Mankind / Machinekind at Krinzinger Projekte, Vienna


I’m honored to be the “exhibition maker” of this show, opening next week at Krinzinger Projekte, Vienna. The exhibition will be accompanied by a catalogue / newspaper about collecting the digital, featuring various texts including a few lines by yours truly, that will be shared here soon. Below a short PR. Hope to see you there!

The fourth and last part of the CCC (Curators Collectors Collaborations)Mankind / Machinekind is an exhibition conceived by collectors Alain Servais and Hampus Lindwall, and involving curator Domenico Quaranta in the role of exhibition maker. Featuring a selection of works from the Servais and Lindwall collections, along with a few works from other lenders, the exhibition focuses on the practice of collecting the digital – a relatively young practice that started when, around the turn of the millennium, “born digital” art practices started finding their own way in the art market, thanks to the dedication of a few galleries and the interest of some brave collectors.

In recent years, the market for art using digital means and responding to the issues of our digital age has grown, with the advent of special interest art fairs and even auctions; but concerns about the immaterial nature of digital information, its easy copy-ability and the possibility to effectively preserve hardware and software still make collecting digital art quite rare, despite its cultural relevance. Mankind / Machinekind is an attempt to show how it can happen, through a selection of seminal works from private collections. Featuring works by Christophe Bruno, Ian Cheng, Thianzhuo Chen, John Gerrard, Jean-Baptiste Michel, Manfred Mohr, Jon Rafman, JODI (Joan Heemskerk and Dirk Paesmans), Taylor Holland, Evan Roth, Raphael Rozendaal, Petra Cortright, AIDS-3D, Juliette Bonneviot, LigoranoReese, UBERMORGEN.

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Renewable Futures 2015

Cat at the top of the Cat house

On Thursday, October 8 I will be speaking at the Renewable Futures Conference in Riga, delivering a few thoughts about post-media, post-everything and useful art. The programme is quite nice and dense, with keynotes by Lev Manovich and John Thackara, and many other good speakers all over it. Check it out here.

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6PM Your Local Time Europe: The Book!

Link Art Center (Ed), 6PM Your Local Time Europe – The Book, Link Editions, September 2015. Color, English, 112 pages, ISBN 9781326406820.

6PM YOUR LOCAL TIME (#6pmylt) is a networked, distributed, one night contemporary art event taking place simultaneously in different locations, coordinated from one central venue and documented online via a web application. The project, conceived by Fabio Paris for the Link Art Center and developed in collaboration with Abandon Normal Devices (AND) and Gummy Industries, is an OPEN FORMAT and can be used by other organizations and individual curators to set up other #6pmylt events.

The Link Art Center itself organized the first two events: 6PM Your Local Time UK, curated in collaboration with AND and coordinated from Furtherfield Commons, London, involving 14 participants in the United Kingdom (November 22, 2014); and 6PM Your Local Time Europe, coordinated from the Castello di Brescia, Italy and involving 110 participants from all over Europe (July 22, 2015). That night, 1,583 pictures and videos were posted on Instagram with the #6pmeu hashtag, 996,000 unique users followed the event on Twitter, and an undefined number of users participated through other social networks. The number of connections on the website was so huge that it became unavailable for about an hour. Browse or just enjoy this book to find out more!

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Les Nouveaux chercheurs d’or


Paris based gallery 22,48 m² recently invited me to write a brochure text for the upcoming solo exhibition of the artist duo Émilie Brout and Maxime Marion (Les Nouveaux chercheurs d’or, September 17 – October 31, 2015 22,48 m², 30 rue des Envierges, Paris). Which I did. Hope to see you there!

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No Internet, No Art


A few months ago, Melanie Bühler, the wonder woman behind Lunch Bytes, interviewed me for an upcoming Lunch Bytes anthology. Now the book is out, with the amazing title No Internet, No Art, published by Onomatopee. Please find the rough version of my interview right after the break.

“Domenico Quaranta on Cornelia Sollfrank, Michael Bell-Smith and Joel Holmberg”, in Melanie Bühler (Ed)No Internet, No Art. A Lunch Bytes Anthology, Onomatopee, Amsterdam, September 2015

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Johansons’ Systems


Back in May, the BOZAR Center for Fine Arts in Brussels closed an exhibition about the recent history of Latvian art, curated by Leva Astahovska. The pretty nice catalogue also features a short essay by yours truly, about the work of Voldemars Johansons. Enjoy it after the break.

Domenico Quaranta, “Johansons’ Systems”, in Leva Astahovska (Ed), Visionary Structures. From Johansons to Johansons, exhibition catalogue, BOZAR Center for Fine Arts, Brussels, 2015. Pages 92 – 95.

