From 1st December 2018, the CSNI researcher Katrina Sluis will be undertaking a Swiss National Science Foundation funded research project “Curating Photography in the Networked Image Economy” in collaboration with Dr Wolfgang Brückle, Lucerne University of Applied Arts and Sciences, Fotomuseum Winterthur, FotoColectania and The Photographers’ Gallery. The central objective of the research is to generate new academic, professional and public knowledge and understanding of how the networked image economy is transforming established models of curating photography and the production and location of cultural value. In doing so, it proposes to bring the largely disconnected fields of museum curating, social media curation and computational photography into productive dialogue.
The CSNI PhD researcher Victoria Ivanova took part in the programme ‘Mourning Money’ organised by UKK (Organisation for Artists and Curators in Denmark) at The Royal Danish Academy of Fine Arts, Schools of Visual Arts in Copenhagen. Ivanova contributed to the panel ‘MACRO’ on the 18th of January 2019 along with Kei Kreutler and Helen Hester.
MACRO discussed organisations operating at the macro scale of the field of art. Examples include unions, interest organisations (BKF, UKK, UKS), pension funds (Artist Pension Trust), mission-driven organisations (W.A.G.E.), global financial actors (Deloitte, Athena Art Finance), financial technology startups (Maecenas, Codex Protocol), blue-chip galleries (Gagosian), startups (Artsy), private foundations and national art foundations. The panelists explored what diverging functions and purposes such initiatives can have, why it is important to develop organisations at the macroscale right now, and what the criteria by which to assess their capabilities and limitations can be.
Find out more details about the programme, here.
The exhibition ‘All I Know Is What’s On The Internet‘ at The Photographers’ Gallery in London, presents the work of 11 contemporary artists and groups seeking to map, visualise and question the cultural dynamics of 21st Century image culture. It is curated by the CSNI researcher Katrina Sluis, whom you can hear talking about the ideas and the works of the show in the interview below:
Participating Artists: Mari Bastashevski, Constant Dullaart, IOCOSE, Stephanie Kneissl & Max Lackner, Eva & Franco Mattes, Silvio Lorusso & Sebastian Schmieg, Winnie Soon, Emilio Vavarella, Stéphane Degoutin & Gwenola Wagon, Andrew Norman Wilson, Miao Ying.
Exhibition duration: 26 October 2018 – 24 February 2019
Last March, the CSNI PhD researcher Lozana Rossenova took part in the panel ‘Curation and Power’, with Jessica Ogden, Anisa Hawes, Margaret Hedstrom and Morehshin Allahyari, at the National Forum on Ethics and Archiving the Web, NYC (22-24 March 2018).
Watch the video documentation here:
The second annual CSNI Summer School took place in the 7th of June at Jerwood Space in London and it was a rich day of presentations and discussions. This year’s invited speakers included Dr. Geoff Cox and Dr. Magda Tyżlik-Carver who presented their current research projects and responded to the presentations by the CSNI PhD students and led the discussion during the day. The Summer School was also joined by CSNI associate researchers Adam Brown and Simon Terrill from London South Bank University (LSBU), Dr. Elena Marchevska, head of the Centre of Digital Storymaking at LSBU as well as Dr Cayo Honorato from University of Brasilia.
See below the schedule of the day for an idea of the topics covered and discussed:
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.
Alan Warburton’s work Homo Economicus is part of a new exhibition at the Somerset House Studios which questions the implications of producing, collecting and sorting data for society and the individual. The exhibition, titled ‘Complex Values‘, includes the works of three resident artists at the Somerset House Studios: Alan Warburton, the curatorial platform Album Corp and the art-research duo FRAUD.
Homo Economicus is an installation with video and sculpture which focuses on the ideas of men who work in the City of London’s financial district, and examines how they both modify and commodify their own bodies. The work intentionally conflates the corporate and the corporeal, questioning male self-worth and its apparent apotheosis in the hyper-competitive financial services industry.
Exhibition duration: 13 – 24 Jun 2018
Somerset House, River Rooms (New Wing)
Opening Times: 12.00 – 18.00 (Wed & Fri until 20.00)
Entrance is FREE
[featured image: Homo Economicus, Alan Warburton, 2018]
What does photographic curation mean in an era of the fluid image and during a time of non-medium specificity?
