Virtuality and the Art of Exhibition , livre ebook

Intellect Books Ltd - Vince Dziekan

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152 pages

English

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A propos
Informations
Extrait

Description

Vince Dziekan is deputy associate dean of research in the Faculty of Art & Design at Monash University in Melbourne, Australia; a FACT associate with the Foundation for Art & Creative Technology in Liverpool; and digital media curator of the Leonardo Electronic Almanac.

Foreword

Expositions Section

Virtuality

The Art of Exhibition

Spactial Practice

Digital Mediation

Digital Mediation and the Multimedial Museum

Curatorial Design

Exhibitions Section

The Synthetic Image: Digital Technologies and the Image

Small Worlds: A Romance

Remote

The Ammonite Order, or Objectiles for an (Un)Natural History

Conclusion

Sujets

Energie & environnement

Cultural Studies

General

Engineering

Technology

Installation art

General officer

Sciences et techniques

Power Resources

Informations

Publié par	Intellect Books Ltd
Date de parution	01 novembre 2011
Nombre de lectures	0
EAN13	9781841506692
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Virtuality and the Art of Exhibition
Virtuality and the Art of Exhibition
Curatorial Design for the Multimedial Museum
Vince Dziekan
First published in the UK in 2012 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2012 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Holly Rose
Copy-editor: Ed Hatton
Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-476-6
Printed and bound by Hobbs, Totton, Hampshire, UK.
Contents
Foreword
Part I: Expositions
Chapter 1: Virtuality
Chapter 2: The Art Of Exhibition
Chapter 3: Spatial Practice
Chapter 4: Digital Mediation
Chapter 5: The Multimedial Museum
Chapter 6: Curatorial Design
Part II: Exhibitions
Chapter 7: The Synthetic Image: Digital Technologies and the Image
Curatorial Philosophy
Applied Curatorial Design
Summary
Documentation
Artwork - Vince Dziekan, From Catalogue-Museum
Choreography of the Exhibition Space (fora Model Viewer)
Curator s Essay - The Synthetic Image and the Theme of the Loop: Image, Exhibition and Networkability
Chapter 8: Small Worlds: A Romance
Curatorial Philosophy
Applied Curatorial Design
Summary
Documentation
Artwork - Vince Dziekan, Nature-History
Descriptive Walkthrough (fora Model Viewer)
Chapter 9: Remote
Curatorial Philosophy
Applied Curatorial Design
Summary
Documentation
Artwork - Vince Dziekan, V. Travels in the Netherworld
Scenographic Field Notes
Curator s Essay - Remote (Close up, from Afar)
Chapter 10: The Ammonite Order, Or Objectiles for an (Un) Natural History
Conclusion
List of Illustrations
Bibliography
Foreword
T he museum plays an instrumental role in determining the contours of creative practices associated with artistic production and curation. The art object, the gallery s cubic environment and the museum s institutional apparatus are powerful manifestations that shape our perceptions and understanding, as well as the expectations that we place on art. The influence of such conventional structures on the forms - and resulting conformity - of artistic and curatorial practice cannot be overstated. Revealed in the light of new technologies, the physical structure traditionally associated with the museum is reconceived as a matrix of differently constituted but interrelated spaces. The impact of digital processes has begun to transform art s exhibition complex composed as it is from the interrelationship between artefact, gallery space and museum.
This book engages artistic production and its modes of exhibition under emerging contemporary conditions. The primary objective of its collected interdisciplinary investigations is directed at developing a conceptual framework for digitally informed creative production of exhibitions exemplified by applied curatorial design . The term curatorial design will be used across this text to encompass contemporary curating practices that influence aesthetic experience associated with the art of exhibition. The curatorial design project proposes a critically informed approach to creative curation, particularly as this relates to the production of exhibition-making that integrates digital mediation with spatial practice.
By focusing on emerging models of the multimedial museum and curatorial design, this book brings together critical and creative investigations that respond to the current state of adaptation and integration of digital media within museum-based cultural practices in order to speculate upon the interrelationship of digital mediation with spatial practice. In order to do so, its structure and contents have been designed to encompass a set of interdisciplinary investigations relating to virtuality and the art of exhibition. Undertaking such an inquiry at this particular cultural moment is both topical and necessary, as over the past decade issues associated with digital technologies have exerted a significant influence upon artistic practice, the institutions that support it, as well as the practice of curation. Illustratively, the exhibition 010101: Art in Technological Times at the San Francisco Museum of Modern Art (SFMOMA) heralds such a state of affairs and announces a number of themes that have inspired this book s scope of enquiry. Ahead of the launch of the exhibition in March 2001, its stated objective was to chart new developments in contemporary art, architecture and design influenced by the increasing presence of digital media and technology. In conjunction with the exhibition, a special website was created to support and extend the exhibition both onsite in the museum s galleries and online through the Internet. Marking the start of the new millennium, the exhibition s online presence was launched on 1 January 2001 and was introduced with the following pronouncement:
