Hitney Museum Commissed 12 Art Works on Software Art
18 Museums Boosting the Scene of Digital Art
Past Marie Chatel
"In theory, gimmicky fine art institutions cover all kinds of contemporary fine art," say Beryl Graham and Sarah Cook, "but in practice, they don't." Digital fine art is complex to grasp, and many museums are even so hesitant about its conservation and preservation. Despite this, they retain authority acting as what media artist Vuk Ćosić jokingly calls "seals of approving." While institutions provide one out of many contexts to experience digital art, their function in historicizing and discussing media-related critical discourses is not interchangeable because of the ensemble of publications, documentation, and collections they agree. Here is a list of 18 museums that shape the scene of digital art through their shows, commissions, acquisitions, and residencies, equally well as the promotion of innovative methods of curation and new forms of display and interaction with the public.
1. Whitney Museum of American Art (New York, US)
It is no coincidence the Whitney Museum is a leading agent of digital art. With media art emerging primarily in the U.s.a. in the 1960s as office of collaborations between artists and tech companies, or science labs, the relation to American art is undoubtedly present. Nether the guidance of Adjunct Curator of Digital Art, Christiane Paul, the Whitney now shows the indispensable exhibition Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018, a span over l years of linking current practices in coding and computation to conceptual art from the tardily sixties. This show follows a long legacy of exhibitions organized since the creation of its Artport in 2001 including BitStreams (2001), Data Dynamics (2001), CODeDOC (2002), Cory Arcangel: Pro Tools (2011). The Artport commissions net and new media artists for its online portal, including virtual exhibitions of Carla Gannis, Elisa Giardina Papa, and Lorna Mills, and artworks past Eva and Franco Mattes, Moreshin Allahyari, and creative person duo Eteam. The collections are as well sizable, presenting pieces of Addie Wagenknecht, Ian Cheng, John F. Simon Jr., Douglas Davis, Cory Arcangel, Jim Campbell, Nam June Paik, Casey Reas, Jacolby Satterwhite, Korakrit Arunondchai, Cécile B. Evans, and the list goes on.
2. ZKM Center for Fine art and Media ( Karlsruhe, Germany)
Oft referred to as the "Electronic or Digital Art Bauhaus," the ZKM captures the development of all media relevant to our digital historic period — may information technology be through painting, photography, video, performances, installations, and other fourth dimension-based creations. Thanks notably to the incredible work of curator Peter Weibel, the ZKM has provided with some of the primeval and most relevant exhibitions on digital art: net condition (1999), Ctrl [Space], Rhetorics of Surveillance from Bentham to Big Brother (2001–2), Future Movie theater: The Cinematic Imaginary subsequently Film (2002), Algorithmic Revolution. On the History of Interactive Fine art (2004), and The Algorithm of Manfred Mohr. 1963 — now (2013). Ongoing exhibitions include Open Codes — focusing on programming and the output of information through electronic devices like Telly, smartphones, and computers — and a solo bear witness of Dieter Jung with business organisation for light and holography. The centre besides displays part of its permanent collection of media art congenital over thirty years and which contains works of Lynn Hershman Leeson, Bill Viola, Dennis Oppenheim, Nam June Paik, Paul Garrin, Marina Abramović, Masaki Fujihata, and Frank Fietzek, amongst others. On top of its part in curating, collecting, and preserving media works, the center houses artistic residencies, institutes, and laboratories to undertake scientific enquiry, development, and production.
3. New Museum (New York, US)
With the mission to foster cantankerous-cultural dialogue, respect, and mutual agreement, the New Museum is a central venue for contemporary art in New York. The museum'due south taste for brazenness, also equally its lasting interest for video art, makes internet and new media fine art obvious curatorial choices. Later on the show Open_Source_Art_Hack that Steve Dietz and Jenny Marketou curated in 2002 and solo exhibitions of video pioneers similar Pipilotti Rist, the venue presents a new generation of artists working with estimator-generated images such every bit Agnieszka Polska, Gregory Kalliche, and Eva Papamargariti, not to mention the CAD sculptures of Marguerite Humeau. The New Museum also leads New Inc, an incubator bringing together developments in art and engineering science to accelerate the creation of cultural values. Its key resident, the listserv Rhizome, affiliated since 2003, works on the collection, preservation and archiving of net art, a meticulous and unique projection worldwide which clearly positions the New Museum. Through the 26th of May, the venue exhibits Rhizome-curated testify The Art Happens Here: Net Art Archival Poetics, showcasing the early on and emerging talents of web creation, amongst which Eduardo Kac, Olia Lialina, Alexei Shulgin, Shu Lea Cheang, and Morehshin Allahyari.
