Andrew Dewdney and Victoria Walsh @ PARSE Biennial Research Conference on TIME
4-6 November 2015, Gothenburg (Sweden)
How are artists, curators and theorists responding to the new conditions of hypermodernity and chrono-reflexivity within the spaces and time of the art museum? Marked by a distributed archival aesthetic, post-digital culture directly challenges the museum’s logic of collection, as well as exposing the flaws of the atemporal modernist aesthetic hang.
Art museums have responded to this situation through asserting the temporal specificity of ‘exhibition’. During the performance and event programme of the Tate Tanks in 2013, Chris Dercon described the museum of the 21st century as ‘a new kind of mass medium’ – defined by the durational practices of artists, interactive audience technology and social media, and online broadcast and archival practices. Such a description, whilst recognising a convergence of art and media practices, does not yet recognise the temporal paradoxes that are emerging from network culture which is everywhere busily inverting the foundational logic of the museum as a place of aggregation and object display.