Over the past decade, the world of contemporary art has experienced the beginnings of a tectonic shift: digital technology has arrived as a component of everyday life and contemporary art on a global scale. Artists are adopting new technologies in the studio, deploying them in the gallery, inhabiting them through the Internet and making artwork that reflects our technology-saturated society in a stunning range of ways Museums struggle to keep up, as audiences too are changed by the presence of technology in their lives. Distances shrink under the pressure of the Internet, cell phones, and e-mail. Attention spans flit nervously from message to message, channel to channel and site to site. Neither art nor those who make it, show it and look at it can ever be the same again! 1
Besides hosting a series of interactive public programs, including online discussion forums and providing interpretive materials giving background information on the artists included in the exhibition and investigating key concepts in their work, the site also featured a collection of specially commissioned online projects by digital artists and designers. 2 Manifested through a combination of online and installation forms, this particular exhibition project anticipated a number of interests and issues identified in this book that have been pursued here through a combination of practice-based and more conventional scholarly forms of interrogation and exploration.
Together, the critique and creative production documented in this book respond to the production and consumption models of forms of contemporary art directly influenced by the increasing integration of the digital with the practices of making and exhibiting contemporary media art. While the influence of digitization is relatively easy to recognise on the surface (artworks made with digital media tools and techniques, works distributed via digital channels such as the Internet), my curiosity has become directed more fundamentally towards how artistic and curatorial practices are transformed by virtuality and how aesthetic experience is mediated under these conditions. Throughout this text, the term virtuality will be used to describe the characteristic quality of aesthetic experience under contemporary conditions; conditions that are influenced, in part, by digital mediation, with the multimedial nature of the museum being so identified as the cultural form through which virtuality is expressed. This approach is empathetic to an interdisciplinary cultural analysis of new media (digital media, multimedia communication, virtual spaces), cultural production (exhibition-making) and digital aesthetics (exploration of forms of interaction, connectivity and systems). Common to all of these domains is the emancipation from fixed, rigid boundaries. Framing these investigations as an interdisciplinary project facilitates engaging with the concept of virtuality by moving the discourse around digital technologies and their challenge to contemporary creative practice beyond their consignment to the narrow margins of Electronic Art per se . By concentrating on the exhibition form itself, the increasingly complex relationship between culture, technology and space can be explored most directly.
In order to negotiate the influence of digital technologies on artistic practice and mediated aesthetic experience as these become increasingly integrated, the underlying approach I ve taken to engage with this evolving situation is allied with Mieke Bal s appeal for interdisciplinary method to be applied to the cultural analysis of exposition that occurs through the museum. In Double Exposures: the subject of cultural analysis , she pronounces that museums are ideally suited to this new kind of integrative and self-critical analysis because they are multimedial (Bal 1996a, p. 3). She continues: They appeal to those interested in challenging the artificial boundaries between media-based disciplines . This appeal - proffered by the notion of the multimedial museum - motivates the overarching ambitions of this project.
By engaging with the topic of virtuality and the art of exhibition through the combination of both critical, contextual study and applied practice-based exploration, I have tried to develop a fuller understanding of art s contemporary aesthetic conditions through an investigative programme conceived as an heuretic project. Gregory L. Ulmer describes heuretics as the branch of logic that treats the arts of discovery or invention. By seeking to traverse discourses of both art practice and theory, an heuretic approach contributes critically informed praxis to the broader deconstructive assignment. As such, it is appropriate that practice-based resear