four. Walker Art Center (Minneapolis, United states)
The Walker Fine art Center counts equally one of the early players in the field of digital fine art, and this certainly has to practise with Steve Dietz who curated new media at the institution betwixt 1996 and 2003. Dietz notably organized some of the first online exhibitions such every bit Beyond Interface: internet art and Art on the Net (1998) and Daze of the View: Artists, Audiences, and Museums in the Digital Historic period (1999). He also adult the traveling show Telematic Connections: The Virtual Embrace (2000–2002) and Translocations (2003). During this flow the museum also founded the New Media Initiatives department, the online fine art Gallery 9, and the digital fine art study collection. The Walker Art Center now continues its strategy of collecting new media, proposing audience-oriented, engaging installations, and presenting solo shows of emerging visual artists. In 2017 the venue notably defended a show to Tokyo-based art collective teamLab where they proposed a virtual and immersive ecosystem for viewers to interact with unrealistic wildlife and plants. This term is besides full of promises with exhibition The Body Electrical launching on March 30th and which volition feature works from Laurie Anderson, Ed Atkins, Trisha Baga, Zach Blas, Petra Cortright, Josh Kline, Wolf Vostell, and many others — all reflecting on new media's pop antagonisms between the real and the virtual, the organic and the bogus.
five. Museum of Modern Art and MoMA PS1 (New York, The states)
It is in the 1960s that the MoMA started its pioneering drove of fourth dimension-based art, followed in 2006 with the opening of a department dedicated to new media implementing specific exhibition modes and answering to the new preservation needs applied science requires. After the exhibition Animations (2002), and Thinking Machines Art and Pattern in the Figurer Historic period, 1959–1989 (2018), the museum will exhibit this leap (March 17th — June 15th) a show on art and engineering science, reflecting on the interdependence between hardware and software, the physical and the immaterial. Its affiliated institution PS1 also contributes to the MoMA'southward authority in digital art, notably through the solo testify of artists like Cao Fei (2010) and the arrangement of co-curated events like the Hong Kong grouping exhibition .com/.cn, which examined the role of the web in the rapid advancements of global trade and information exchange. Funny enough, in 2010 the MoMA has likewise been the stage for developments in augmented reality as artists from the commonage Manifest.AR — Marker Swarek, John Craig Freeman, Will Pappenheimer, Tamiko Thiel, Sander Veenhof– hijacked the museum with their virtual installations, questioning the physical boundaries of traditional institutions with regards to the virtuality of digital fine art.
6. Establish of Contemporary Art (London, U.k.)
Many things tin can be said about the ICA, simply first and foremost in terms of new media, it is where the groundbreaking exhibition Cybernetic Serendipity took place in 1968. Curated by Jasia Reichardt, the show challenges the part of the creative person as they elaborate their designs on cybernetic devices, resulting in reckoner-generated music, graphics, texts or poems. Equally its managing director Stefan Kalmár points out, "The ICA was created as an institute (not a museum), for the gimmicky (not just modern) and for all the arts (not only art)" — which reflects perfectly well in the venue'due south plan and encompass of media arts, besides as its openness and curiosity for the new. These past few years the ICA has presented one evidence on forensic architecture, i on UK duo Metahaven, and another on Seth Price and the shift of emphasis from product to post-production, static presentation to circulation — all connected to digital technologies. At present running is a solo exhibition by Scottish media artist Morag Keil who explores the bear on of data-capitalism and digital technologies on people and their everyday realities.
