Thank you MariaLaura for the invitation and the introduction.
I'm going to kick us off, just by very briefly introducing the structure of
our project, Field Broadcast, in the terms of the discussion threads.
Interface: Field Broadcast works with the live broadcast as a medium- the
artworks are events that occur through the broadcast. The audiences
receive the artworks through our custom built Field Broadcast software, a
desktop application that runs in the background. When a broadcast arrives
the software pings, and opens a viewing window on top of anything else the
viewer has open on the screen. Times of the broadcasts are not announced,
and they are received as an interruption to the viewer's other activities.
Our first project, in May 2010 in collaboration with Wysing Arts Centre
(archived website material and current projects available here:
www.fieldbroadcast.org) invited 33 artists to make live broadcasts from
fields. The broadcasts used dongles (mobile internet connections) to
enable artists broadcasting to work in remote locations and send the
broadcasts back to a dispersed audience. In the brief to the artists, we
requested that the artworks must be completed by their 'liveness', that the
liveness must be an intrinsic part of the work. The artists took up this
challenge in a variety of ways, and the most successful broadcasts had
sense of immediacy, and played with the simultaneous distance and proximity
between artist and audience, and encounter with the artwork.
Migration: It is the nature of the broadcasts, as interruptions into the
audiences' daily life, that we are exploring in our forthcoming project,
Domestic Pursuits, in partnership with NearNow at Broadway in Nottingham.
Through a collaborative residency, leading to a broadcast series we are
working with 8 artists to develop broadcasts that consider and address the
domestic situation of the audience. The experience of each broadcast is
completed differently for each viewer, being a montage of the broadcast
(image and sound) and the wider imagery on the desktop, as well as the
surroundings of the viewer's computer- and any other sound in their
In addition we are also in the process of developing a mobile app that will
allow broadcasts to be received on phones and tablets, so both audience and
artist are mobile.
Access: We are genuinely committed to creating projects that have
relevance / interest / meaning for a wider audience, and there are
potential connections with histories of community television projects, we
are curious about how in the future Field Broadcast could be made available
as a collective broadcasting platform.
Look forward to hearing your thoughts.
On 26 April 2013 07:00, Marialaura Ghidini <
[log in to unmask]> wrote:
> Dear List,
> For this month’s discussion we wish to return to November 2012’s theme of
> hybrid modes of curatorial practices, as part of our research preparation
> for the symposium that will be held during Run Computer, Run at Rua Red
> Gallery in Dublin on June 20th. Run Computer, Run – part of the Glitch
> Season (http://runcomputerrun.com/) – includes online and offline
> exhibitions, and a publication (including contributions made to this
> discussion before the end of May). The spread and simplification of
> web-based tools has led to an increasing number of curators and artists
> adopting web platforms for the distribution and dissemination of artwork.
> This month, we aim to re-examine these models, and discuss the structural
> and socio-economic conditions inherent in these modes of working.
> The theme is co-hosted by CRUMB team members doctoral researcher
> Marialaura Ghidini, currently on residencies in Delhi and Bangalore, and
> Dr. Nora O’ Murchú, curator of Run Computer, Run and one of our current
> post-doctoral research associates, who will be at CRUMB until the end of
> We started last November’s discussion by noting that:
> Ideas of the curator as editor, filter-feeder and “platform builder” (Cook
> and Graham, Rethinking Curating, 2010) and of having a synchronous site of
> production and distribution are popular within theories of contemporary
> curating (such as Maria Lind’s idea of a “museum that would function
> simultaneously as a production site, a distribution channel and as a venue
> for conversations” in Learning from Art and Artists, 2001). These ideas of
> site-specificity and “context-sensitivity” (also Lind’s term) – in which
> curatorial work affects and is affected by the site in which it takes
> place, in terms of both physical space and intellectual landscape – are
> helpful for grounding a discussion about curating in online contexts, where
> the web-based platform is understood as both medium of production and of
> We are now proposing a new set of questions, in three threads, that we
> feel may uncover new perspectives regarding the above:
> The Internet is a space of creative practice, simultaneously a site of
> production, display and distribution. What, then, are the specifics of
> curating online? How do curators engage with these systems of distribution
> (either ready-to-use or custom built platforms), when framing and
> displaying exhibitions online?
> As web technologies become embedded in our every day lives, the
> distinction between online and offline blurs. We frequently witness
> exhibitions and artworks that transition between these two modes. As
> curators, what methods have you employed in your own practice to facilitate
> this, and what possibilities do the tensions inherent in work that has dual
> modes of presentation offer to contemporary curatorial practice?
> The function of the Internet as a tool for distribution generates new
> possibilities and contexts for audience engagement. These alternate
> ecologies and economies lie outside the boundaries of traditional
> curatorial practice, and have more in common with online music distribution
> than with contemporary art dissemination. What are the implications for the
> role of the curator in dealing with new interfaces for audience engagement?
> How do the structures and restrictions of web and interface design impact
> on curatorial decision-making, and influence the way in which artworks are
> distributed and consequently experienced?
> The above questions allow us to re-frame our initial discussion, and to
> consider the implications for the curatorial, including form and format of
> presentation, structural organisation, and the arrangement of artistic
> material for web-based platforms.
