&header=Distribution strategies &subcaption1=perceived and wanted identity do play a part &subcaption2=text_3.txt &author=paul steenberghe &text=Distribution is one of the four principles of marketing (place) as described in Philip Kotler's all time marketing classic, by business students referenced to as "The Bible". It is the finale of this supposed meeting of demand and supply. %0D The meeting of demand and supply is even more an unresolved issue in art than in business. How autonomous is artistic production? What influences consumption? Is art wanted? And what art is wanted, where and when? And why? A lot of the answers to these question can be found within the methods of distribution. Why should the producer place 'the firm's destiny in the hands of intermediaries' as Kotler asked. Distribution in business is often seen as a power issue. But even more basically, it is a matter of survival. No distribution network means no business. The past decades have seen an immense growth in producer-led distribution chains. McDonalds being one of the prime examples of a strategy to keep all power in the hands of the producer. But even car companies are seen shifting from dealer networks to direct investments in retail outlets like Kwik-Fit. %0D For whom does the artist make work? This mythical question could be used in defining the proper relation between work and distribution. The old answer used to be that the artist cannot but make work, he needs to. There could be a more pragmatic answer, the artist wants to make work as an artist as it is a life-scenario felt most comfortable with. Aspects of perceived and wanted identity do play a part in this role assumption. Art then being the framework, is work being made for a peer group of other artists, for an art audience of professionals or for a broad art public. And within each group there are sub-contexts ranging from mainstream to radical. Though most artist aim for the professional art audience, being the most influential and controlling distribution outlets and art communication channels, a lot of artists have always opted out of this and chosen to work differently. Thus creating a more independent existence.%0D Subnote tries to play with the possibility of multi-channel distribution. On one level it sends out images to a general public, aiming for a presence in the domain of the general public, disseminating different views about money and economics. Secondly, it's presence on the web allows for access by a more defined art public or random visitors. More and more complex information can be made available there. Thirdly, through performances specific art publics are reached. These vary from peer groups to art interested people and members/donators. By involving people with the work through the exchange people are drawn into the project by becoming possessors and spenders of the subnotes. Lastly by asking other artists to design images for the money, a further, peer oriented, co-operation is opened. On all levels the project is open for participation without loosing its critical essence, be it a critique of general or art economics, of the holiness of the art image or object. As an example of poetic terrorism , it tries to stay autonomous and critical, while offering ironic alternatives. Ambiguously avoiding the question for whom or what, subnote, only answers not for the white gallery wall, all other options are open. &textloaded=OK