7. Ars Electronica Eye (Linz, Austria)
Fine art, Engineering, and Society — three themes at the interlinkage of which lies Ars Electronica's mission. Since 1979, the center has worked every bit a "Museum of the Hereafter" allowing innovative ideas to broadcast. Subjects include the blend of media art with scientific domains like bogus intelligence, biotechnology, genetic engineering, neurology, robotics, and prosthetics. No "do non bear upon" signs here, this institution promotes places of interaction and participation where visitors experiment with their surroundings and infer what life could expect like in the near future. Rather than highlighting the work of particular artists, the venue proposes a year-round presentation of fine art-science-applied science, which is continuously adapted to match research and the cosmos of noesis. Ars Electronica also runs a festival, an international media fine art prize, and the FutureLab which all feedback into the content of its exhibition space. With its wall and floor 8K-resolution projections, light amplification by stimulated emission of radiation tracking, and 3D animations, Deep Space 8 offers a cutting-edge immersive feel that all media artists dream to work with.
eight. San Francisco Museum of Modern Art (San Francisco, US)
With San Francisco'south Bay Surface area as a cornerstone of technological innovation, its major museum for modern and gimmicky creation, SFMoMA could non but look into media arts. Accordingly, in 1987 it was ane of the commencement US museums to establish its Media Arts Section, which does bear witness through in the incredible quality of its collection including works of Julia Scher, Nam June Paik, Douglas Gordon, Dan Graham, Peter Campus, Gary Hill, Tatsuo Miyajima, Candice Breitz, Tacita Dean, Anthony McCall, Jim Campbell, and Rafael Lozano-Hemmer. In line with its 2001 exhibition 010101: Art in Technological Times, the museum retains its prevalence as reminds the upcoming show snap+share: transmitting photographs from mail art to social networks which volition explore the importance of internet and networks in the production and diffusion of images — starting March 30th.
ix. Serpentine Galleries (London, U.k.)
Its artistic director Hans Ulrich Obrist made it clear: "At the Serpentine, we feel it's fourth dimension for new experiments in fine art and engineering." The Serpentine Galleries' program evolves to feature more and more than new media, with specific interest for artificial intelligence and immersive technologies. Solo exhibitions from the likes of Pierre Huyghe, Ian Cheng, and Sondra Perry have made digital art a recurring theme of the venue — a vision furthered last week with the presentation of Marina Abramović's The Life, the offset functioning to use Mixed Reality worldwide. The nineteen-minutes feel relied on Magic Leap's latest, wearable technology which dissimilar Virtual Reality, allows visitors to remain visible when immersed in the art piece. With such an innovative approach to curating, we tin't expect to see what'due south upwards next at the Serpentine!
x. Beall Centre for Art + Technology (Irvine, CA)
Affiliated with the University of California Irvine (UCI), the Beall Center for Art and Technology commits to the fostering of new relationships between fine art, science, and applied science, with obvious consideration for digital technologies and contemporary media arts. In 2000, its inaugural exhibition SHIFT_CTRL: Computers, Games, and Fine art curated past Antoinette Lafarge and Robert Nideffer bankrupt grounds in analyzing gamings' relation to technology. Since then the centre has shown continuous dedication to inquiry, exhibitions, and public programs. Arguably important was the 2009 solo show on Nam June Paik'due south after works from the 90s and after when he developed his body/robots. Other compelling exhibitions include Emergence: Art and Bogus Life (2010), DataViz: Information as Art (2013), as well as installations by Paul Vanouse, Golan Levin, Eddo Stern, and most lately R.Luke DuBois.
11. Victoria & Albert Museum (London, Uk)
The V&A brings the about extensive collection in decorative arts and design worldwide, and information technology is only natural that the museum follows new ways of making art and design — digitally. Its collections notably agree an splendid ensemble of computer artworks from the likes of Vera Molnar, Manfred Mohr, Marking Wilson, Georg Nees, and A. Michael Noll — all shown in 2018 during "Gamble and Control: Art in the Age of Computers" which historic 50 years of reckoner-generated art. The museum besides offers digital-focused residencies and organizes an annual Digital Design Weekend. On top of this, the 5&A too heavily contributes to the appraisal of video games in art, every bit suggests its recent exhibition "Videogames: Design/Play/Disrupt" (2018–nine) that praised the field'southward edge in immersion and interactivity.