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Generazione critica


Uscito per Danilo Montanari Editore, è finalmente disponibile Generazione critica. La fotografia in Europa dopo le grandi scuole, il volumetto che raccoglie gli interventi dell’omonimo ciclo curato da Luca Panaro e Marcella Manni presso Metronom, Modena. Io partecipo con un testo intitolato “Un’opzione del menù. Appunti sulla fotografia post digitale”, in cui condivido alcune riflessioni scaturite da questa ricerca, ancora in progress. Leggetelo, è su! Ma soprattutto comprate il libro, ci sono tanti bei testi di Fabrizio Bellomo, Vincenzo Estremo, Francesca Lazzarini, Anna Lovecchio, Marcella Manni, Luca Panaro, The Cool Couple (Niccolò Benetton e Simone Santilli), Davide Tranchina. Costa pochino e si può portare in spiaggia.


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The Internetional


On Friday, May 22 and Saturday, May 23, I will be attending the Internetional Symposium in Rotterdam, where I will be delivering a keynote based on my text “Situating Post Internet”. That just means that you are allowed to wake up late on Saturday morning, but not that you can miss the event, featuring an amazing bunch of people including Roel Roscam Abbing, Dennis de Bel, Josephine Bosma, Buenos Tiempos Int., Melanie Bühler, Florian Cramer, Michel van Dartel, Harm van den Dorpel, Constant Dullaart, Arjon Dunnewind, Kim de Groot, Nathalie Hartjes, Petra Heck, Nathasha Hoare, Joel Holmberg, Wayne Horse, Gene McHugh, JODI, Michelle Kasprzak, Cadence Kinsey, Vincent Koreman, Jan Robert Leegte, Geert Lovink, Jonas Lund, Lucky PDF, Rafaël Rozendaal, Stefan Simchowitz, Brad Troemel, Amalia Ulman, Ariadne Urlus, Marloes de Vries, Addie Wagenknecht, Gerben Willers, Olof van Winden, Juha van ‘t Zelfde.

Check out the program on the event’s website!

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Situating Post Internet


As Jacob said, “There is no way around it, any serious art person needs to have an opinion on Post-Internet Art.” Mine has been evolving a bit along the years, from this early take written in Italian for Flash Art, to my answers to the Art Post-Internet questionnaire, to the essay I wrote for the Megarave – Metarave exhibition at Kunsthaus Langenthal. The Media Art festival in Rome gave me the chance to expand and update it a little bit.

I just uploaded my contribution on for you guys. However, you are kindly invited to buy the book, which provides you access to essays by Sean Cubitt, Oliver Grau, Alfonso Molina, Valentino Catricalà, Alessandro Amaducci among others for just 15 €. Despite the description on the website, it’s proofread English. Enjoy!

Domenico Quaranta, “Situating Post Internet”, in Valentino Catricalà (Ed), Media Art. Towards a New Definition of Arts in the Age of Technology, Gli Ori, Pistoia 2015. English, 184 pp, ISBN 978- 88-7336-564-8

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My “Art for Tomorrow” Talk

From Primary to Mediated Experience – and Back

Domenico Quaranta

Your Excellency, Your Excellencies, Ladies and Gentlemen, thank you.

Today I’d like to briefly present you my point of view on the issue “Primary vs Mediated experience” as a contemporary art curator with a focus on the internet as a place for art. But before starting my talk, I’d like to ask you to do something for me. You all may have a networked device hidden somewhere. If you do, please take it off, open your browser, and Google “Rafael Rozendaal”, and select Then click on “websites” in the menu and click on the most fancy image. What you are now experiencing is an example of internet art. Not a reproduction of an artwork – that’s the real thing. There, on your screen.

Although it is mostly perceived today as a place of mediated experience of art, the internet has been an amazing context of primary art experiences since its early years. I should better say an “unprecedented place” of primary art experiences, because of its unique overlap between a public and a private dimension: what happens online takes place simultaneously out there, in a public, shared environment; and in the very private space of your screen.

This is the first homepage of, a web project launched in 1994 by a Belgian / Dutch couple (Joan Heemskerk and Dirk Paesmans), and one of the absolute masterpieces of web based art. In a 1997 interview, they declared:

“When a viewer looks at our work, we are inside his computer. There is this hacker slogan: “We love your computer.” We also get inside people’s computers. And we are honored to be in somebody’s computer. You are very close to a person when you are on his desktop. I think the computer is a device to get into someone’s mind.”

This form of primary online experience is still possible today, and this is one of the ways in which the internet is not replacing, but working alongside the museum (and one of the places where the museum has to put its foundations). So, if I can give my two cents to the Qatari authorities, here we go. You found an amazing architect to build your museum. Now, please find an amazing architect to build your museum website. And when you got it, ask artists to do artworks for it. It would be a great way to involve a different kind of audience, on a different level.

