a background in contemporary art and the other in digital art, led each group. The pre-conference talks started with several pre-assumptions to posit the different viewpoints: If the museum’s job is not only to think about the past, but also to celebrate what is most vital and relevant now, then the Internet cannot be ignored as a valid location and focus for artistic practice. As the social history of art has taught us, art can only be understood in the wider context of the society that produces it. Digital art says a lot about contemporary society and how it is changing, as is evidenced when it is addressed in relation to established art histories. Many curators still find it difficult to distinguish artistic merit from technical innovation in digital art. Due to the number of professionals around the table, the goals of the conference were set high and desirable outcomes were defined as follows: — Suggest improvements: what are new models of knowledge and information exchange; — Position statements around the state of contemporary art, research orientations and possible integration paths between different art worlds; — Propose models for the ‘Museums of the Future’. As expected, the conference programme was intensive and although a number of the themes were examined in depth, it also revealed the challenges of bringing people from different backgrounds together. A new canon is not easily set up, especially around an artform that has very strong nonhierarchical structures. Creating lists of artists, artworks and exhibitions lead foremost to dispersion instead of coherence. Breaking traditions, thinking from scratch, and speculating about an insecure future is hard to do in four days. Nevertheless, many attempts were made to come up with alternative methods to (re)define history, aesthetics, preservation, documentation and presentation – some of
Published on Aug 1, 2013
There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...