Ⓥ 7.2 Digital Curation
Tracks
Track 2
Wednesday, June 26, 2024 |
10:30 AM - 12:30 PM |
Plaza P6 |
Overview
This session will be livestreamed from Brisbane for virtual delegates
Speaker
Dr Annet Dekker
University of Amsterdam
FP: Curating Online: Art in Space and Time
10:30 AM - 10:55 AMAbstract
This paper aims to gain more insight into the exploration of aesthetics, space, and time in online exhibitions. In potential, online space can be continuously re-figured, and networked machine time is a complex assemblage in which computer-based times and the traces of human intervention become entangled, generating the potentially unlimited experiences of temporality without a clear trajectory, either in the past or towards the future. Hence, the unstable qualities of space and time problematize narrative as an expanding space in which ideas unfold through time. Drawing on a series of interviews with curators and artists who organized online exhibitions, this paper makes a first attempt to question how the relations between online space and time affect and create alternative narrative potentials. Moreover, how this entangled space time relationship that is set up between humans and non-humans affect issues of value, trust, ownership, and authorship about the art it presents?
Biography
Annet Dekker is a curator and researcher. Currently she is Assistant Professor Cultural Analysis and MA Coordinator Archival and Information Studies at the University of Amsterdam, and Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. Previously she was Researcher Digital Preservation at Tate, London, core tutor at Piet Zwart Institute, Rotterdam and Fellow at Het Nieuwe Instituut, Rotterdam. She also worked as web curator for SKOR, was programme manager at Virtueel Platform and curator/head of exhibitions, education and artists in residence at the Netherlands Media Art institute. She publishes regularly in numerous collections and journals and is the editor of several volumes, among others, Documentation as Art (co-edited with Gabriella Giannachi, Routledge 2023) and Curating Digital Art. From Presenting and Collecting Digital Art to Networked Co-Curating (Valiz 2021). Her monograph, Collecting and Conserving Net Art (Routledge 2018) is a seminal work in the field of digital art conservation.
Miss Fiona You Wang
The Hong Kong University of Science and Technology (Guangzhou)
FP: Use Subjectivity as a Curatorial Method in Space Art
10:55 AM - 11:20 AMAbstract
The expression of subjectivity or embodiment is frequently manifested through interactive technologies in technological art, such as AR, VR, motion capture, and more. These interactions are crafted to engage the viewer's multiple senses and establish a connection between the human body and the mechanical realm within the artwork. In the realm of curatorial practices in science and technology, subjectivity is occasionally examined as a subject of study. However, it is uncommon for curators to employ their own physical attributes as a gateway to expressing the artist's subjectivity in the displayed works, and even to influence the audience's receptive behavior, particularly in exhibitions featuring science and technology art. This form of curating undeniably represents a creative approach, contemplating how to curate an exhibition as one would create a work. Undoubtedly, these are two distinct aspects, often viewed as separate methodologies. As a practitioner with extensive experience curating exhibitions of new media art and technology art, the author endeavors to explore an alternative curatorial path and solution, aspiring that such an approach can yield a deeper comprehension of human subjects in the context of science and technology art expression.
Biography
Her early installations and video works have won the IDA Digital Art Award Academy Award Finalist (2006) and the Yokohama New Media Art Video Festival Nomination Award (2007). In 2020, she is the winner of the Hyundai Blue Prize China Young Curator Award for her cutting-edge research on space art and her distinctive curatorial achievements. She has been invited as the academic judge of the National Art Fund Project, the workshop instructor of the International Design Education Forum of Tsinghua University, and the academic guest of the Beijing Film Academy International New Media Art Triennial. She has planned and organized many large-scale new media and technology art festivals in China, Academic forum; leaded and participated in the establishment of multiple interdisciplinary laboratories.
As a cosmic nomad born in Inner Mongolia, a creative curator and media researcher from new media art, She uses her curatorial creations to think about many issues, such as the recursion and compensation of subject perception in the sequence of time and space; the companionship of social innovation and public art; the relationship between human individual displacement and information dissemination, and the social & technical problems caused by it. Her studies involve film, contemporary art, technological art, etc.
Dr Carly Whitaker
Curatorial Director
Floating Reverie
FP: The Start of a Networked Curatorial Dictionary…
11:20 AM - 11:45 AMAbstract
This paper outlines and defines selected key concepts and terms that form part of a dictionary that supports the defi-nition of a networked curatorial practice. The paper unpacks and discusses the following key concepts and terms: digi-tal art, networked, networked curatorial practice, the cura-tor, the para and post-curatorial, the post-occupation condi-tion, and spaces - all within the digital art landscape. The paper argues for a dynamic interpretation of key concepts and terms encompassing this practice emerging in a con-temporary digital context, urging readers to traverse and form their own connections. The discussion is framed through the description and definition of four key curatorial projects— Floating Reverie, Covalence, TMRW, and Blue Ocean. These projects, ranging from digital residency programs to online art spaces, demonstrate the diverse ways in which curated spaces can support digital artists. The paper seeks to enhance accessibility and contribute to ongoing discourse within the digital arts community, fo-cusing on establishing a sustainable ecosystem through different spaces for artists and curators through a networked curatorial practice.
Biography
Carly Whitaker, an independent curator, researcher, artist, and lecturer based in Johannesburg, received her PhD from the University of Reading (UK). Her research focuses ex- ploring networked curatorial methodologies in the South African context. She has exhibited in Johannesburg, Frei- burg, Casablanca, Miami, and Sao Paulo. Whitaker's work delves into the intricate interplay between communication, media, and technology, fostering dialogues and connections within the digital realm. Noteworthy curatorial projects in- clude Floating Reverie, a digital residency program, and Blue Ocean, an online digital project space initiated in 2022. She was previously the Curatorial Director of the TMRW Gallery in Johannesburg in 2021-2022, where she oversaw the production and exhibition of digital artwork in a work- shop context. Drawing from her extensive experience in lec- turing and research roles, Whitaker integrates design re- search practices into her own explorations, focusing on cul- tivating spaces for digital artists to expand their research and practices. www.carlywhitaker.co.za
Miss Kate Belakova
Aalborg University
SP: Preserving Memories Beyond Museums: Navigating Personal Memories through Technology
11:45 AM - 12:00 PMAbstract
Social media, digital diaries, and self-tracking tools allow us to store and share reflections and memories. However, with the large amount of data it gets messy, unstructured and becomes a disorganized collection of links and data entries. This paper was inspired by creative projects like Hereafter AI , Story worth , Digital Diaries which tried to re-imagine a way to store and interact with memories by shifting from long lists of data to a more structured and interactive way prompting reflection. This paper explored studies on memory and reflection, and existing projects that foster reflection. Based on that, we came up with a proposal of a design concept with the goal to generate a discussion on designing technology for embodied cognition that facilitates reflection. Technology that not only allows us to store memories, but also reflectively interact with them.
Biography
Jekaterina Belakova is a creative technologist and transdisciplinary researcher. She is currently a media arts cultures scholar.
Session chair
Anastasia Tyurina
Senior Lecturer, Academic Lead Learning and Teaching (Design)
Queensland University of Technology
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