Lets Lilypad Ourselves for the Sake of Art

Don’t be scared artists.  Today I’m talking about a Lilypad which is a piece of technology not a plant.  If you are adventuresome, the maker community would love to have you experiment with this form of technology and your artwork.  If you don’t have any idea how in the world you could use such a device, here are two examples.

Kobakant – She created a crying dress.



Anouk Wiprecht Wearable Art


With this type of open source technology, you can create artwork using digital text, LED lights and various sound devices.  The website for Arduino has hundreds of projects you can work on to learn the process before tackling a bigger and more intricate art piece.




On Saturday, I went to the Platform in Obersendling and attended a workshop organized by Mira Sacher and taught by Stefanie Wuschitz from Mz Baltazar’s Laboratory.  Do you remember Saturday?  It was a beautiful day full of blue skies and warm weather but I restrained myself from getting the “Bavarian Blue Sky Sickness” and headed over to the Platform for my first introduction to this hardware/software art tool.

Because I run on Colombian time, I arrived at the workshop five minutes late and saw a table full of electronic supplies and creatives with laptops.

Taking the last open chair, I opened my laptop with the Arduino software installed opened the software and froze.  This was not an intuitive so I would have to pay extra special attention to the German explanation.  Yes, I continue to take workshops at the Platform even though they are in German. So far, the value of the workshops overwhelms my natural inclination to avoid learning new things in German.

Four hours later, I bought my lilypad and brought it home so that I can make something really cool for an installation.  If you are interested in learning more about lilypads, you can make a trip to Vienna and visit Steffi Wuschitz. I know they would love for you to visit their female-focused Maker’s Lab.


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Lilypad Under 30 Euro




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First tutorial taught us how to turn on a blinking light
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The more things you want to have the lilypad do, the more connections you make.
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You use something called a breadboard while working to make sure your connections are correct.



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In one of our tutorials, we added a switch where we could turn up and down or on and off the light/sound we were experimenting with in the workshop.
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This is the little sound maker that you can hook up to the Lilypad
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One of the students was busy trying to solder her wires onto the disc for sound.
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setting up the wires to be connected with solder

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With the lilypad we used these alligator clamps while making sure everything worked


The platform will have two more workshops in their feminist Maker’s series.

Here is information for the next workshop in German:


“Sniffin’ Glue” – Ein Zines-Workshop mit dem beißpony Artwork Team in Kooperation mit Archive Artist Publications

02. Juli 2017 → 14 – 17 UhrHalle der PLATFORM
Kistlerhofstr. 70 → Haus 60 → 3. Stock
81379 MünchenIm Workshop Sniffin’ Glue werfen wir einen Blickbehind the zines.
Zines sind selbst gemachte Hefte, die sich als kritisches Gegenstück zum Medienalltag der Massenkultur verstehen. Nicht selten sind sie außergewöhnlich gestaltet, mit eigenwilligem Layout und offen für Formate jenseits des DIN-Korsetts. Sie werden kopiert, untereinander ausgetauscht, über Buch- und Plattenläden, den Postversand und im Internet als E-Zines verbreitet.

Der Workshop mit Stephanie Müller, Gründerin des Kunstprojektes rag*treasure und Gewinnerin desFörderpreis Musik gibt gemeinsam mit dem Münchner Maler und Filmemacher Klaus Erich Dietl einen Überblick über die Geschichte, Spezifika und Vielfalt des Mediums und stellt einige Beispiele von Grrrl Zines vor.

Die Teilnehmer*innen haben Gelegenheit, im gemeinsamen Austausch miteinander gestickte Botschaften, genähte Zeichnungen, kurze Texte oder Miniatur-Hefte zu entwickeln. Eine Auswahl an Recyclingmaterialien (ausrangierte Zeitschriften, Postkarten, Warnwesten, Gitarrenplektren, Bandagen, Filmbänder, etc.) steht beim Experimentieren zur Verfügung. Gerne können auch eigene Dinge zum Umgestalten mitgebracht werden.
Der Workshop findet im Rahmen der Ausstellung Münchner Independent Magazine aus dem Archive Artist Publications (Hubert Kretschmer) statt.

Unkostenbeitrag 15 € (bitte bar mitbringen)

Bitte meldet euch an:


Review Fotodoks Workshop (2015) Raw Munich – Day 2 – Documentary Photography

PS…Did you read Day 1 of the Fotodoks Workshop


Workshop Day 2

When I arrived at the Fotodoks offices, Belgrade Raw was showing a box of their work.

The Belgrade Raw group does not give individual artistic credit. Once photos are submitted to the project, they become Belgrade Raw photos. Self-curation is the general rule and keeps the quality and the voice in line with what Belgrade Raw wants to achieve.

