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NEW-MEDIA-CURATING  2004

NEW-MEDIA-CURATING 2004

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Subject:

Re: British New Media Art Gate keeping...

From:

Jess Loseby <[log in to unmask]>

Reply-To:

Jess Loseby <[log in to unmask]>

Date:

Fri, 26 Mar 2004 12:30:51 +0000

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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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