a great number of artworks get sort of visible and digitally accessible, more and more material needs to be ignored, marginalized and kept away in a status of uncertainty, unclassifiable and unwanted as such. Supposed to be neither an artwork nor archive material, rejected by the depot as well as the library, those pieces refuse meaning on a meta-level, precisely because they cannot be reduced to metadata. Rather than imagining as if there were real access, an imaginary museum would have to intervene into the struggles for imagination itself. Its most precious pieces would be what could have been easily thrown away without anyone noticing it. (text by Florian Schneider)

floor with originals

mobilemetadata mobile


The Grey 19 is based on artworks that float between archive, depot and collection. The floor offers an overview with the 'original' works. This is the basis on which we have constructed the website and the mobile, both build on the metadata that these artworks have gathered while being 'housed' by the Van Abbe museum.


actually.. it is not a poster

This year's recruitment campaign is based on the idea of 'video messages'. The poster is actually not a poster but a collection of tickets. The still on the ticket is a reference to the online video messages in which staff, researchers and future researchers talk about the jve, applying to the jve, experiences so far at the jve etc. (films are recorded with Florian Schneider)

ticket through hole envelop

out of the envelop
front of letter

overview tickets


campaign poster in the jve

The campaign is meant to attract new researchers to the JVE.

More images soon..


recruitment campaign jve has arrived!

Check your mailboxes for the recruitment campaign (poster!) i have designed for 2010

campaign envelop
campaign envelop


opening 'time machines' 10 april

Saturday 10 April, during the National Museum Weekend, Play Van Abbe Part 2, Time Machines, will open. In this part, utopian museum models of the past and radical historical prototypes will be assessed to find out if and how they can be applied today. How does a museum tell a story through presentation techniques and what are the underlying assumptions? We will be delving into the structure of the museum to examine its foundations, historical and otherwise. The museum reveals itself as a machine that continually produces a past via a mechanism of selection and exhibition: it is a time machine in the literal sense.

Play Van Abbe - Part 2
Time Machines
10/04/2010 - 12/09/2010
Location: Van Abbemuseum
Opening: Saturday, 10 April 2010 16:00

Programme opening
16.00 – 16.30 Speech opening in the auditorium by the major of Eindhoven, Rob van Gijzel and Charles Esche, director Van Abbemuseum
16.45 – 19.30 Tours by special guest guides
18.30 – 19.00 Performance by Spartacus Chetwynd


Time machines at Play Van Abbe

andré malrauxandré malrauxTogether with Florian Schneider who is invited as guest curator for Play Van Abbe I have been working on the museum model of André Malraux, Le Musée Imaginaire, for Play Van Abbe Part 02. As a part of Timemachines, Part 02 of Play Van Abbe, the Museum Modules section presents four studies based on special museum projects from the past. It will open on 10 April and run until 12 September 2010

Central questions of the Play Van Abbe project are:
What is the role of an art museum in the 21st century?
What are the conventions of a museum and to what extent are we aware of them?
How did they develop and are they appropriate today? Can we make them visible? Change them? Play with them?

For 18 months, the multifaceted programme of Play Van Abbe will take the collection and use it to suggest answers to the questions outlined above. It aims to focus not only on the artworks themselves but also on the way we are allowed to look at and to talk about them in a museum. Questions about form and content, copy and original, good and bad are put up for argument. The apparent neutrality of the museum is tested and the relation to exhibiting and collecting art is explored. The history and purpose of art museums in general and Van Abbemuseum in particular are revealed as partial and related as much to ethical decisions about society as to aesthetic choices about beauty and order.


jve campaign on e-flux

e-flux advertisemente-flux advertisement

Im designing this year's recruitment campaign of the Jan van Eyck academy. This is the e-flux advertisement that announces the campaign.

In a few days the website of the campaign will be online... All is based on video messages i have filmed from the building, staff and researchers.

e-flux advertisement

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