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Curating digital artworks in physical spaces and online exhibitions is becoming more widespread, but such exhibitions

1 The interviews with Lindsay Howard, Domenico Quaranta, Arcadia Missa, Temporary Stedelijk, Katja Novitskova and Laura Mousavi can be read here: http://www.baltanlaboratories.org/ borndigital/.

mostly take place outside the world of traditional art. During the summer and autumn of 2012 several young curators were interviewed about their practice.1 A common denominator among these curators is their experience with online curating and/or presenting online artworks in physical spaces. What stood out was how easily they moved between digital and physical realms in their practice, from exhibitions in old warehouses, family homes, small sidestreet galleries, to online spaces and commercial platforms. They use existing curatorial formats for their presentations, adapting them if necessary, or create new ones. This introduction starts with quotes from some of the curators who reacted to the question of how they would position their practice within existing categories like digital art, new media, net art, contemporary art. The quotes exemplify how they deal with divisions between various art worlds; by taking distance from them, accepting any art for what it is: art. In the past five years, several Dutch organisations, among them the Netherlands Media Art Institute (now LIMA), Virtueel Platform (now part of The New Institute), Foundation for the Conservation of Contemporary Art (SBMK), and Digital Heritage Netherlands (DEN), were involved in a number of studies examining the topic of digital art preservation. One of the recurring outcomes of the expert meetings and workshops was the need for a knowl­edge exchange platform where information about digital arts aesthetics, history, presentation and preservation would come together. At the same time, Baltan Laboratories had moved its working space into the Van Abbemuseum. With its tradition and roots in digital art through facilitating new ideas and critical thinking around contemporary art and technological culture, Baltan’s move was, among others, an experiment to see if the collaboration could develop into a space that would encourage an experimental and forwardthinking approach for digital arts and the contemporary art world. After a number of informal discussions between Baltan’s director at the time, Angela Plohman, and curators and staff of the Van Abbemuseum, and in line with the

Speculative Scenarios — Edited by Annet Dekker  

There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...

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