Annet Dekker recently published her new book, Collecting and Conserving Net Art, which explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies.
The Centre for the Study of the Networked Image is delighted to announce two fully funded PhD studentships at London South Bank University in partnership with:
(1) The Serpentine Galleries
‘From Institution to Platform: Organisational Structures and Arts Practices in Network Cultures’
The Serpentine Galleries in London is one of the world’s foremost contemporary art and architecture institutions,which is in the process of developing a digital strategy within its organisation. One problem the Serpentine has identified is a lack of capacity for the arts to influence the direction of new technologies because organisational networks, through which new ways of thinking about the future of the arts can travel and flourish, remain nascent. One of the overarching issues for the research would be to identify the barriers to greater art and technology cooperation at the institutional level and to identify practices which could act as catalysts for future cooperation on an inter-institutional level.
(2) Gasworks and The Royal College of Art
‘Transnational Art Practices and Online Networks in the 21st Century’
Established in 1994, Gasworks is a non-profit contemporary visual art organisation working at the intersection between UK and international practices and debates. Gasworks provides studios for London-based artists; commissions emerging UK-based and international artists to present their first major exhibitions in the UK. Over the last two decades Gasworks has worked with over 250 artists from 70 countries around the world.The archive and networks of the international artist residency programme at Gasworks will form the basis of a fieldwork study, from which a curatorial research project will be established and result in a number of public interactions and engagements, through panel discussions, events, exhibitions, publications and online forums.
The deadline for applications is Monday the 23rd of April 2018. Interviews will be held on the week of May 1st.
For a more detailed brief about each of the PhD studentships and how to apply, see below: [Read more…]
Andrew Dewdney has contributed a paper Museums, scholarly enterprise and global assemblages: a response to ‘Artifacts and allegiances: how museums put the nation and the world on display’ in Identities Volume 24, Issue 1.
CSNI Researchers Annet Dekker (21st Feb) and Katrina Sluis (24th May) will be participating in “Curating Machines”, a series of events organised by Olga Goriunova, Lilly Markaki and Chris Townsend (Dept. of Media Arts, Royal Holloway, University of London): https://www.facebook.com/
On the changing role of archives in the digital age
Do ‘Living Archives’ provide a space for erased, forgotten, neglected and new memories?
Editor: Annet Dekker
Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastajian, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Manu Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai [Read more…]
9 Jun 2017, 18.30
@ The Photographers’ Gallery
with Özge Ersoy, Nour A. Munawar, Sarah Nankivell, Christina Varvia
curated by Annet Dekker
Trafficking of cultural heritage is nothing new. It ranges from the looting of archaeological sites, theft from cultural heritage institutions and private collections, and the displacement of artefacts due to war. Recently a new phenomenon can be added to this list: the filming of destructions of “fake” ancient relics, while the originals are quickly and illicitly traded.
Following the release of such videos by ISIS, many Western nation states reacted with outrage and responded by attempts to digitally preserve or rebuild of some of the remains. While adopting conventional methods of appropriation, and ignoring their own role in these (fake) destructions, a new player entered the marketplace: commercial companies specializing in 3D modelling and printing.
The possibility of generating detailed copies of an artefact without the need to access it brings undeniable benefits in terms of its accessibility and preservation. It allows people access to lost ‘treasures’; a digital model can capture the appearance and shape of an object in a way that a 2-dimensional representation could never do. Rather than being committed to the preservation of cultural heritage it could be argued these companies are profiting from the reselling of copyrighted files. Drawing attention to the importance of a freely shared memory and using the power of technology, artist Morehshin Allahyari devised her own method to counter what she considers to be a new ‘digital colonialism’. Based on found footage from exhibition catalogues, tourists’ snapshots and using her imagination, she created 3D visualization models from scratch in her project “Material Speculation: ISIS”. Realised as 3D printed sculptures, these cultural objects have the documentation of their creation embedded on a flash drive inside the model, which has also been shared by Allahyari online for others to use.
Reflecting on Allahyari’s use of technology as a political medium, the panelists will present their views on what could be a decolonialist practice. They will show how re-use and re-interpretation allow for a new set of values to emerge in which destroyed objects, and their users, regain agency through digitisation. [Read more…]
Article and Presentation
Annet Dekker @ MAP: Endnotes, Edinburgh Art Festival,
Saturday 13 August 2016
Endnotes is part of the MAP Footnoting the Archive project curated by guest editors Suzanne van der Lingen and Claire Walsh. Responding to the theme of endnotes, and coinciding with the completion of the MAP online archive, the editors invited contributors to examine ways of approaching archives as a creative, active platform rather than a static reserve of documented content. Each of the invited artists and researchers propose critical approaches to archiving, contemporary art and digital production. [Read more…]
Annet Dekker @ Digital Horizons, Virtual Selves: Rethinking Cultural Heritage in the Museum
Research Centre for Material Culture, Leiden (the Netherlands)
Thursday 20 January 2016
Organised by Karin de Wild and Liza Swaving
This presentation will focus on attempts that have been made to preserve online cultures: from large institutes that scrape content and invent new documentation methods, to ‘amateur’ examples that form their own ‘networks of care’, and finally by paying attention to the stories, myths and fictions that survive through analogue means and stick in human memory. [Read more…]
Victoria Walsh (RCA), Andrew Dewdney and Ionna Zouli (LSBU) and Emilie Pringle (Tate)
AHRC RCA / Tate Collaboration
This collaborative and interdisciplinary research project between Tate, the Royal College of Art and London South Bank University (2013/14) was based upon the recognition that contemporary professional practice, policy-formation and understandings of cultural value remain resolutely analogue despite the profound changes in how knowledge and contemporary culture is being produced and experienced. [Read more…]
Current Research by Annet Dekker (as part of a residence at CCS, Bard College, February-June 2015)
It could be argued that the transformation from analogue to digital archives and archiving has shifted from selecting single documents in favour of seeking relations between documents and stimulating audiences to actively participate in curating archival and museum collections. [Read more…]
Current Research by Andrew Dewdney
I am working with a longstanding research collaborator, Professor Victoria Walsh, on rethinking the theoretical intersection between art, media and technology through the prism of the strategic and curatorial practices of museums and their response to the rise of network culture. [Read more…]
PhD research by Ioanna Zouli (AHRC funded – CDA award)
Ioanna’s PhD research is part of a developing discussion on the contemporary museums’ relation to digital technology and network structures. The study employs Tate as the institution under focus and examines the dynamics of institutional practices as a response to contemporary technological developments. [Read more…]