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Dear "Curating Process" May CRUMB online panel contributors,
Due to an unexpected internet crash at my working place in May 4th
afternoon, I couldn't open our panel on time. I apologize for the accident
and delay of the event opening.
Now, the journey starts!
*Curating Process: Model and **methodology **to present artists' creative
process in art, science and technology*
The shift from *Object* to *Process* in curatorial practice first happened
in Media Art field. Christiane Paul in her introduction to *New Media in
the White Cube and Beyond: Curatorial Models for Digital Art*, suggested
that we consider the nature of Media Art – or New Media Art as it was
entitled previously – one of the major reasons for the shift:
“New Media Art is often characterized as process-oriented, time-based,
dynamic, and real-time; participatory, collaborative, and performative:
modular, variable, generative, and customizable.”
Seeking new methods of working and models of curating process-based art in
the intersection of art, science and technology is not a new topic in media
art history. It is an interesting topic for many curators since a long
time, however, without anyone finding a definitive answer. Before we move
forward together, I’d like to clarify the framework for our discussion:
1/ The type of “Process-based art” we are talking about on the panel.
The term of “process-based art” can easily create important confusion on
the type of art that we want to discuss on the panel. Generally speaking,
every type of artwork created with every type of medium and every
curatorial practice is the result of a process. In art history, it could
address two types of process-based art from two periods: the process art
from the year 1960’s, and the contemporary process-based art that is
created with digital media, taking the form of social practice or involving
cutting-edge technologies and scientific research.
On our panel, I’d like to invite our contributors to focus on the latter:
the contemporary process-based art. Within this context, we are going to
debate on the intervention of technology and science, their role in media
art history, especially in curatorial practice.
2/ The curation of “Process-based art.”
In relation of “Process-based art” curation, since the major shift happened
in the past thirty years from curating object to curating process, curators
were constantly searching for new models and methodologies especially in
the intersection of art, science and technology. In Sarah Cook’s
essay, *Immateriality
and Discontents: An Overview of Main Models and Issues for Curating New
Media in New Media in the White Cube and Beyond: Curatorial Models for
Digital Art*, she pointed out the “temporary exhibitions” with which most
of the contemporary curators were familiar and practice. Today in New York,
most of the non-for-profit organizations offer long or short term Artists
Residency program that constitutes the core activity of the organization,
and develop a curatorial strategy around a package of temporary events such
as Workshops, Open Studios and Exhibitions.
On our panel, I welcome our contributors coming from the above-mentioned
fields to present your different practicing models and methodologies in
curating the contemporary process-based art, also to propose new models,
strategies, contexts and opportunities for other curators to explore.
At the end of the panel, I’d like to discuss the aesthetics that curators
create in presenting “contemporary process-based art.” I’d like to name it
“the aesthetics of emergence” of “the emerging visual culture. ”
Different geographic zone showcases different aesthetics in curatorial
practice since curatorial practice is highly customized according to each
curator’s educational background and knowledge structure. Each exhibition
carries its author (curator)’s personality, transmits his (her) opinions on
arts, culture, philosophy, religion, social or political issues. On the
consciousness level, it also reflects faithfully his (her) personal growing
process, vision for life, emotional movements, and living experiences in
this world.
Within the context of “contemporary process-based art curation,” how is the
aesthetics being shown in different cultures? Have the technology and
science blurred the frontiers between these cultures? Does it exist a
globalized aesthetics of curation based on emergence? Does it exist a
syncretic practice in different cities in process-based art curation and
its aesthetics?
I hope that we can all enjoy the May panel and find the answers together
for the questions mentioned above in my introduction text, at least
partially. Now to open our discussion, I’d like to suggest us to start with
the following question:
*How shall we define the term of “process-based art” today?*
I feel honored to have 28 international contributors to participate in our
group discussion in May:
*Amanda McDonald Crowley*
is an Australian cultural worker and curator currently based in Brooklyn.
She creates new media and contemporary art programs that encourage
cross-disciplinary practice, collaboration and exchange.
http://publicartaction.net
*Andy Horwitz*
is curator and critic currently based in San Diego, CA. From 2002-2007 he
worked as producer at Performance Space 122 in NYC. From 2007-2009, he
curated the PRELUDE Festival at the Martin E. Segal Theater Center at the
Graduate Center at CUNY. Other curatorial projects include "The Future At
The End Of The World" at the Farley Post Office (December 2012) and
"Ephemeral Evidence" at Exit Art Gallery (May 2012). He is the founder of
Culturebot Arts & Media, Inc., an arts and culture not-for-profit dedicated
to fostering critical cultural discourse on, and from the perspective of,
the arts and a 2014 recipient of the prestigious Creative Capital | Warhol
Foundation Arts Writers Grant for his ongoing research project *Ephemeral
Objects: Art Criticism for the Post-Material World*.'
www.andyhorwitz.com
*Alex Adriannsens*
is the co-founder and director of V2_Organisation in Rotterdam, the
Netherlands
http://v2.nl/archive/people/alex-adriaansens
*Bruce Wands*
is artist, musician, writer, Chair of MFA Computer Art, Founding Chair of
BFA Computer Art, and Director of the New York Digital Salon, New York
www.brucewands.com
www.nydigitalsalon.org
www.mfaca.sva.edu
*Carol Parkinson*
is the Executive Director of Harvestworks Digital Media Arts Center whose
professional services include presentations and arts panel reviews locally,
nationally and internationally. She is primarily interested in the
development of experimental electronic sound art and emerging technologies
and is the producer of the New York Electronic Art Festival.
http://www.harvestworks.org/
*Carter Hodgkin*
has exhibited throughout the U.S., Japan, Europe and India. Her work is
included public and private collections.
www.carterhodgkin.com
*Elke Evelin Reinhuber*
is a media artist specialized in her artistic research on choice, decision
making and counterfactuals, teaching and researching at ADM/NTU Singapore.
www.eer.de
http://research.ntu.edu.sg/expertise/academicprofile/Pages/StaffProfile.aspx?ST_EMAILID=ELKE&CategoryDescription=ArtsDesignandMedia
)
*Gayle Young*
composes music, designs and builds instruments and sound installations, has
curated sound-related exhibitions, and writes about sound exploration.
