- Dedicated to pioneering curators, artists and designers from the world of digital art.
- Presents a collection of interviews about the potential of exhibiting digital art, both offline and on the web.
- Reflects on the gaps between various curatorial discourses
- Emphasizes how the web is not only a tool or a medium, but a socio-technical culture that has enriched and transformed curatorial and art practices with new ways of creating and co-creating
Editor: Annet Dekker
Contributors: Pita Arreola-Burns, Evelyn Austin, LaTurbo Avedon, Paul Barsch, Livia Benedetti, Bob Bicknell-Knight, Elliott Burns, Tom Clark, Marco De Mutiis, Constant Dullaart, Madja Edelstein-Gomez, Amber van den Eeden, Rebecca Edwards, Rózsa Farkas, Marialaura Ghidini, Manique Hendricks, Tilman Hornig, Florian Kuhlmann, Kalle Mattsson, Anika Meier, Marie Meixnerová, Laura Mousavi, Katja Novitskova, Domenico Quaranta, Stefan Riebel, Ryder Ripps, Sakrowski, Katrina Sluis, Lilian Stolk, Systaime a.k.a. Michaël Borras, Gaia Tedone, Jon Uriarte, Miyö Van Stenis, Nimrod Vardi, Marcela Vieira, ZHANG Ga
Design: Irene Stracuzzi
2021, Valiz | supported by Creative Industries Fund NL, Prins Bernhard Cultuurfonds NL | Pb | 352 pp. | 24 x 14.8 cm (h x w) | English | ISBN 978-94-93246-01-0 | € 26,50
Annet Dekker is a curator and researcher. She is Assistant Professor Media Studies: 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. She has previously been Researcher Digital Preservation at Tate, London, core tutor at Piet Zwart Institute, Rotterdam and Fellow at Het Nieuwe Instituut, Rotterdam. She has published in numerous collections and journals and is the editor of several volumes, including Lost and Living [in] Archives. Collectively Shaping New Memories (2017, Valiz)
What is the role of the curator when organizing digital art exhibitions in offline and online spaces? This book focuses on how the experiments of curators, artists and designers have opened the possibility to reconfigure traditional models and methods of presenting and accessing digital art. In the process, it addresses how web-based practices challenge certain established museological values and precipitate alternative ways of understanding art's stewardship, curatorial responsibility, public access and art history. Through more than twenty interviews with artists and curators in the course of the last ten years, and flanked by an extensive timeline, the reader of this publication is given an insight into the discourse on digital art and its curation today.