12. HeK, Haus der elektronischen Künste (Basel, Switzerland)
Digital videos, interactive installation, net artworks, virtual reality, web game, computer animation or mixed media — HeK is one cardinal institution specialized in digital civilisation and media technologies. The institution witnesses the creative and critical discourses that challenge the artful, socio-political and economic framework through whatsoever new art forms indicative of the information age. Now running three solo shows on Swiss media art and winners of the 2018 Pax Art Awards !Mediengruppe Bitnik", Fragmentin, and Lauren Huret, the venue ambitions to preserve and promote the works of Swiss media artists. Meanwhile, the HeK too engages in shows of international attain — most recently, Eco-visionaries, co-organized with the Bildmuseet, the MAAT, and the Laboral Center for Fine art and Industrial Cosmos, revealed how artists use new media and applied science to raise environmental issues.
13. InterCommunication Center (Tokyo, Japan)
Founded in 1997 past Japanese telecommunications company NTT to celebrate the country's 100th anniversary of telephony, the ICC acts every bit a central reference for new media arts. Toshiharu Itoh curated some of the earliest shows on digital technologies including, Portable Sacred Grounds: Telepresence World in 1998 and Digital Bauhaus in 1999. Now the center notwithstanding proposes incredible content to connect science and engineering with art, amongst which its series of solo testify emergencies! which focuses on upcoming artists of the Asia-Pacific surface area, for example, Yao Chung-Han, voice.aught, Higa Satoru, and Fujikura Asako. Other relevant exhibitions include Eastward.A.T. — The Story of Experiments in Art and Technology (2003), Extended Senses: Present of Japanese / Korean Media Art (2008), Coop Himmlb(l)au: Future Revisited (2009), Mikami Seiko Desire of Codes (2011). Now on view is Open Space 2018 which reviews artworks incorporating the latest, most cutting-edge technologies.
fourteen. FACT (Liverpool, United kingdom)
The Foundation for Art and Creative Technology supports international visual artists embracing the potential of new media and digital technology and is driven by empowering all 21st-century citizens with essential knowledge of their contemporaneity. Exhibitions cover existent subjects as exemplifies Time & Motion: Redefining Working Life (2014) or States of Play: Roleplay Reality (2018), an interactive exhibition that considers how the personification of avatars in video games impacts our perception of fiction and reality. In 15 years, FACT has commissioned and presented more than 350 digital artworks from artists like Isaac Julien, Pipilotti Rist, Nam June Paik, Krzysztof Wodiczko, Wu Tsang, Ryoichi Kurokawa, and Apichatpong Weerasethakul. Also, FACT partners with Arts at CERN to grant the Collide International award, inviting artists for a residency concerning fundamental enquiry. FACT at present hosts the exhibition Cleaved Symmetries (through March tertiary) which highlights connections between visual arts and science featuring past creative person-residents of the CERN.
xv. Hartware MedienKunstVerein (Dortmund, Deutschland)
With renowned digital fine art curator Inke Arns as director, the HMKV offer compelling content on the contemporary practices of new media arts. Ane specificity of the institution is that instead of focusing on the technology, information technology deeps into the concepts and multi-layered social, political, economical, and ecological conditions, making the medium a goad for give-and-take rather than an terminate in itself. For case, its recent exhibition Cmptr Grrrlz (2018) — co-organized with La Gaîté Lyrique — analyzed relationships between women and engineering from the start computers to current techno-feminist movements. Other notable shows include Games: Computer games by artists organized by Tilman Baumgärtel, Hans Christ and Iris Dressler in 2007, as well as (Artifical Intelligence) Digitale Demenz (2015–half-dozen), Hito Steyerl: Factory of the Sunday (2016), and Afro-Tech and the Time to come of Re-Invention (2018).