On the 2nd of June 2018, Katrina Sluis, CSNI Researcher and Digital Curator at The Photographers’ Gallery, spoke in the ‘Encounters: Photography and Curation’ symposium – a collaboration between The Photographers’ Gallery and London College of Communication, UAL).
The symposium aimed to examine the relatively under-discussed area of photography curation at a time when academic curating programs are expanding globally and our understanding of the practice is evolving.
Sluis’ presentation was part of the panel Encounters which also featured Tim Clark (Curator and Founding Editor, 1000 Words), Lucy Moore (Director, Claire de Rouen Books), and Lars Willumeit (independent curator, writer and editor).
Find out more information, here.
On the 10th of May 2018, Professor Andrew Dewdney presented a talk with the title “What Is The Current Fascination With VR On The Part Of Museums And Art Galleries?” in the Contemporary Art Society’s 2018 Annual Conference. This year’s annual conference explored the rapid development of digital imagery in the artistic realm and its representation in museums.
Abstract: Over the past two years more and more national and international museums and galleries have teamed up with technology companies to demonstrate how VR applications can be used in the cultural heritage sector. Modigliani’s studio in VR at Tate Britain, The Royal Academy in partnership with HTC Vive demonstrating VR in the ‘From Life’ exhibition, Zaha Hadid’s Architecture in VR at the Serpentine or Matt Collishaw’s reconstruction of the first photographic exhibition studio in VR at Somerset House. I could go on, The National Gallery and The British Museum teaming up with Oculus to provide virtual 3D headset tours, not to forget Google Arts and Culture’s now established Google Art Project partnerships using Google software tools. How are we to assess this growing trend? Is it a potential moment of radical change in the museum, or is it another fleeting fascination? One way of thinking about this is to ask how the current interest in VR applications relates to the wider technological environment of networked culture? The presentation takes the view that whilst VR devices and software are now more widely available and applicable, the current interest in their use may well be a distraction from a much greater virtual reality that has already taken place in everyday life. The network of networked computers, the World Wide Web, and global positioned connected mobile devices, have and continue to profoundly change what it is to be human. Whilst current interest from corporate content providers is in testing market appetite for immersive 3D interfaces, VR may very well turn out to be a nostalgic longing for a past imagined future world, rather than portal into a new one.
Read the full presentation, here: VR and the Museum, Andrew Dewdney
[featured image: Modigliani VR: The Ochre Atelier (Courtesy of Preloaded)]
Remedios Zafra, CSNI external researcher associate, has published the article The Precarious Individual: Cultural Workers in the Digital Era in CCCB Lab (Centro de Cultura Contemporánea de Barcelona).
For some time now vocation and enthusiasm have been exploited to justify the drift towards labour precarity. This tendency is on the increase in contexts related to art, culture and knowledge, where the advantages of a hyper-connected world coexist with the maintaining of old forms of power that make people vulnerable and deny them spaces where they can rethink the working logic of which they form part. A logic that ranges from the fallacy of equating life with work to the bureaucratisation of working life, and also includes the feminisation of cultural bases or individualisation induced by fierce competition, among others.
Read the full article, here.
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 and Katrina Sluis will be joining Marco de Mutiis of FotoMuseum Winterthur on Tuesday 13th February, 7pm to discuss “the new artefacts of the image” as part of Foto Colectania’s digital platform Done:
Our relationship with images is transforming at high speed due to the proliferation of online digital photography. This new scenario has impacted on contemporary art practices, where photographs are not only printed and framed but can also take sculptural form, build an installation, be a fundamental part of a performance, and remain intangible in the net. The three participants of this conversation will show and explain how contemporary photography is developing in this new scenario.
You can see a recording of the talk below, and see a previous talk by CSNI researcher Daniel Rubinstein for the platform here.
CSNI Director Andrew Dewdney has contributed a chapter, Art Museum Knowledge and the Crisis of Representation to a new volume, Representing Art Education: On the Representation of Pedagogical work in the Art Field, edited by Carmen Mörsch, Sigrid Schade & Sophie Vögele.
