AD (Annet Dekker): How has the museum dealt with the ‘tension’
between an organisation that is in the service of the contemporary art scene, being fluid, ephemeral, collaborative, networked, situated in the public domain, using free software, and taking part in emergent p2p mesh cultures, and the museum’s imperative to conserve for eternity?
CB (Christiane Berndes): This tension appeared to be a fictional one.
Since the collapse of the financial system and the development of an entirely new idea of ownership, the museum is not the only institution that takes care of conservation. Digital artworks are part of the public domain and shared within several networks. They contribute to the conservation, interpretation and use of the artworks. The museum has become a platform that coordinates and supports these activities, and supports the groups that want to take responsibility for this.
lw (Layna White): Recently I spent time again with Agent Ruby,
Lynn Hershman Leeson’s online project (created 1999–2002, http://agentruby.sfmoma.org). Ruby and I exchanged questions and answers while the work was presented on a public device in a museum space, with our dialogue projected in real time for all in the vicinity to see. With others waiting to have a word with Ruby, I thought about my own words and experience in this public situation, and I thought about how to end the exchange. But where is the end with a work like Agent Ruby? What aspects of a work (for example, its existence, history, characteristics, workings…) are we hoping to carry forward into the middle distance, or even well into the future?
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...