On Thursday, I will be in London for the private view of Unoriginal Genius, the group show I curated for the Carroll / Fletcher Project Space (from 31 October to 22 November 2014). The show includes works by Kim Asendorf, Enrico Boccioletti, Emilie Brout & Maxime Marion, Caroline Delieutraz, Roberto Fassone, Emilie Gervais & Felix Magal, Yung Jake, Sara Ludy, Jonas Lund, Lorna Mills, Ryder Ripps, Evan Roth, Krystal South, Harm Van Den Dorpel. Two highlights: on October 30, Roberto Fassone will perform the first episode of JEG ER ENORME JæVLER; and Jonas Lund will re-activate Return of Investment (premiered at Link Cabinet back in April) for the exhibition, allowing web users to place ads that will be seen on the website, at the gallery space and by unaware passers-by, since the piece will be installed on the gallery window. I hope to see you there! Full press release after the break
Earlier this year I was invited to write a text for the catalogue of the exhibition Megarave – Metarave, that took place at Kunsthaus Langenthal (August 28 – November 16, 2014) and WallRiss Fribourg (September 6 – November 1, 2014). The catalogue, designed by Huber / Sterzinger and distributed by les presses du réel, is now out, and can be ordered here.
My text, “Art and the Internet 1994 – 2014. Notes and comments”, is an humble attempt – obviously doomed to failure – to select some recent developments in net-related art practices, and to compare them to what was happening in the mid nineties. You can read a couple of chapters after the break.
Domenico Quaranta, “Art and the Internet 1994 – 2014. Notes and comments”, pp. 37 – 46, in Megarave – Metarave, exhibition catalogue, Kunsthaus Langenthal – WallRiss Fribourg, 2014. 152 pp, 33 €, English / German / French, ISBN 978-3-905817-59-1
Domani sarò a Modena per tenere un intervento nell’ambito di “Generazione critica”, il ciclo curato da Luca Panaro per Metronom. Fischieranno le orecchie a Eva & Franco Mattes, Constant Dullaart e James Bridle. A seguire l’abstract del mio intervento, intitolato: Un’opzione del menù. Appunti sulla fotografia post digitale.
“Sarà una banalità, ma vale la pena enunciarla: chiunque si confronti, oggi, con la fotografia deve prendere atto che quest’ultima non è più, ormai da qualche anno, un artefatto con una materialità sua propria, ma è, prima di qualsiasi altra cosa, un file su un computer. Questo apre la strada a innumerevoli conseguenze, una delle quali è che la fotografia non è più un linguaggio autonomo, ma un’opzione fra le tante all’interno del confuso “metamedium” digitale. Preso atto di questo, si può anche accantonare l’argomento e continuare a fotografare, ma in questo intervento vorrei soffermarmi su alcuni artisti che, partendo da questo punto di svolta, provano a interrogarsi su cosa sia la fotografia oggi e su come si relazioni con il reale. I lavori di alcuni artisti offriranno lo spunto per riflettere su questioni chiave della fotografia contemporanea: la postproduzione, la sovrabbondanza del fotografico, la fotografia come dispositivo sociale.”
Back in August, I’ve been invited by Karen Archey to reply to a questionnaire for the upcoming Art Post Internet exhibition catalogue, to be released as a free download pdf. The book is out, available on a website that automatically adds notes about the owner (location, ip address, time of the download) to the first page of the book. I own copy #19 and, for the sake of e-book collecting, copy #99 and #100 My replies are also available here in full.
Sabato 4 ottobre, nella cornice del festival Supernova, si tiene al cinema Nuovo Eden di Brescia una mostra dei lavori degli studenti del corso di Fotografia digitale che ho tenuto presso l’Accademia Santa Giulia con Alessandro Mancassola. Partecipano Milena Berta, Viviana Bertanza, Lidia Borella, Angelica Consoli, Rita Duchi, Nicola Fornoni, Annalisa Gregorio, Arianna Zannoni, Elisa Rachele Zanotti e Giulia Zappa, e i loro lavori non sono affatto male. Se siete a Brescia, fateci un salto. Qui il comunicato stampa
Remember the MINI Museum? The museum in a box with a digital frame as display and a USB pen drive as storage launched in 2010, when I handed it over to London based artist Paul B. Davis; and since then it traveled from node to node around a network of artists, collecting and displaying 13 artworks. It is still around, traveling sometimes fast, more often slowly, disappearing for months and resurrecting unexpectedly, as happened recently in Mainland China. A behavior inherent in the idea of the traveling physical object, but that doesn’t match with the expectations of an increasing number of artists interested in dealing with it. To respond to these expectations, the Link Art Center launched a new website, inviting artist from all over the world to donate works to the MINI Museum collection. If you want to know more, just follow the link…
Esce oggi su Doppiozero la versione italiana dell’intervista che feci qualche tempo fa per Rhizome a Matthias Fritsch, l’artista tedesco che girò il video responsabile di aver portato il Technoviking al mondo. L’intervista originale è ripubblicata nel catalogo di Eternal September, da qualche giorno disponibile per l’acquisto e il download gratuito su Link Editions. Nell’intervista parliamo di memi, diritti e responsabilità, condivisione ed elaborazione collettiva delle idee. Fateci un salto!