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/
CSNI Researcher Katrina Sluis was recently interviewed for the BBC Radio 4 Programme ‘PowerPointless’, a documentary on the culture and aesthetics of Microsoft PowerPoint. She discussed the production of the 2016 Media Wall project PowerPoint Polemics at The Photographers’ Gallery and the contribution of artists including Clunie Reid.
Listen to the programme, here:
Gabriel Menotti and Bruno Zorzal interview Katrina Sluis for the Brazilian Photography publication ZUM: Revista de Fotografia.
Read the interview (in Portuguese), here:
Auction action – commission an artwork, listed on eBay as ART, LIMITED EDITION, PRINT | Auction action – commission an artwork #exstrange, were transformative actions that occurred within the context of the networked performance Transformations: Actions to Matter / Matter to Actions by Garrett Lynch.
Transformative actions within Transformations attempt to source items for free online and then sell them online. Actions that are performed online are considered to occur within a ‘virtual’ or digital context. Items that are acquired as a result of actions are physically manifested in ‘real’ contexts. A transformation therefore occurs from ‘virtual’ to ‘real’ and then back to ‘virtual’ again. The internet is both a staging ground for initiating transformation as well as the final destination for the items acquired and the documentation produced.
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…]
CSNI Panel Discussion with Anne-Marie Schleiner (via video link), Michaël Borras A.K.A Systaime, Gaia Tedone curated and moderated by Magda Tyżlik-Carver.
Thursday 6 Apr, 18.30.
The claim that curating is posthuman recognises the changing modes of curating in the world of mass participation in and mass creation of popular culture. It is no longer just about meaning making by art professionals who commission, archive and interpret objects in museums’ collections but it defines a popular activity performed daily by agents of different orders. Not just curators but users of social media, not just people but algorithms and software are actively involved in managing, organising and evaluating content. Curating has become a practice that supports creation of narratives and online personas, generation of data and content that is displayed and managed across different social media platforms. While using digital objects and networked images to represent identities and conceptualise ideas about the world, the self and others, curating is firmly situated as an element of computational cultures distributing, constructing and performing ever new subjects, content, data, objects, and concepts.
05 April 2017
10h – 16.30h
Instituto Universitário da Maia, Porto, Portugal
With Tiago Cruz, Irene Luszting, Magda Tyżlik-Carver, Francisca Gonçalves AKA DJ Sininho, Ricardo Salazar
Expressions with sound and image. Technic-praxis-theory is a series of open classes, promoted by the curricular unit of scenic arts of the arts and multimedia course at the Instituto Universitário da Maia in Porto, Portugal, presenting artistic work, and national and international investigations in the various areas of sound and image.
Katrina Sluis @ Animate Projects in partnership with QUAD
Friday 22 January 2015, Derbys (UK)
Animate Projects in partnership with QUAD are holding an informal seminar on critically engaged digital practice. Artists and curators will make brief provocations, referencing notable artworks, organisations and events, to set a context for a discussion addressing questions that may include:
How do we square embracing and utilising technological change and forms, with critical interrogation?
Does public strategy help or hinder, lead, follow or shape practice?
How does creative innovation and experiment blur distinctions across commercial and cultural practice? [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…]
with: Harm van den Dorpel, Aymeric Mansoux, Martine Neddam, Michael Murtaugh, Anne Roquigny, Robert Sakrowski, Katrina Sluis
Thursday 26 November 2015, 13:00 – 17:30
Gerrit Rietveld Academie, Gym, Amsterdam
During a one-day-open market with workshops, lectures and performances, How to Do Art With Networks shows how networks are art.
How to Do Art With Networks provides an opportunity to share experiences, to experiment with platforms, tools and media, to conspire and discuss questions of sustainability, growth and informality. The day is based around several existing net-art-works that act as catalysts to show different perspectives, scales, potentials and pitfalls. [Read more…]
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. [Read more…]
PhD research by Gaia Tedone
Gaia’s current research project considers the shifting conditions of the photographic image within contemporary culture at large, exploring how digital technologies and social media are opening up new spaces for encountering and exhibiting visual material. [Read more…]