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Season Runs 4 June - 31 September 2005 How do we identify, sort, search and locate ourselves amidst the dynamic instability of immaterial culture and its artifacts?
  June 13 - July 18 2005 This 5 week discussion was moderated by Sarah Cook in collaboration with Beryl Graham - University of Sunderland and co-editors of the CRUMB website. The discussion panel includes Christiane Paul - Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the Director of Intelligent Agent, Charlie Gere - Director of research, Lancaster University and Patrick Lichty, Editor in Chief at Intelligent Agent. Trebor Scholz, Professor at the Department of Media Study, SUNY at Buffalo joined the discussion from July 1.
Discussion Topic In a data based landscape of self organization, automation and agency, and further through the use of social, networked, location aware and ID specific - tools, systems and software, where is the curator/artist/audience placed in the 21st Century? Under what conditions do we collaborate, participate and appropriate? What social, political and cultural reference points inform legacies of new media, activist, interventionist, net, code, software and sound art? What tendencies, behaviors and practice evolve? The discussion aims to sit between the Curating, Immateriality, Systems conference/webcast, whilst referencing legacies and themes evident in the Open Systems Rethinking Art c.1970 exhibition at Tate Modern, expanding and cross referencing both.
Discussion Format and Associated Resources This moderated online discussion contracted 6 formal participants in dialogue across a 5 week period. The panel discussion was be visible in real-time to online audiences and included a public forum that sat along side the formal discussion, inviting questions and responses from online audiences.
Curating, Immateriality, Systems Open Systems: Rethinking Art c. 1970 Symposium Both conferences will be webcast live and uploaded afterwards to the Online Events Archive. Curating, Immateriality, Systems is now available as an archive by following the link above, in order to inform the C0dE 0f practice online panel discussion.
Go to Download Slub Go to Download Alvin Lucier
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 will be developed 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.
See the Online Event Archives noted below, documenting a range of perspectives on contemporary new media practices and their legacies. Open Systems Rethinking Art c.1970 This exhibition examines how international artists re-thought the object of art in the late 1960s and 1970s as they sought to connect with the increasingly urgent political developments of the decade and make their work more responsive to the world. The exhibition highlights a particular aspect of this development - artists whose work, consciously or otherwise, built upon some of the organizational structures and systems of Fluxus, Neo-concretism, Minimalism, Conceptualism, and other influences. It traces this shift from object to system and what these new developments reveal about human existence. The exhibition is being curated by Donna De Salvo, who until recently was Senior Curator, Tate Modern. Ms. De Salvo is currently the Associate Director of Programs and Curator of the Permanent Collection at the Whitney Museum of American Art, New York. Open Systems features the works of prominent international artists working in the late 1960s and 1970s, drawing upon those in Britain, Eastern and Western Europe, South America and the United States, and includes sculpture, sculptural installations, painting, film, video, photography, and printed matter. It is not an historical survey; rather, the exhibition proposes to trace the work of a selected group of artists, some in greater depth than others. By following their efforts, we intend to demonstrate the continuing relevance and influence of their efforts on artists working today, many of whom came of age in the late 1980s and 1990s against the backdrop of these earlier accomplishments. One of the most characteristic developments of the late 1960s was a reconsideration of the object of art, a move away from the static art object to one that was to be understood in relation to the viewer. The phenomenologically-based practices of Minimalism, for instance, revealed much about the implications of the self in space. In these works, artists often used everyday materials, such as copper or steel to emphasize their 'object-ness,' thus denying any external references. By navigating the spaces around and within these works, viewers became implicated in an interconnected, though presumably closed, system of objects in space. The late 1960s and early 1970s, however, have often been cited as harbingers of tremendous change in post-war art and society. The radical rethinking of the art object led to wide ranging experiments in all media, and particularly in film, video, dance and performance. Many artists were also eager to re-engage reference without forfeiting the lessons learned from the narrower formal problems that defined the early 1960s. This shift opened up many questions and possibilities, especially the relationship between the subject and object in space. In this context, artists used evidence of human existence to subvert the objectivity of 'systems,' thus revealing them as open, subjective, and flawed. |
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