Hi all
thank you for joining in with this month's discussion - I know many of you are new to the list - and thanks to Rick for that link to the Leonardo journal (Not Here Not There) about AR art (CRUMB has never really hosted a discussion about curating AR art directly but perhaps should consider it).
I particularly like Alexandra's point that,
"there are also artworks that I have not had the opportunity experience in person and it is the space afforded by new and social media that has brought them to my attention or allowed me to follow by distance. It has the power to unlock imagination, reveal activity in different time zones, and attempt to capture the un-capturable of ephemeral or conceptual intervention."
I'd love to hear more examples of this, maybe examples where physical co-presence with the work isn't actually possible for many (i.e. getting to the isle of Skye, or even Antarctica?) or isn't intended - i.e. where the network and its many distributed nodes is the point of the work - perhaps again Art's Birthday is a good example (this year I watched from Dundee a silent Aikido performance in a gallery in London, perhaps Roddy Hunter, the curator, can explain).
Who remembers Colin Andrews' work Geist, commissioned by New Media Scotland and sited at Pier Arts Centre in Orkney in 2000 in which supposedly haunted locations were networked together and made audible? There is an interesting essay by Chris Byrne about it which was published in the book Hothaus by the University of Birmingham (but which you can read here: http://www.academia.edu/3354052/Space_Place_Interface_Location_in_new_media_art) in which Chris argues that the curatorial role is "involved in setting parameters for the creation of the work and the audience experience, and the relationship to the site where it occurs." Of course in 2000 we didn't have the social media tools we have now to share information, documentation and experience of that work, to tweet about ghostly occurences.
Alexandra asks how curators might re-present perspectives on local, rural, and dispersed artworks in absence of first-hand experience - but I wonder what about when first-hand experience isn't co-located with the work in the first place (or is mediated or deliberately dislocated?) - are there works where no one has first-hand experience and that's the point?
forgive me if this is too much of a dislocated tangent on a late long train journey from one point to another,
Sarah
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Dr. Sarah Cook
Dundee Fellow
Duncan of Jordanstone College of Art and Design
University of Dundee
Visual Research Centre (VRC)
Dundee Contemporary Arts
152 Nethergate
Dundee DD1 4DY
01382 385247
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