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| Curating, Immateriality, Systems: On Curating Digital Media | |
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This conference asks how curators can respond to new forms of self-organising and self-replicating systems, databases, programming, net art, software art and generative media, and in general to systems of immaterial cultural production. What new models of curatorial practice are needed to take account of shared, distributed and collaborative objects and processes? Contributors include: Inke
Arns | Josephine Berry Slater |
Geoff Cox | Olga Goriunova
& Alexei Shulgin | Eva Grubinger
| Piotr Krajewski | Joasia
Krysa | Jocob Lillemose | Franziska
Nori | Christiane Paul | Tiziana
Terranova.
Session 1 | Session 2
An introduction by Dominic Willsdon, Curator of Public Events, Tate Modern.
Curating, Immateriality, Systems: Introductory paper by Joasia Krysa - If the assumption is made that traditional curating follows a centralised model, then what is the position
of the curator within a distributed network model? This conference investigates the question in relation to recent ideas around the 'Immateriality' of cultural production
and dynamic systems leading to contradictory tensions between increased collectivity and curatorial 'control'...
* This introduction is concluded with a presentation of the kurator.org software by programmer, Grzesiek Sedek. detailed below
Immateriality and Cultural Production: This talk briefly summarized the main components of the concept of immaterial labor in key authors such as Maurizio Lazzarato, Paolo Virno, Jean Paul Vincent and Negri and Hardt. In particular it will follow the relation established in such work between the dynamics of networks and flows and that of the organization and phenomenology of immaterial work...
Conceptual Transformations of Art – from the dematerialisation of objects to immaterial systems: What was the significance of the aesthetic transformations generated by the so-called 'dematerialisation' of the art object within conceptual art, and how can we relate this notion to the practices and discourses of contemporary art working with digital media such as the Internet? ...
Development of media forms in relation to forms of presentation / festival format / development of festival categories: Looking at festival names and catagorizations; and the periods in which such festivals originated, Piotr examined the dynamics of the development and evolution of media art as well as its critical discourse...
Tricky affinities - Notes on the relation between early computer art of the 1960s and current software art: This presentation explored the relationship between early computer art of the 1960s and today's software and generative art. While some scholars and protagonists of early computer art have lately suggested that computer art might be considered the direct predecessor of current software and generative art, this paper puts this view into question...
In discussion: Joasia Krysa, Tiziana Terranova, Jocob Lillemose, Piotr Krajewski and Inke Arns. Chaired by Geoff Cox.
 
Session 1 | Session 2
Flexible Contexts, Democratic Filtering, and Computer Aided Curating - Models for Online Curatorial Practice: Internet art has inspired a variety of dreams about the future of artistic and curatorial practice, among them the dream of a more or less radical reconfiguration of traditional models and 'spaces' for accessing art. Net art has been created to be seen by anyone, anywhere, anytime (provided one has access to the network). It exists within a (virtual) public space, and does not necessarily need the physical space of an art institution to be presented or introduced to the public...
Computer Aided Curating' revisited: C@C (1993-95) was a prototype program for the production, presentation, documentation, discussion and distribution of art on the Web. Designed by artist Eva Grubinger in collaboration with the software developer Thomas Kaulmann and supported by Kunst-Werke Berlin, C@C explored the possibilities of this then, new sphere for the traditional link between art and the public...
Annotations on the work of digitalcraft.org: This paper considered the current urgency for a re-definition of curatorial practice in the context of digital culture. In doing so, it takes into account my personal curatorial experience as part of the digitalcraft, a collaborative project experimenting with and exploring the potential of 'exhibition' as a medium...
From Art on the Networks to Art on the Platforms - Runme.org: It seems that some online platforms, created around the needs of specific cultural or artistic material, which manage to accumulate a number of artifacts, and generate or contribute to a generation of a discourse, around certain artistic activity and a change on a cultural level; are worth analyzing as constituting a specific type of cultural production...
Christiane Paul, Eva Grubinger, Olga Goriunova, Alexei Shulgin, Franziska Nori and Josephine Berry Slater. Chaired by Dominic Willsdon
kurator.org extends some of the online systems that question the role of the curator in the curatorial process of selection, presentation and distribution of immaterial artworks (most notably runme, artport or low-fi). A new, open and experimental system is currently in development, that puts into practice some of the ideas and questions that the conference aims to raise. The project recognises the recent practice and discussions around 'software art' and posits the idea of 'software curating'. In this way, it encapsulates some of the ways in which work of an immaterial nature challenges some of the orthodoxies around the practice of curating and some of the social relations it elicits. Essentially it will speculate upon future possibilities in this emergent field of practice, in which curating and artistic expression are bound together in new ways and in which the production of software extends beyond off-the-shelf proprietary models. The Kurator software is a collaboration between the programmer Grzesiek Sedek, and the curator Joasia Krysa.
Slub is a collaboration
between Adrian Ward and Alex McLean. Together they write generative
software applications and perform them in realtime. Slub have
contributed some of their source code, used in performance, to
the kurator.org database. Online Events have worked with Slub
in order to document and illustrate both the live performance as well as the coding
practice, evident in the performed work. |
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