I have often wanted to see writings on art (whatever their form) offered
bilingually in "art" and in plain English (or whichever)and i think it is
interesting to observe how we are often still tied to the art world rules
of not so much who, but what, is in/good/important. Perhaps the artworld is
suffering from a confusion between the notion of value(i do not mean
financial value) and that of significance?
-----Original Message-----
From: Jess Loseby
To: [log in to unmask]
Sent: 26/03/04 12:30
Subject: Re: British New Media Art Gate keeping...
From what I've read, this conference's primary aim to sell a book (I
love
the use of the word 'coincides with' - as in "oh my goodness this
conference is on as it just so happens that in my pocket ....":) so on
one
level is probably IS a waste of time to worry who and what has been
included.
On the wider issues, what I find disappointing about the this event as
both
an artist, curator and viewer (In exactly the same way as last years
User_Mode conference or even BALTIC) is the usage of the well tailored
phrase
"Complex, fast-moving and constantly evolving, new media work by
artists can often be difficult to grasp'
which seems to me a blanket cover-all. It could be more honestly
translated
as
' media art is so varied and prolific that we have deliberately
limited it to only a few already recognized projects, artists and
artworks
so as to achieve a cohesive timeline, progression and context. New Media
Art actually follows a non-linear timeline, often paradoxical
progression
and has multiple contexts but we are worried that you might not 'get'
this
(and it would be bloody difficult to explain)'
however, in an equal mix of cynicism and idealism it would be great to
have this footnoted with the statement
'we understand that by historicalising new media in this limited
capacity we are taking the risk that it will be generally understood
(by
viewers, students and curators new to New Media) that only the projects
in
the book are truly contextual to new media or have historical
significance. In addition we apologies in advance of any boundaries,
excessive formalisation or expectation places on new media artists and
curators in response to this books formalisation of the practice
thematics.'
(!)
As the number of these major UK conferences increase, I have been
generally
disturbed by seemly institutional obsession with following the american
lead in curation and conference thematics, despite the recognized short
comings of this model (need I refer to the Walker dialogue on CRUMB?).
The
fact that Dietz is the keynote speaker reflects this (Lev not available
for this one eh?:) Don't get me wrong, I respect Dietz work and his many
achievements but as I am sure many on this list will agree, curating new
media in the UK is really quite distinct from curating in the US. We
also
have articulate, inspiring and experienced UK curators so couldn't one
of
them be asked as the keynote on a conference of British New Media
practice? Simon Biggs has mentioned that he is not included and I
think
we could all think of a number of other similar significant British
innovators of whom are conspicuously absent. Disappointing again, this
conference (with all the authority of the Tate) simply does not well
reflect British new media practice curatorially or artistically. Even
Arts
Council funded projects are not well represented, as many of the
significant new media practitioners who have run or contributed to high
profile ACE funded ventures and works (well within this 'historical'
timeframe) are also strangely absent.
And yes, in all honestly, like marc (furtherfield) and like (possibly)
Susan or Simon, I too would have liked a mention but then very few
from
the UK are viewing my work or projects because it doesn't (and is
unlikely
ever to) fit formulations of new media such as this. Outside the UK I
am 'one of the leading female net.artists' and in the UK I could wheel
naked through the Tate with a laptop on my head on April 3rd and still
go
unnoticed. (hmm should I try that?:)
I guess if this is 'a series of snapshots' of British New Media
practice
then there will always be those on the edges of an image only whose
feet,
elbows and waving hands are visible...
jess.
o
/^\ rssgallery.com
][
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