[NetBehaviour] Critical review: Digital Analogue. Pioneers of New Media.
marc.garrett at furtherfield.org
Mon Feb 17 23:03:42 CET 2014
Thanks for posting this to netbehaviour. I will read it tomorrow morning
when I am more awake ;-)
wishing you well.
> Personally, I suggest a revision around questions such as ethics,
> deontological code, professionalism, permission and authority in
> curatorial models and participatory practices in art, science and
> technology. Regarding the curating model used in the exhibition
> Digital Analogue: this is not what I do, this is not my curatorial
> line, this is not my work, and this is not curated by me. Actually,
> the participatory models of curating new media art have created new
> structures where to engage curators, theorist and artists in a hybrid
> form of exhibition, workshop, and live performance. Models that are
> constantly against the mainstream and the policies of power supported
> by authority and based within the ego of the artists: elitism and
> paternalism. Another point to consider is that the exhibition Digital
> Analogue has a lack of investigation, the research is weak, doesn't
> achieve the standards of the experienced d.i.y. artists, the art
> electronic avant-garde and the art --science -- technology experts,
> curators and artists. There is a lack of coherence, strength and
> unity. Although is a very good local exhibition and a potential
> project for the future, it is a very paternalist project, too. Tired,
> exhausted and discomforted to defend machismo, it is criticized works
> like this.
> Once surpassed the borders of curatorial mainstream inside the
> whitecube, those who work worldly local and with deep meaning for life
> and social contribution, are hard-working and developing networks with
> very low budgets and financial support. Art inside the whitecube is
> now out of the center of action, operating in labs, blackboxes and
> within the experiences of life. So, following it can be said that the
> exhibition has not gone so good. There is lack of professionalism and
> it deceives.
> Moreover, I must say that a few years ago, in 2011, I wrote an
> investigation project entitled Language Code. In collaboration with
> CED -- MACBA Museum of Contemporary Art Barcelona, I studied the relat
> ions of conceptual art and code art. I did a similar work as Thomas
> Dreher does. Once the research was finished, I asked permission to
> international artists, local artists from Barcelona, activists and
> other theorists, curators and producers to work in a public
> presentation of the Project. The event was one week and hold in
> Conservas, an underground lab in Barcelona. I was trying to break
> conventional models of exhibition. It was a workshop, a seminar, an
> exhibition and a live event with screenings and performance. It also
> engaged the audiences to participate to create a language artwork
> based in cut-up projects. Jorn Ebner, Michael Kargl, Roy Ascott, John
> Angel were presented in Language Code exhibition among a total number
> of 20 artist more. Part of my research project Language Code has been
> presented in MAC Museum of Contemporary Art Bogota. According
> methodologies of curating, there is a new curatorial role based in
> appropriation. It creates new exhibition strategies. Taking art ists'
> works without permission or non-demanding artist participation is
> changing the administrative model of exhibition. Contracts,
> infrastructure and participation offer a new possibility to engage
> creation and hopefully create more opportunities for emergent and
> youth talented unnamed artists.
> Regarding the content of the exhibition, there are 6 artists
> exhibiting physical artworks, 3 local artists and 3 international
> artists. There are no women. The use of big mainstream artists' names
> is trying to attract expectations, a suggestive intention, when is in
> reality a screening loop. There is an excellent point and is the fact
> that the exhibition offers help and support to local artist to be
> contextualized in international frameworks. In general, local emergent
> talented artists from Colombia are not well represented in their own
> art circuit, neither in the international art scene. This is part of
> the post-colonial history. Although this, there is a lack and a very
> disappointed participation of the real pioneers of new media from
> Colombia. Pedro Soler states "A pair of my favorite South American
> pioneers: Juan Downey (from Chile, pioneer of video and interactive
> art, co-editor of Radical Software) and Jacqueline Nova, the first
> electroacoustic music composer in Colombi a. Both artists lived much
> of their lives in the north (Juan in NYC and Jacqueline in Paris).
> However, they are both dead". The title of the exhibition "Pioneers"
> does not correspond to the achieved goals. It cannot be said that is a
> pioneer's exhibition. This is not the case. There are specialized
> media art historians that will recognize that this is wick and a
> misunderstanding. "Edward Shanken comes to mind. And in my own
> University, historian Charissa Terrranova" says Roger Malina.
