#curating

“There’s no two ways about it: critics and curators have to take a lot of the responsibility for the bad rap that the art formerly known as New Media Art has in the contemporary art world. On one hand, specialized critics have made the mistake of trying to impose the value criteria applied to works of art in the New Media Art world to the contemporary art world too, and develop a “sectorial” (or even “sectarian”) discourse, attempting to present an entirely heterogeneous situation as a unitary phenomenon. On the other hand, with very few exceptions, contemporary art criticism has proved incapable of bridging the technological divide and tackling these works with their own tools of criticism. Or falling into the “unitary phenomenon” trap and merely writing the whole lot off […] there are two misconceptions that have become something of a mantra: that curating New Media Art raises specific issues that can only be tackled by a specific “media art curator”; and that New Media Art raises some pretty insurmountable challenges for those interested in collecting and conserving it. As can be seen, both of these ideas are based on the assumption that New Media Art is one homogeneous mass with the same curatorial and conservation issues; issues that can ultimately be linked to the medium used. Yet the so-called “new media” are about as complex and varied as you can imagine, and the variety of forms that it can take means that a single strategy (and term) is entirely inadequate. But this approach is rooted in an even more perverse equation: namely that which identifies New Media Art with the technology it uses.”

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