Curatorial Models and Strategies in a Digital Age
This presentation is focused on the changing models of curatorial practice in general and then I will proceed to illustrated case studies of my own curatorial experience. Over the last decade, the progressively blurring boundaries between the different roles of art production and dissemination created an entirely new ecology where nearly every phase, every aspect, and every role embodied in art practice is radically changing. Rapidly emerging technologies contributed to this process. It has been also argued that truly contemporary work emerges at the point of exhibition, consequently the provisional nature of the ‘workshop lab in public’ or ‘lab as exhibition’ –a rapidly growing field- seems to keep th... Ver más
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1794-7111
2462-8115
9
2011-01-01
141
155
http://purl.org/coar/access_right/c_abf2
info:eu-repo/semantics/openAccess
Revista Kepes - 2015
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Curatorial Models and Strategies in a Digital Age application/pdf Text http://purl.org/coar/access_right/c_abf2 info:eu-repo/semantics/openAccess http://purl.org/coar/version/c_970fb48d4fbd8a85 info:eu-repo/semantics/publishedVersion http://purl.org/coar/resource_type/c_6501 info:eu-repo/semantics/article Revista Kepes - 2015 https://creativecommons.org/licenses/by-nc-sa/4.0/ Español https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/467 Universidad de Caldas Kepes Publication 9 This presentation is focused on the changing models of curatorial practice in general and then I will proceed to illustrated case studies of my own curatorial experience. Over the last decade, the progressively blurring boundaries between the different roles of art production and dissemination created an entirely new ecology where nearly every phase, every aspect, and every role embodied in art practice is radically changing. Rapidly emerging technologies contributed to this process. It has been also argued that truly contemporary work emerges at the point of exhibition, consequently the provisional nature of the ‘workshop lab in public’ or ‘lab as exhibition’ –a rapidly growing field- seems to keep the contemporaneity of the work alive in a particularly strong way. Today the role of the curator can be seen: ratorial selection, dissemination and audience reception, have shifted -beyond previously un-imagined settings and conditions. Today’s emphasis on the process rather than on the presented works is owing to the fact that in numerous cases the operating method- due to improvement in communication and presentation technologies- has changed, and I can’t repeat enough the word “change” in this context. A considerable amount of my references are based on the CRUMB or Curatorial Resource for Upstart Media Bliss mail list discussions and IDC or Institute for Distributed Creativity. I will freely quote from the relevant topics of these lists. In postings on this list a discussion ensued concerning analog and digital art. Czegledy, Nina . Media Art curatorial practice Artículo de revista Núm. 8 , Año 2012 : Enero - Diciembre 2012 8 new collaborative models on-line exhibition. Curatorial Models and Strategies in a Digital Age Journal article 2011-01-01 https://revistasojs.ucaldas.edu.co/index.php/kepes/article/download/467/392 155 2012-01-01T00:00:00Z https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/467 2462-8115 1794-7111 2012-01-01T00:00:00Z 141 |
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Curatorial Models and Strategies in a Digital Age |
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Curatorial Models and Strategies in a Digital Age Czegledy, Nina . Media Art curatorial practice new collaborative models on-line exhibition. |
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Curatorial Models and Strategies in a Digital Age |
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Curatorial Models and Strategies in a Digital Age |
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Curatorial Models and Strategies in a Digital Age |
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Curatorial Models and Strategies in a Digital Age |
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curatorial models and strategies in a digital age |
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Curatorial Models and Strategies in a Digital Age |
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This presentation is focused on the changing models of curatorial practice in general and then I will proceed to illustrated case studies of my own curatorial experience. Over the last decade, the progressively blurring boundaries between the different roles of art production and dissemination created an entirely new ecology where nearly every phase, every aspect, and every role embodied in art practice is radically changing. Rapidly emerging technologies contributed to this process. It has been also argued that truly contemporary work emerges at the point of exhibition, consequently the provisional nature of the ‘workshop lab in public’ or ‘lab as exhibition’ –a rapidly growing field- seems to keep the contemporaneity of the work alive in a particularly strong way. Today the role of the curator can be seen: ratorial selection, dissemination and audience reception, have shifted -beyond previously un-imagined settings and conditions. Today’s emphasis on the process rather than on the presented works is owing to the fact that in numerous cases the operating method- due to improvement in communication and presentation technologies- has changed, and I can’t repeat enough the word “change” in this context. A considerable amount of my references are based on the CRUMB or Curatorial Resource for Upstart Media Bliss mail list discussions and IDC or Institute for Distributed Creativity. I will freely quote from the relevant topics of these lists. In postings on this list a discussion ensued concerning analog and digital art.
|
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Czegledy, Nina . |
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Czegledy, Nina . |
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Media Art curatorial practice new collaborative models on-line exhibition. |
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Media Art curatorial practice new collaborative models on-line exhibition. |
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Media Art curatorial practice new collaborative models on-line exhibition. |
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9 |
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8 |
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Núm. 8 , Año 2012 : Enero - Diciembre 2012 |
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Universidad de Caldas |
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Kepes |
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https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/467 |
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Español |
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https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/467 |
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