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Online Curatorial Practice — Flexible Contexts and ‘Democratic’ Filtering
Screenshot from ecoarttech's Untitled Landscape # 5, commissioned for whitney.org (2009). Fluctuating, glowing orbs, whose size is driven by statistics of the numbers of visitors to whitney.org, disrupt the "digital landscape" of the Whitney's website at sunset and sunrise time.
By Christiane Paul
When Internet art officially came into being with the advent of the WWW in the early 1990s, it immediately inspired a variety of dreams about the future of artistic and curatorial practice, among them the dream of a more or less radical reconfiguration of traditional models and “spaces” for accessing art. As an art form that exists within a (virtual) public space and has been created to be seen by anyone, anywhere, at any time (provided one has access to the network), net art does not necessarily need the physical space of an art institution to be presented or introduced to the public and promises new ways of distributing and accessing art that can function independently of the institutional art world and its structures of validation and commodification. Net art seems to call for a “museum without walls,” a parallel, distributed, living information space that is open to interferences by artists, audiences, and curators—a space for exchange, collaborative creation, and presentation that is transparent and flexible.
An online art world—consisting of artists, critics, curators,ARTPULSE MAGAZINE » Editorials » Online Curatorial Practice — Flexible Contexts and ‘Democratic’ Filtering
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