sixteen. LABoral Center for Art and Industrial Creation (Gijon)
LABoral is a centre that both exhibits media arts and supports emerging, tech-oriented artists in their piece of work through both research and training, and specializes in creative productions around data and communication technologies. In 2007, the center hosted the disquisitional exhibition Feedback curated by Christiane Paul, Jemima Rellie, Charlie Gere and which explored instruction-based art that is computer-generated and whereby the art form results from following a specific set up of instructions via a computational interface. Subsequently, Christiane Paul co-organized Feedforward — The Angel of History (2009) with curator Steve Dietz, this time proposing an ensemble of pieces that dwell references from the past to infer multiple possible digital futures. The heart presents qualitative theme-based shows likewise as multi-media installations from artists similar Nicolas Bernier, Murcof & Jimmy Lakatos, and Elias Merino & Tadej Droljk. Up at present is the exhibition Ctrl.+Alt.+Del. [fuerade] that investigates how stimuli from digital devices alter our biometric parameters in the physical world.
17. The Frankfurter Kunstverein (Frankfort, Germany)
Franziska Nori heads the Frankfurter Kunstverein since 2014, giving the museum the incentive to address current social themes and explore what the future could be. The program is tailored to the young generation of international artists and emerging talents, and has featured shows like Trevor Paglen: The Octopus (2015), Body-Me: The Body in the Age of Digital Engineering science (2015–6), and Perception is Reality. On the Structure of Reality and Virtual Worlds (2017–8). Most recently, I am here to learn: On Machinic Interpretations of the Earth brought together artists such equally Zach Blas & Jemima Wyman, Heather Dewey-Hagborg & Chelsea E. Manning, Yunchul Kim, Shinseungback Kimyonghun, and Patrick Tresset to examine adaptive algorithms and bogus intelligence and how machines can learn human being qualities of perception and interpretation.
18. Bildmuseet (Umea, Sweden)
The Bildmuseet defines itself as a "identify for experiences, reflection, and word" where "existential, political, and philosophical issues" are challenged. The contemporaneity of its axis on social argue perhaps explains its focus on new media, digital technologies, and science, which at least shows through in its program. After the 2017 bear witness Perpetual Uncertainty investigating nuclear technology and radioactivity, the museum has had strong traction this yr with two indispensable exhibitions. Eco-Visionaries examined alternative approaches to human being beings' relationship to the environment. Entangle / Physics and the Artistic Imagination, curated by the founder of Arts at CERN Ariane Koek, looked at connections between the work of scientific researchers and that of contemporary digital-media-oriented artists and designers like Julian Charrière, Sou Fujimoto, Iris van Herpen, Solveig Settemsdal, Ryoji Ikeda, Rafael Lozano-Hemmer, Davide Quayola, and Carey Young.
The list above is not exhaustive, and many other museums have made a significant contribution in the past year which saw a existent effervescence around digital technologies and new media arts. Worth noting is MAXXI for its exhibition " Depression Form. Imaginaries and Visions in the Age of Artificial Intelligence " curated by Bartolomeo Pietromarchi; the MCA Chicago for the exhibition of curator Omar Kholeif " I Was Raised on the Internet ;" the Migros Museum for its current show " Producing Futures — An Exhibition on Mail service-Cyber-Feminisms ." Amongst others, the BANFF Centre for Fine art and Applied science , the Yamaguchi Center for Arts and Media , the Edith-Russ-Haus für Medienkunst , the Eyebeam Fine art + Applied science Museum , the Museum of Digital Fine art , the Thoma Foundation , and the EDF Foundation also show continuous back up to the digital art scene.
Correction notice: It has been brought to our attention that this list omits the work of Furtherfield which proposes, along with its online mag, digital art experiences in London'southward Finsbury Park. Notably, the venue recently organized the exhibition Playbour: Work, Pleasance, Survival as well equally Transnationalisms curated by James Bridle.
Source: https://medium.com/digital-art-weekly/18-museums-boosting-the-scene-of-digital-art-f8a4b4fa5eb9
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