*www.gayleyoung.net <http://www.gayleyoung.net/>*
*Gregory P. Garvey*
is the Director of Game Design & Development; Chair, Visual & Performing
Arts, Quinnipiac University, Connecticut | Curator of "Aesthetics of Game
Play."
*http://gameartshow.siggraph.org/gas/
<http://gameartshow.siggraph.org/gas/>*
*Hans Tammen*
is composer and media artist, currently teaching at School of Visual Arts
and Sarah Lawrence College.
*http://www.tammen.org <http://www.tammen.org/>*
*Jane Grant*
is Associate Professor (Reader) in Digital Arts, School of Art & Media, Faculty
of Arts,Plymouth University; co-director: art + sound research group, Principal
Supervisor, Planetary Collegium, CAiiA-Node
http://janegrant.org.uk
*John F.Simon, Jr.*
is an artist practicing daily drawing, sitting meditation, and CNC
fabrication.
iclock.com
numeral.com
*John Roach*
is a Brooklyn-based artist working in many media including sculpture,
video, installation, internet collaboration and sound art, assistant
professor of Fine Arts , Design Strategies at Parsons The New School, New
York
http://johnroach.net/
*Laura Blereau*
is an independent curator and a Director at bitforms gallery, a space
founded in 2001 that specializes in new media.
http://www.bitforms.com
*LoVid*
LoVid's (Tali Hinkis and Kyle Lapidus) interdisciplinary works include
immersive installations, sculptural synthesizers, single channel videos,
textile, participatory projects, mobile media cinema, works on paper, and
A/V performance. Collaborating since 2001, LoVid’s projects have been
presented internationally at venues including Daejeon Museum, Smack Mellon,
Netherland Media Art Institute, The Jewish Museum, Museum of the Moving
Image, PS1, MoMA, and The Kitchen.
http://lovidiparade.tumblr.com/
*Maurice Benayoun*
is a French pioneer new-media artist and theorist based in Paris and Hong
Kong. His work employs various media, from video, virtual reality to urban
media installations.
http://www.benayoun.com/
*Marisa Jahr*
is an artist and the founder of Studio REV-, a non-profit studio
integrating art, media, and social justice.
studiorev.org, marisajahn.com
*Mia Yu*
is an art critic, curator and historian of Chinese contemporary art. She
frequently organizes artist talks and panel discussions at OCAT Xi’an,
China.
*Michelle Kasprzak *
Michelle Kasprzak is a curator and writer, currently curator at V2_
Institute for the Unstable Media in Rotterdam.
www.v2.nl
michelle.kasprzak.ca
*Michelle Levy*
is an interdisciplinary artist based in NYC. She is Director of EFA Project
Space, an art venue committed to dialogue and experimentation.
www.projectspace-efanyc.org/about-the-project-space/
www.michelle-levy.com
*Millie Chen*
is Artist, Professor and Associate Dean at the College of Arts and Sciences at
the University at Buffalo
http://www.milliechen.com/
*Nina Colosi*
is the founder/creative director of Streaming Museum with a
multi-disciplinary approach in creating and producing projects.
streamingmuseum.org
*Pier Luigi Capucci*
Has been researching on the media and on the relationships among arts,
sciences and technologies. Pier Luigi is Professor at the Fine Arts Academy
of Urbino, Director of Studies of T-Node PhD Research Program of the
Planetary Collegium (Plymouth University) and director of Noema.
http://www.capucci.org/
*Stephanie Rothenberg*
is an Interdisciplinary artist and Associate Professor of Art at SUNY
Buffalo
*www.stephanierothenberg.com <http://www.stephanierothenberg.com/>*
*Tamas Banovich*
is the owner and director of Postmasters Gallery, New York
http://www.postmastersart.com/gallery_window.html
*Ursula Endlicher*
translates real-time data into non-linear narratives and choreographies.
Her works intersect Internet art, performance and installation. She is
located in New York City.
http://www.ursenal.net
*Victoria Bradbury*
is an artist weaving programming code, physical computing, body and object.
She researches the performativity of code with CRUMB (Curatorial Resource
for Upstart Media Bliss) at the University of Sunderland, UK, and recently
has implemented collaborative methods in forums such as workshops,
electronic art hacking events, and residencies. She participated in the
Shanghai Biennial IMMERSION: Art and Technology workshops (2012) and was a
resident artist at Digital Media Labs in Barrow-in-Furness, UK (2014) and
at Imagine Gallery, Beijing, China (2008). Here, she documented her
navigation of the sprawling city to locate and map each of Beijing's 37
Pizza Huts. Bradbury co-organized the Thinking Digital Arts // Hack
(Newcastle UK, 2014) and was selected to participate in the first
electronic art hacking event at the Tate Modern's turbine hall. (London UK,
2014).
http://www.victoriabradbury.com
*Victoria Vesna*
is an artist and professor at the UCLA Department of Design | Media Arts
and Director of the Art|Sci center at the School of the Arts and California
Nanosystems Institute (CNSI)
http://victoriavesna.com/
Xiaoying Juliette Yuan 袁晓萦
Media Arts Curator
Visiting Scholar NYU Steinhardt
Department of Music and Performing Arts Professions
35 West 4th Street, 10th Floor
New York, NY 10012
http://julietteyuan.net
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