“They develop new technology for all of their work with their team it’s not out of the box,” she says. Courtesy The Shed.įragile Future, according to Forde, was made possible with DRIFT’s proprietary technology.
Performance of “Drifters” in The McCourt at The Shed, as part of Fragile Future. “We’re at a point where media and digital art allows us to open into a world that merges performance and exhibition through technology and immersion,” Kathleen Forde, Senior Curator at Superblue, tells Jing Culture & Commerce. Helping to drive ticket sales are Superblue’s immersive offerings, which don’t lack for scale or scope. According to Lonneke Gordijn of DRIFT, “We would rather share our work with many people who each pay a little for being a part of the work, than have one collector buy the work and lock it up in their backyards or basement.”
As Dent-Brocklehurst told The Art Newspaper, “Superblue is not particularly in the business of selling art objects, we’re in the business of selling tickets and commissions.” This model enables both parties to generate a profit, ensuring artists funding for future projects and the venue sustainability. Superblue has further established a financial model with these artists that sees them receive continuous royalties from ticket sales. Installation view of DRIFT’s Fragile Future, 2018, Stedelijk Museum, Amsterdam.
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