After checking out their prints and looking through their postcards, we migrated back to the table where our work from the day before waited.   The Belgrade Raw group asked us to reexamine our choices and see if we wanted to make any changes.

Belgrade Raw Munich Artists Final Composition
Belgrade Raw Munich Artists Final Composition

A few artists wanted to add more photos that represented Munich and laid photos on top of other photos without taking the step to discard someone else’s choice hidden below. I thought that was funny. The new photos chosen were interesting but still did not add a stronger Munich context to the book.   After yesterday’s selection process,  I was over the idea of having this book represent Munich in a concrete way.  I decided that this book represented the weekend process of creation and collaboration among artists in Munich and the melding of 12 people into three booklets.  This decision freed me up to just have lots of fun playing with photographs.

After we signaled that we were done messing with the layout, the Belgrade Raw team took a look and did their jazzy thing creating the composition below.

Belgrade Raw Munich Workshop final outlay
Belgrade Raw Munich Workshop final outlay

Can you see the difference?  In our initial layout, we have a variety of compositions but they are not talking to each other or interacting in any definitive way with each poster. The Belgrade Raw team took our photos and moved them around so they lead the viewer through the space and shared a story. Not a linear story but a surrealist or DaDa story focusing on stirring feelings and viewpoints.

The Belgrade Raw team, like musicians, have learned how to work together. They know each other’s strengths and how each member thinks. The politeness of strangers is not present or hindering their work, and they are able to nod at each other, point at a photo and swish it off the page making for stronger and more interesting compositions without an extensive discussion or worrying that they are hurting the other member’s feelings.


After the Belgrade Raw team moved photos around, we questioned the changes and then approved the final three posters.

Phase III –   Booklet Layouts

The Belgrade raw team grabbed all the photos again and distributed them over three tables.


The artists were assigned a table and asked to choose up to 8 photos for the pages of one booklet.


My table went through the photos and removed any photos used in the posters.  From the remaining photos, we picked our favourites and put them together in the book.


After we chose our initial photos, Mane, came over to our table and said we should play some more. (In more blunt terms, our book was boring.) Our table thought about this. What could we do to make our book more interesting using the photos we liked?

Using Mane’s feedback, we looked back at the photos and removed any photo that repeated the same message.

We chose to split a photo in half and use it as the front and back. A photo that could easily represent the beginning and the end.  We altered the sizes and locations of photos and ended up with something interesting that our group believed represented Munich, the raw photo style and reflected a little bit of our group.


The three groups finished their books and then came back together to decide what order to show the booklets.

One issue we faced was that each booklet started out with a very stark image of Munich, there was no other choice but to start out with a very strong visual /gritty image of the city.  Book 2  ended up in the middle because it had a blank page at the end and the group did not want to end the book with a blank page. Our book contained the half photo which was better than no photo and so the order was decided.  The blank page would be a pause between the second book and our booklet.

After a few comments about production challenges and ideas for the cover, the final order for the book and posters was decided and documented.  After seeing the final selection,  I wondered if we mixed the books from other cities together with our books, would people be able to find Munich through this raw and opaque lens?  The books do feel German and European but are they Munich?

 The books were presented at a Talk/Lecture @ Lothringerstr. 13, 81667 München – In the bookstore.  



Please check out the documentary photography in town this week.  Your interaction is important to keep art festivals happening in Munich, Germany.  A few suggestions:

  • The opening vernissage and exhibition of “Past is Now” is at the Muenchner Stadtmuseum  starting at 1830 on Tuesday October 13th, 2015
  • Wed – Exhibition at Lothringerstr.13,  I really like the photographs on horizantal LED boards on display in a metal box frame.
  • Thursday, October 15th, 2015 @1830 Panel Discussion about the pleasure of digging in archives. Maximilians Forum
  • Saturday Long Night of the Museum. Buy a ticket for 15 Euro and visit me at Goethestrasse 53 and then the Munich City Museum exhibition and then every other museum in Munich. (I never make it to more than three.)
  • Sunday Presentation of “Munich Raw” and “Der Greif” workshops.

If you want to know more about documentary photography before visiting the Photodok exhibitions, here are a few links to visit so you are up to speed.

If you are inspired by my posts about this form of photography and want to get started on creating documentary photography, here are a few tips (until you can sign up for a BelgradeRaw Workshop)

Are you curious why I refer to jazz music when referring to Belgrade Raw? Here is a jazz musician talking about how he does improvisational jazz.  See if you can see why it resonates with Raw photography.

NOTE:  The workshop was worth taking and now I need to create a photo library that holds both my main shots and those filler shots I toss into my reference and inspiration file.