With the development of Web 2.0, however, the web evolved more into a mirror of reality than a world onto itself. Since the early 2000s, a new generation of artists realized it, and started collecting web content and provocatively valuing mediated experience more than first hand experience. Seth Price famously asked in Dispersion (2002 – ):

“Does one have an obligation to view the work first-hand? What happens when a more intimate, thoughtful, and enduring understanding comes from mediated discussions of an exhibition, rather than from a direct experience of the work?”

Interestingly, the question mark disappears in the following statements:

I enjoy interpretations and mediated experiences: books about books, exhibition catalogs, interpretations of films. Some of my favorite artworks and movies have only been described to me.Oliver Laric 2010

mediated experience is by far the most accessible version of a work, and this in itself is important. Art has long been dominated by individuals and institutions who want to control the distribution of imagesArtie Vierkant 2013

I like the direct experience of documentation, because I love the Internet. This is where I primarily experience art.Parker Ito 2013

What today is called Post-Internet art is based on these premises. Expanding on the same concepts the Link Art Center, the organization I co-funded in 2011, is about to launch 6PM Your Local Time, a platform project where artists, institutions and galleries from different cities and countries open together and document their events on social networks under the same hashtag, as if it was a single event. Check it out at

We ran a test event in London in November 2014, and I realized something that now looks pretty obvious to me: that the more we experience mediation, the more we realize the importance of primary experiences. If you don’t believe me, try virtual sex.

Museums will still be important in the future, after all; and the internet will become the best way to get there.

Thank you very much for your attention.

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Art for Tomorrow


I’ve been invited to speak at the Art for Tomorrow conference, organized by the International New York Times in Doha, Qatar, from March 14 to 16, 2015. I will be part of “The Art of the Digital 2: The Gallery and the Audience” panel, moderated by Jean-Paul Engelen, Director of Public Art Programs at Qatar Museums, and taking place on Sunday 15 in the afternoon; and I will share the stage with people I always regarded as superheroes, including Olafur Eliasson, Rem Koolhaas, Jeff Koons, Jean Nouvel, Hans Ulrich Obrist. More info on the conference website:

I will schedule a post for Sunday afternoon, sharing with you my two cents on the topic of the relationship between primary and mediated experience. Stay tuned (and wish me good luck :-)

Image above is: Joshua Citarella, Compression Artifacts, 2013

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Someone Next Door’s Fucking to One of My Songs


… well, the article I published on the December 2014 issue of Artpulse Magazine is actually (and dumbly) titled “Response”, but I guess the title above (stolen from a lyric by Regina Spector) is better to get your attention and make you download it. Featuring Jon Rafman, Matthias Fritsch, Nick Briz, David Horvitz, Eva and Franco Mattes and the Jogging.

The same issue of the magazine also features a comprehensive survey on “High Art vs. Pop Culture”, that you can read online here. Yours truly contributed with a couple of quotes, but if you are really having a boring Saturday we can read the full interview after the break. Questions by Paco Barragán

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Possible Futures – art, museums and digital archives


Back in 2011 I was invited, together with an amazing selection of speakers, to take part in an international symposium on art and digital archives at the FAU / USP University in São Paulo, Brazil. Video documentation of all the talks is still avalable on Vimeo. I delivered a talk on how copying and downloading can effectively help in preserving digital works of art, presenting Share Your Sorrow as a case study. After three years of hard work on the papers, wonder women Giselle Beiguelman and Ana Gonçalves Magalhães just released a luxurious, 648 pages bilingual book (English-Portuguese) also available in ebook form. Full press release and a list of bookstores where you can find it after the jump. Continue reading

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Nadja at Hypersalon, Miami


I’ve been invited, together with other curators, to submit a selection of moving images for Hypersalon, a curatorial project set up by TRANSFER and XPO GALLERY in partnership with HYPERALLERGIC (South Beach, Miami, December 1 – 7, 2014). By appointment, viewers may select a curatorial from the exhibition playlist to view the works.

My selection is called Nadja, and features works by Alterazioni Video, Cécile B. Evans, Francoise Gamma, Faith Holland, Kamilia Kard, Claudia Maté, Eva and Franco Mattes, Rosa Menkman and Lorna Mills. Curatorial statement and full list of artworks after the break. Continue reading

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Aksioma is finally making its beautiful brochure series – called Postscriptum – available online in free download on Issuu and in print-on-demand on Lulu. It features a few texts of mine, including this one about Jill Magid’s work, that is still one of my favs. Enjoy!

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