Domenico Quaranta, “Credo che la condivisione sia un diritto. Intervista a Matthias Fritsch”, in Doppiozero, September 19, 2014
Link Editions, the publishing initiative I’m working on for the Link Center for the Arts of the Information Age, just released 3 new books. As always, they are all available as paperbacks on Lulu.com – with a 20% discount if you buy them within 30 days – and as free download pdf. One Per Year by Curt Cloninger is also available as a cheap epub. I wrote a short intro for Addie Wagenknecht‘s beautiful artist book, and I have something for you also in the Eternal September exhibition catalogue. Check them out on Link Editions’ website!
AAVV, Eternal September. The Rise of Amateur Culture, September 2014. Color, English, 82 pages, ISBN 978-1-291-98060-8. Co-published with Aksioma, Ljubljana
Curt Cloninger, One Per Year, September 2014. 212 pages, black and white, English, ISBN 978-1-291-92372-8
Addie Wagenknecht, Technological Selection of Fate, September 2014. English, color, 112 pages, ISBN 9781291936513
In July 2014, DIS Magazine offered an online preview of Jon Rafman‘s recent video Mainsqueeze, the second chapter in a trilogy that also includes Still Life (Betamale). They asked me to write an intro text.
Domenico Quaranta, “Mainsqueeze”, in DIS Magazine, July 2014
Stella Rieck, Rose Rowson and Nora Wohlfei (Eds), Hybrid Bookwork: Empire Soft-Skinned Space, List Discussion February 2014 (2014). Download epub
Back in February 2014, I participated in an online discussion about digital and post-digital publishing on the email list -empyre-, moderated by Michael Dieter. The discussion is now available as a free epub. More info and download here.
Up to April 30, 2014 you can bid on a list of more than 50 artworks by 33 European artists included in the Born Digital auction on Paddle8, a benefit event organized by the Link Art Center to support its regular activities: Link Point, Link Editions and Link Cabinet (an online gallery opening next week with an amazing work by Jonas Lund). Check it out! Thanks to the artists and the galleries involved, you can find a great selection of works, including some gems such as Alexei Shulgin’s 386dx, and a few artists that are hard to find in the gallery market.
Above you can see the catalogue of the auction, published by Link Editions and soon available in print.
It’s quite a good moment for my book Beyond New Media Art, the updated English version of Media, New Media, Postmedia (2010) published by Link Editions in 2013 and available in print and free download. Artist and critic Joseph Nechvatal just published two extensive reviews, the first posted in On Verge. Alternative Art Criticism, and the second on Hyperallergic. Not just reviews, Nechvatal’s texts are actually an add-on to the book, in their attempt to use its ideas to understand the recent market and institutional success of the work of Wade Guyton. Thanks Joseph!
Joseph Nechvatal, “Book Review: Beyond New Media Art”, in On-Verge, April 11, 2014.
Joseph Nechvatal, “Wade Guyton and the Post-Media Question”, in Hyperallergic, April 15, 2014.
Meanwhile, Aksioma translated the book to Slovenian, and made it available in print and free download on Lulu as well, with a wonderful cover image by Aram Bartholl. Onkraj novomedijske umetnosti (2014) will be launched next week in conjunction with a two days seminar on the book, and hosted by the Kino Šiška Center for Urban Culture on April 22 – 23, 2014. For the occasion, I revived the blog I created in 2010 for the Italian edition of the book, where I will post some quotes from the book. Comments are open.
I recently wrote a short intro text for Evan Roth‘s book Since You Were Born, originally exhibited as part of “Memory” at Niklas Beleinus Gallery and now available through Link Editions for buying and free download. The book collects every website visited on the artist’s computer over a three month period beginning with the birth of his daughter Octavia (July 19, 2013). I hope you’ll enjoy it!
When I will find the time to write something in English, it will be already old fashioned. So, here are my two cents about Post Internet, in old good italics. Google Translate friendly version under the break. Click on the image for a bigger picture. Thanks imsoemptyilikememes for the uncredited image.
Art and the Internet, the book edited by Black Dog Publishing and featuring new texts by Nicholas Lambert, Joanne McNeil and me, interviews with Attilia Fattori Franchini, LuckyPDF, Eva and Franco Mattes and Marisa Olson, reprints (from The Hacker Manifesto to Dispersion) and 50 + artists, is out. Sold at 21 bucks, worth much more.
My text, “In Between”, focuses on the existence of netdot, net based, internet aware art in between the online environment and the gallery space. These are the very last sentences:
«[...] the relationships between the online space and the physical space are not fixed, and are strictly connected with the social use of both spaces. This changed dramatically along the last 20 years, since the advent of the World Wide Web; and there is nothing at the moment that would allow us to think that in the next 20 years the pace of this change will slow down.
Native to the online space, net art is not bound to the rules and requirements of the white cube. It can fit to it and do it very well, but many other possibilities of circulation and distribution are already available, and more will probably make their appearance in the near future. In five years, this book will look pretty old. In 20, it will look like archeology, and so will this text. But don’t underrate it for that. Archeology is important: it shows us where we belong.»