Constantini on Net.Art en Mexico
Ahí cada quien que saque sus propias conclusiones. Sobre todo en eso de que no hay Art Scene Mafia.
Recuerden, lo que viene a continuación es Copyright http://www.petitmort.org Issue 03.
Tell us a little bit about your role as a digital art curator?
As an artist living in this capital, you see the potential in spaces and you have dreams to show other people’s work and also to show your own work. So I got in contact with the museums and I submitted proposals for using their spaces for exhibitions. We have put together mini-retrospective of artists and group exhibitions. I think it is difficult to curate a digital exhibition in this city because it is not easy for everyone to understand the heavy-handed academic language that revolves around digital art and net based art. So I try to put together exhibits with artwork that contain universally conprehesible ideas. Work which is more visually aesthetic and process orientated so it can accommodate a larger audience.
Is it easier to gain access to museum spaces in Mexico City? Living in New York it has become almost impossible to have access to these type of space, there is so much red tape and you would have to wait maybe one or two years for your exhibit to take form, not to mention the getting past the Art Scene Mafia. Does it happen much faster here?
Yes, I think in that way it is different.
Sí, sobre todo para un museo cuya malinchista selección de Net Art es casi toda de artistas extranjeros.
(La selección de net art del Foro Lounge del museo Rufino Tamayo en http://www.museotamayo.org/inmerso/)
So in a way you are very lucky, like just last night you held an exhibition at the Laboratoria Arte Alameda and now you are here at the Museo Tamayo. It seems like a pretty good time and place for digital art exhibitions. How does the government view ephemeral exhibitions as compared to exhibitions of tangible art objects?
Recuerden, lo que viene a continuación es Copyright http://www.petitmort.org Issue 03.
Tell us a little bit about your role as a digital art curator?
As an artist living in this capital, you see the potential in spaces and you have dreams to show other people’s work and also to show your own work. So I got in contact with the museums and I submitted proposals for using their spaces for exhibitions. We have put together mini-retrospective of artists and group exhibitions. I think it is difficult to curate a digital exhibition in this city because it is not easy for everyone to understand the heavy-handed academic language that revolves around digital art and net based art. So I try to put together exhibits with artwork that contain universally conprehesible ideas. Work which is more visually aesthetic and process orientated so it can accommodate a larger audience.
Is it easier to gain access to museum spaces in Mexico City? Living in New York it has become almost impossible to have access to these type of space, there is so much red tape and you would have to wait maybe one or two years for your exhibit to take form, not to mention the getting past the Art Scene Mafia. Does it happen much faster here?
Yes, I think in that way it is different.
Sí, sobre todo para un museo cuya malinchista selección de Net Art es casi toda de artistas extranjeros.
(La selección de net art del Foro Lounge del museo Rufino Tamayo en http://www.museotamayo.org/inmerso/)
So in a way you are very lucky, like just last night you held an exhibition at the Laboratoria Arte Alameda and now you are here at the Museo Tamayo. It seems like a pretty good time and place for digital art exhibitions. How does the government view ephemeral exhibitions as compared to exhibitions of tangible art objects?
They are supportive. You can organize large exhibitions that provide digital artists what they need and at the same time bring people together. There is not much money in grants and commissions; most of the works that we are exhibiting are work that has already made. It’s just a type of mini-survey of what’s going on. The CyberLounge World, which I help organize, is part of the Museo Tamayo. it’s a space for new media. We also do a lot of promoting of the art in places like Cyber cafes in the area. Net-Art cybercafes can also serve as space for our exhibitions since people can also interact and view works online.
posteado por Guergana Tzatchkova a las 7:34 p.m.
1 Invaluables opiniones:
http://www.forbes.com/2006/03/14/edward-tenner-tools_cx_et_0315tenner.html
The needle and videogames. A link to the past, throught the exploration of man's biggest concern: death.
The needle may be the world's most undervalued technology. According to archaeologist Elizabeth Wayland Barber, needles became common between 28,000 years and 22,000 years ago. The needle was connected intimately with what Barber calls the "String Revolution." Since string made possible everything from warm clothing to ocean-going boats, it served as "the unseen weapon that allowed the human race to conquer the earth."
In the industrial age, the needle came into its own alongside the sewing machine; ever since, needles and thread that can stand up to the pace of industrial sewing have been essential to the continuous drop in the cost of clothing and the rise of global living standards. And thanks to ever-faster automated sewing, needle metallurgy is still a hot topic in engineering journals.
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