The centre is involved in collaborative partnerships with the following organisations:
The Photographers’ Gallery
The Photographers’ Gallery was founded in London’s Covent Garden in 1971 as the first public gallery in the UK dedicated to the medium and remains a leader in the presentation and exploration of photography in all its forms. It has been instrumental in promoting photography’s pivotal and influential role in culture and society and ensuring its position as a significant art form. Over the years it has introduced such international photographers as Juergen Teller, Robert Capa, Sebastião Salgado, Andreas Gursky and Taryn Simon to British audiences, whilst championing the work of home based practitioners including Martin Parr, Zineb Sedira, Nick Knight and Corinne Day. It opened its new home in Ramillies Street, Soho, London in May 2012, after an ambitious two-year redevelopment of an old textiles warehouse. With new and enhanced spaces for exhibitions, learning, retail and social activities, plus a new website launched in 2017, The Photographers’ Gallery is able to be even more ambitious with its programming and activities meet the needs of the medium, its photographers and audiences.
CSNI and The Photographers’ Gallery have been in a research partnership since 2013, with the creation of the Media Wall, the founding of the Digital Programme and the appointment of Katrina Sluis as the first Curator of Digital Programmes. Currently the partnership centres on a collaborative PhD, looking at Computer Vision.
[Researcher: Nicolas Malevé]
Founded in 1996, Rhizome is a thriving non-profit organisation who has played a leading role in the history, definition and growth of art engaged with software, the internet and related born-digital technologies. Its mission – to support contemporary art that creates richer and more critical digital cultures – is achieved through commissioning artworks; events and exhibitions; publishing; and its ArtBase and Digital Preservation program. Rhizome is both an ‘online organisation’ and an independent affiliate-in-residence of the New Museum, New York, where many of its public events are held. The ArtBase serves as the bedrock of Rhizome’s award-winning, research-based Digital Preservation program, led by renowned Digital Conservator, Dragan Espenschied. Through this program, Rhizome is one of the only institutions internationally who are actively and significantly involved with the preservation of born-digital art on a hands-on level.
The partnership builds on existing relationships between the Rhizome and the LSBU supervisory team. Katrina Sluis presently serves on Rhizome’s UK Advisory Board, and has been supporting the organisation in developing strategic partnerships to develop its UK audience and the impact of its programme. Previously, she collaborated with Dragan Espenschied at The Photographers’ Gallery, London (2013) to restore, culturally analyse and exhibit one terabyte of data saved from the Geocities Online community, which was shut down by Yahoo in 2009. Annet Dekker is a leading international expert in the preservation and curation of digital art, and is presently also a researcher at Tate involved in the Pericles FP7 digital preservation project. Through this project she initiated an international Community of Practice including among others Rhizome, MoMA, SFMOMA, Hochschule der Künste in Bern and University Freiburg. Andrew Dewdney’s previous AHRC funded work is also of interest to Rhizome as it focused upon how cultural value operates in digital contexts and how it is understood cultural organisations. Rhizome’s institutional position creates unique and ideal conditions to conduct new R&D in digital preservation, using its own collection, and to broadly disseminate the project results. At the international, national and regional level, Rhizome has set standards for other art museums to follow.
[Researcher: Lozana Mehandzhiyska]
Championing new ideas in contemporary art since it opened in 1970, the Serpentine Galleries have presented pioneering exhibitions of 2,263 artists over 45 years, showing a wide range of work from emerging practitioners to the most internationally recognised artists and architects of our time. One of the key objectives of the Serpentine’s 2018-2022 Digital Programme is the establishment of a Science, Technology and Arts Research Laboratory (STAR LABS) to build digital R&D capacity for the contemporary arts through developing arts and technology networks and undertaking collaborative research across the fields of arts policy, organisational development, curating and programming.
CSNI has partnered with the Serpentine Galleries to undertake research on building new collaborative networks between the arts and technology in the context of the stark differences between the cultures of the art sector and technology sector. Whereas the cultural mode of art reproduction is based upon a system of competitive collection and exhibition, the culture of technology relies upon open source development and cooperation. One of the overarching issues for the collaborative research will 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.
The Royal College of Art