9 speculative scenarios
Finally, in an attempt to better articulate and analyse digital art within a contemporary arts’ discourse a suggestion was made to organise distributed exhibitions in which six digital artworks will be leading. Since there are many ways to exhibit a digital artwork, which all have an immediate impact on the meaning and experience of the work, based on the six digital artworks six curators should, at the same time and independently, curate an exhibition of these in their own space. The differences in conceptual framework, presentation, audience participation, reach, artist involvement and so on could be critically evaluated and possibly lead to new methods and a better understanding of the artform. The conference provided a lot of food for thought and an array of questions were raised, but not all of them could be discussed in depth because of time constraints. In an attempt to fill some gaps the authors in this publication elaborate on some of the issues that kept returning in the four days of the conference. The essays and interviews are divided into three sections: aesthetics, future scenarios, and archival practices. Aes thetics
In the first section on aesthetics, Christiane Paul, adjunct curator of new media arts at the Whitney Museum of American Art and associate professor at the School of Media Studies, The New School in New York, explains during a Skype interview the notion of aesthetics and how it is dealt with differently in digital arts and contemporary art, while also discussing shifts that have taken place in digital, and especially Internet art. Olga Goriunova elaborates on the latter, pointing to new online aesthetic forms and the vitality of ‘lurking on a forum or following a meme, creating a stream of videos, enacting planking and uploading an image of the act, living on a social networking site as a photograph, being edited, lingering on as an outdated design element, being looped in Coub and made available to 500 friends on Facebook’. In the process she touches upon the changes in curating. Curators are compelled by the production and extension of aesthetic forms, values and procedures, but at the same time they are in competition or conflict with capitalist, deterministic and entropic forces. It is in the
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...