> We have invited responses from the following:
> - Mark Amerika is a renowned "remix artist" and Professor of Art and Art
> History at the University of Colorado at Boulder (US). Recent projects
> include the artwork Museum of Glitch Aesthetics presented at Abandon Normal
> Devices 2012 in Liverpool (UK) and the publication remixthebook (2011), a
> print book and a website functioning as an online hub for the digital
> remixes of many of the theories generated in the print book.
> - Field Broadcast is an online art platform examining the simultaneous
> experience of remoteness and proximity through live broadcasting. Field
> Broadcast has developed through the practice of, and is run by, artists
> Rebecca Birch and Rob Smith. http://www.fieldbroadcast.org/
> - Bani Brusadin is a free lance producer and researcher in the troubled
> water where art, digital technologies, popular cultures and politics clash.
> In the last decade he has been involved in several art, activist and
> research projects, exploring the power of fake, improper identities and new
> forms of subcultural epics. In 2004 he co-founded The Influencers, a small
> cult festival about non conventional forms of art and communication. The
> 9th edition of The Influencers will take place in Fall 2013.
> - bubblebyte.org is an online gallery showcasing artists that engage in a
> creative way with the digital space and stress the multiple possibilities
> of the media. bubblebyte.org is in itself container and content, artist
> and gallery. Founded in January 2001 as a collaboration between artist Rhys
> Coren and curator Attilia Fattori Franchini. http://bubblebyte.org
> - Annet Dekker is an independent researcher, writer and curator. She is
> currently a core guest tutor at Piet Zwart Institute, Rotterdam, and editor
> of an international publication for Baltan Laboratories, Speculative
> scenarios, or what will happen to born-digital art in the (near) future. In
> 2009 she initiated aaaan.net together with Annette Wolfsberger, they
> coordinate artist-in-residences and set up strategic and sustainable
> collaborations with (inter)national arts organisations. Previously she
> worked as webcurator for SKOR (Foundation for Art and Public Domain,
> 2010-2012), was programme manager at Virtueel Platform (2008-2010), and
> head of exhibitions, education and artist in residence at the Netherlands
> Media Art Institute (1999-2008). In 2008 she started a PhD research on
> strategies for documenting net art at the Centre for Cultural Studies,
> Goldsmiths University, London, under supervision of Matthew Fuller.
> - Amber van den Eeden (b. 1983) and Kalle Mattsson (b. 1979) initiated
> four online exhibitions on temporarystedelijk.com. Amber van den Eeden is
> a communication scientist, artist and curator of online exhibitions. She's
> currently teaching at the Gerrit Rietveld Academy. Kalle Mattsson is a
> graphic designer and artist based in Amsterdam and Stockholm. He designed
> campaigns for Foam What's Next, UnSeen, and worked for magazines such as
> Metropolis M. The current exhibition on http://temporarystedelijk.com/(programmed by Jonas Lund) is a collaboration with Constant Dullaart.
> - Candice Jacobs is an artist and curator. Recent projects include:
> SLEEPING UPRIGHT an online project designed to interrupt and punctuate the
> somewhat personal space between you and your computer and ACCIDENTALLY ON
> PURPOSE a gallery exhibition that was accompanied by the online project
> ACCIDENTAL PURPOSE, a website, an audio project and a closing symposium
> organised with artist Fay Nicolson.
> - Jacob Lillemose (b. 1974) is a freelance curator and writer based in
> Copenhagen and Berlin. He holds a PhD on software art from the University
> of Copenhagen and is currently curating the transmediale exhibition.
> - Fay Nicolson is an artist who also writes and curates. Recent curatorial
> projects include ACCIDENTALLY ON PURPOSE, a gallery exhibition, audio
> project and closing symposium, accompanied by the online project ACCIDENTAL
> PURPOSE organised with artist/curator Candice Jacobs. Other projects
> include RE-RUN, an on-line exhibition of digital video works curated with
> Majed Aslam and a collaborative practice with Oliver Smith @
> www.expansioncollapse.com. http://www.faynicolson.com/
> - Nicholas O’ Brien is an artist, writer, curator, and educator, who
> primarily lives and works online. O’Brien’s work has been internationally
> shown and published in venues like the Museum of Moving Image, the Museum
> of Contemporary Art Chicago, The Portland Art Museum, ARTINFO, The Creators
> Project, The Brooklyn Rail, Frieze d/e, and the New York Times. Recently he
> has premiered a new collaborative work at the Baryshnikov Art Center in New
> York and a curatorial project mounted at the Arti et Amicitiae in
> Amsterdam. http://doubleunderscore.net/
> - RYBN.ORG is an extra-disciplinary artistic research platform, funded in
> 2000 as a web entity, disseminated into several servers all over the
> internet and physically present in Paris, Montréal, Berlin and Bruxelles.
> RYBN.ORG operates through interactive & networked installations,
> digital/analog visual cross-performances and pervasive computing.
> - Zoe Salditch is Program Director for Rhizome. As Program Director she
> oversees Rhizome's programs and events including The Download, a digital
> art collecting program she conceived and initiated in 2011.
> Looking forward to this new discussion,
> Marialaura and Nora