Reconfiguration of formats and showcases for art productions under ecological perspectives

The social change into a sustainable way of life and the attempts to counteract the already established climate change are motivating more and more actors in the art field to implement ecological adaptation of the art world in practice.
The FUTURAMA-LAB "R.A.W." works on proposals and solutions, created in the dialogue between curators, ecologists, artists and art-institutions.
Above all, a procedure, were curators, partner institutions and committed artists are experimenting on alternative processes and models, is the central aim of the FUTURAMA-LAB "R.A.W.".


In spring 2020, during the global COVID-19 shut down, a team of international curators, artists and scientists were working on smart solutions, how to still be able to operate international formats in the art world, such as festivals, fairs and exhibitions.
Many restrictions in these circumstances could be seen as obstacles for the production, but on the other hand, everybody of the F-LAB team is aware, that these solutions could also be a big chance and the beginning how to rethink about a lot of actions and how these formats could change, having ecological properties for a clean future of the planet.
The team of the F-LAB is convinced, that these changes will have to happen anyhow and the art wold is facing a big chance to change their methods, in using the COVID-19 shut down as a simulation for a greener configuration.
It was the birth of the FUTURAMA-LAB "R.A.W" project. "R.A.W." is a shortcut for "Remote Art Work" or "Remote Artists Working".


FUTURAMA LAB "R.A.W." develops concepts that deal with the ecological qualities of international formats in the art world, such as festivals, fairs and exhibitions. The aim is to improve unacceptable situations such as the transport of works of art, travel activities of the artists and the waste of materials in productions.
The team of FUTURAMA-LAB "R.A.W." is interested in transformation processes in the art context, which would have taken place independently of current restrictions by COVID-19 and have long been necessary. It is about accelerating and supporting these processes and the option of playing a responsible role inside these processes.
In addition to already known methods such as digital broadcasts and virtual events, there will be exciting changes in "questions about authorship", "the aesthetics of the works", "alternative working materials" and "the choice of presentation media". The development of new concepts for artistic productions, communication between institutions and artists as well as advice on the transformation from classic to ecologically based formats are the central themes of the experiments by FUTURAMA-LAB "R.A.W." .
Since it can be assumed that there will be a profound revolution in the art world, the FUTURAMA-LAB team believes in the improvement of many components and in the possibility of helping to shape these changes.


Beside working on basic strategies to reach a certain level of ecological circumstances in art productions, there will be a meta-level. This meta-level of self reflection in the changing concepts will use the adaption and transformation of processes as a main part of the artwork itself. This is why the input of artists and curators is so important. The changing process will become the main content of the artwork. Deliberately provoking artists in undermining their artistic methods, with the ulterior motive to promote changes that create an ecological basis for their productions.
The East Asian philosophy of copying, its attitude towards authorship and the generation of ideas should be established as a transfer method. In this aesthetic concept, learning skills, imitating skills or copying works is more important than artistic authenticity and original works of art.
Best practice - A video series called "The painter solutions"
In early 2021 members of the F-LAB RAW team will start dialogues with various painting artists, to find out, how a reconfiguration can be done in their working field. This challenging talks will be part of a video series and should inspire other artists.


• "Artwork" : a work of art.
• "Case" : various formats and showcases for art productions.
• "Level" : different levels of production processes in a "Case", like leading level,
production level or artist.
• "Team" : group of people who are working inside a certain "Level".
• "Production Material" : materials, which are used for a "Case" to display the works of artists. It is not the material, which the artist are using for their artworks.
• "Artist Material" : materials, which are used by the artist for their artwork-production.
• "Artwork Medium" : the physical configuration, which shows the content of an artwork and which is also responsible for the aesthetic reception. The "Artwork Medium" stands in a strong dialog with the "Artist Material".
• "Transmitting Mode" : Describes various aesthetic and technical versions, of how an "Artwork" is transported virtually from the creator to the final display or space in the addressed showcase.
• "Artwork Instruction" : If an "Artwork" is planned by an artist, but realized and produced by another person, the persons, who is in charge of production needs an "Artwork Instruction". The method of how the instructions are transferred from the artist to the producer belongs to the group of "Transmitting Modes".
• "Gap" : An element, circumstance or fact in an art-production, which has to be reconfigurated, because of its non-environmental properties.


1) Split a "Case" into its "Levels" of production
2) Analyses each "Level", were there are points, which have to be reconfigurated, because they do not fit into the "RAW"-Regulations. We call that: find the "Gaps".
3) Working on alternatives for these "Gaps" with the "Teams" of all "Levels" who are attracted by these "Gaps" and who should be involved in the development of alternatives.
4) Establishment and realization of the alternatives.
General Services for such Processes:
• Analyzing a "Case" in terms of finding critical ecological circumstances and "Gaps" in the production.
• Coaching and consulting "Teams" of different "Levels" in rethinking of their processes, working methods & the use of "Production Materials".
• Accompanying the communication between institutions and artists for this reconfiguration.
• Psychological support for artists who have to radically reconfigure their work due to ecological limits.


Establish classical "Transmitting Modes" like:
• Digital broadcasts
• Virtual events & showcases

Establish unusual "Transmitting Modes" like:
• Delegate the production of artworks
• Linked concepts of analog & digital "Transmitting Modes"

Confronting the different "Teams" with progressive perspectives on topics like:
• Questions about authorship
• The aesthetics of the works and who is responsible for this aesthetic
• Alternative working materials
• Reasons for the choice of specific "Artwork Medium"
• Following the "Content Goal Principle" then the "Media Goal Principle"


These regulations were developed in 2019.
The "RAW"-Regulations guarantee the most emission-free and sustainable implementation or production of formats in the art context and of artworks. They will be constantly expanded
The following guidelines are obligatory, except if they massively impair the basic message, aesthetics or functionality of the artworks or productions:
• Reduction of artist trips.
• Greening or reducing art transports.
• Media transformation of artworks as a alternative solution for artwork transfer.
• Priority for local production and materials.
• Plastic products are taken from used or existing material pools.
• Use of recycled paper and FSC wood.
• Use of new materials exclusively with environmental labeling and from ecological production.
• No use of streaming services, apps or software that supports "Big Data".
• Reduction of energy consumption by an ecologically oriented adjustment of artworks.
• Creation and compliance with energy saving and waste plans.
• Following the exhibition, all materials will be:
   - sold as works of art.
   - reused for other similar installations.
   - further used, recycled and properly recycled only if no other use is possible.

Rainer Prohaska
Rφgergasse 1
1090 Wien

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