Hi all,
I think that Eva and Franco Mattes’ Time Out of Joint gets at what I have been thinking about in terms of pandemic period curatorial practices: the split between the brick and mortar art world falling in love/need with the online viewing room, and the oooold net art idea that you need to do more than just put images of art on a website. (I associate that last idea as an artists practice crystallized in an essay by Jon Ippolito, but it probably goes back further.)
Eva and Franco have made the presentation of the work, part of the work. I don’t know if they planned it like this from the start (as they have curated in/about non-spaces before), or if this is a response to the pandemic.
https://yerevanbiennial.org/time-out-joint
I think that HeK’s Net Work series is getting at a similar approach. And was started in response to the pandemic I believe. There isn’t a central page for the series, but this is the one I did:
https://www.hek.ch/en/program/events-en/event/hek-net-works-michael-mandiberg-virtual-background-2020-1.html
I just completed a show on Zoom. Since April, I have been painting images from my calls as a coping mechanism for, meditation on and representation of the isolation of this pandemic. I showed them in Denny Dimin Gallery’s Zoom meeting room for two weeks, during gallery hours:
https://dennydimingallery.com/news/virtual_exhibition/zoom-paintings/
And in this regard, I think the the Sleep Mode screening that Sarah referred to fits these models: bringing the work into the forms and sites where other cultural and business communications are happening.
Maybe I’m thinking about this question too much from the perspective of an artist, but hopefully it is useful
Michael
—
Currently: https://whitney.org/exhibitions/live-study
Written on the go...
>> On Nov 30, 2020, at 10:32 AM, Sarah Cook <[log in to unmask]> wrote:
> Hi Ele and all
>
> I’ve been following this shift pretty closely. In fact way back in June myself and Prof. Joseph Delappe and Dr Laura Leuzzi and Dr Martin Zellinger submitted an ‘urgency’ AHRC research application to study exactly this - activist digital art responses to the pandemic and new ways of working. Unfortunately we heard last week (20+ weeks after we submitted it, rather than the 10 days turnaround which had been promised) that it was not funded. We would still like to do this work regardless.
>
> Here in Dundee NEoN Digital Arts did not put on its annual festival this year - in part to pause and rethink what constitutes a digital festival these days! That said, NEoN has been busy - participating in Ars Electronica, hosting some new work through an online call for screen-based art in relation to our 2020 theme of sharing, and on Saturday organising a NEoN at Night YouTube live stream to dance in your living room — you can read about it all here: https://northeastofnorth.com/
>
> Other examples spring to mind, including my own which I haven’t had time to reflect on:
>
> Transmissions.tv<http://Transmissions.tv> was a brilliant collaborative project showcasing new work, some made in response to the pandemic, which I really enjoyed both seasons of during lockdown. There is a season three in the works.
>
> My curated project Sleep Mode, which was supposed to initially be an exhibition as part of Glasgow International, was completely re-thought and re-staged at Somerset House online in June. The panel discussion reflected on changes to ways of working by media artists. It felt like a form of activism to be coming clean with one another about the challenges we were facing in those early days of summer. You can still watch the new commissions, the panel discussion and the screening programme as well as read my curatorial essay. Mandiberg used zoom to create new work during the live event.
> https://www.somersethouse.org.uk/whats-on/sleep-mode
>
> Wearing my academic hat, the University of Glasgow organised a number of collaborative projects to bring visibility to the work of humanities researchers including #human_ties https://www.gla.ac.uk/schools/humanities/latestnews/headline_723109_en.html — sometimes just bringing visibility via shared use of a hashtag is also an activist gesture.
>
> I haven’t had a chance to look at things like the Covid Art Museum, but I hope to learn from your students about things like it.
> https://www.instagram.com/covidartmuseum/?hl=en
>
> I’ll keep thinking of other examples,
> Sarah
>
>
>
>
> Sarah Cook
> Professor, Museum Studies
> Information Studies, School of Humanities, College of Arts
> University of Glasgow
> 11 University Gardens
> Glasgow G12 8QQ
> Tel: +44 (0)141 330 5104
> [log in to unmask]<mailto:[log in to unmask]>
> The University of Glasgow, charity number SC004401
>
>
>
> On 26 Nov 2020, at 10:18, Ele Carpenter <[log in to unmask]<mailto:[log in to unmask]>> wrote:
>
> Hi Everyone,
>
> What are the media arts curatorial responses to the pandemic?
>
> I’m working with the MFA Curating students at Goldsmiths University of
> London on a workshop about Curatorial Activism after the Pandemic. We’ve
> noticed that in the mad rush to move offline content online, the distinct
> modes of media/net/data/sci art which use the internet as a space for data
> analysis, collaborative production and distribution seem to have even less
> visibility than usual.
>
> We’d particularly like to hear about projects and new writing that deal
> with the geopolitics of the pandemic, and examples of regional co-operation
> and collaboration.
>
> Best wishes,
>
> Ele
>
>
> Dr Ele Carpenter
> Reader in Curating
> Goldsmiths University of London
>
> Nuclear Culture Project <http://nuclear.artscatalyst.org/>
> Embroidered Digital Commons <http://www.embroidereddigitalcommons.net/>
>
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