Gabriel Menotti and Bruno Zorzal interview Katrina Sluis for the Brazilian Photography publication ZUM: Revista de Fotografia.
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…]