> There is a no women artists; pioneers or not, too. Marc Garret
> indicates some "Sarah Cook, Alison Craighead, Donna Haraway, Sadie
> Plant, Vera Molnar, Steina Vasulka, Joan Jonas, Marisa Olson, Pauline
> Oliveros, Christiane Paul, Laurie Anderson, Josephine Bosma, Ada
> Lovelace, Judith Butler, Olia Lialina, Natalie Jeremijenko, Coco
> Fusco, Ghislaine Boddington, Guerilla Girls, Ilze Black, Larisa
> Blazic, Daphne Dragona, Mia Makela, Sanja Ivekovic, Eva and Franco
> Mattes, Joasia Krysa, Valie Export, Charlotte Moorman, Lygia Clark,
> Yoko Ono, E.Valldosera, La Turbo Avedon, Fabi Borges, Alejandra Perez,
> Eleonora Oreggia, Simona Levy, Diana McCarty, Maria Llopis, Marloes de
> Valk, Shu Lea Cheang, Chris Sugrue, Paula Graham (Fossbox), Ruth
> Catlow (Furtherfield), Flossie". This is an important failure. This is
> unacceptable in the context of electronic, new media, and within the
> frame of cyberfeminism. Women artist has contributed to the
> development of media art in a very deep and profound se nse, changing
> structures and contributing to the social benefit of human behavior.
> This is a strong point. Some relevant data regarding feminism
> practices in art curating represent the problem about women in art.
> Only the 13.5% of works by women are in Art Collections, 18% of female
> professors at Art Universities, 22% of female directors at Art
> Museums, 27% average of female percentage at exhibitions in art
> museums, 32% of honorary prizes in the visual arts are won by women,
> 42% of all freelance employees in the visual arts are women, 55% of
> students in the visual arts are women (Data by Katy Deepwell, Editor
> of n.paradoxa).
> There is a sense that the use of "big names" in the section s/edition
> is like an attractive suggestion rather than a matter of history,
> knowledge or information. Rather, I think the curator is trying to
> persuade, giving an illusion of history of media art. I think this is
> a more commercial and digital project. I think this is what exactly
> Baudrillard defined as Simulacra and the tendency in consumerism
> object to persuade the spectator. I have received many complains and
> it is thought that is a very paternalist project. And it does not
> consider the social and actual needs of its country. Marc Garret also
> commented "On one hand it's because the choice of 'now' disreputable
> 'BritArt' artists, and on the other, it's because there is an
> embarrassing lack of women included in the exhibition. It is not
> representative of the amazing women in arts and technology who deserve
> so much better than this". Contrary to these opinions, it is really
> well received the local collabor ation. The artists have a really
> talented work in exhibition and the effort and fight with the
> institutional frame and universities grow and enrich the cultural
> context of Bogota, an incredible city with massive social disorder and
> inequalities. Is very important and is a really good to exhibit 3
> local artists altogether 3 international artists, this contributes to
> the development of cultural practices of Colombia, increases the level
> of participation and interested of institutions into Electronic Art
> and for New Media practices. It also helps to the emergent artists
> with good level, quality, interest and professionalism.
> According this, I have to say that it is super-interesting and thanks
> to this kind of exhibitions, new models of distributing video- art are
> developed. It could probably respond to new distribution roles and
> methodologies of production in New Media. Surely, it changes
> capitalist and economic structures. I remember the editions of Picasso
> and Dali: thousands of copies resembled millions of millions and
> investment for art. The videos presented under s/edition are works
> from Damien Hirst, Casey Reas, Memo Atken, etc... Recently, Alessandro
> Ludovico has written about new techniques of printing and
> distributing. This is amazing, but in the case of Digital Analogue and
> s/edition, a private company that works online. The selection doesn't
> result interesting because, from my point of view, is supporting
> commercial and capitalist structures of art as a merchandise.
> According post-marxist discourse it can damage lots of theoretical
> works done in the area of value and object-hood in contem porary art.
> Claiming for live art and live performance is to sustain our way of
> life as artists, developers and creators.
> Museo de Arte Contemporáneo de Bogotá
> @2009 BOGOTÁ - COLOMBIA
> Carrera 74 No. 82A - 81 2916520 Exts: 6160 - 6161 -6159
> email: ccultural at uniminuto.edu http://www.mac.org.co/
> Thanks to Marc Garret, Pedro Soler, Tamas Banovich, Anick Bureaud,
> Ashok Mistry, Bronac Ferran, Sarah Cook, Paul Brown, Roger Malina,
> Ghislaine Boddington, Vicente Matallana, Joasya Krysa, Andres Burbano.
> --laura pearl
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