Antonio C Pinto on Fri, 1 Jun 2001 18:15:03 +0200 (CEST)

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[nettime-lat] SAT2 - Seminario de Arte Y Tecnologia - MEIAC - badajoz - espana -

event: SAT-2

subject matter: museums, art communities and action in the
21 st century

location: spain badajoz meiac (museo extremeno y
iberoamericano de arte
contemporaneo --> )

schedule: 2001 november 16 - 17 (10:00 - 14:00 / 17:00-21:00)

speakers - provisional list will be posted by june 15

audience (including a list of 25 special guests):
artists,  art critics, museum curators and directors,
gallery owners, teachers - mostly from spain and portugal

abstract (1st draft):

What did you say? Did you say digital? Digital art?

Art in the digital era implies not only a huge technnical
related to it´s survival - as an artifact and as a specific
media - but
also an immediate ideological debate about the most obvious
contradiction that seems to exist between art as a
contemporary museum
item for the entertainment society, and the new art that seems
emerge from the digital paradigm, as a new 'techné', as a new
kind of
cultural action, as a language rhizomatic blossoming and as a
subjective expression.

If the survival of digital documents is for quite a while a
preocupation within the entire techno community - the only one
that seems
to be aware of the implications of what one might call the
digital fragility
of this new world - for us, artists, art producers, gallery
curators, museum directors and critics, concern seems yet to
begin with
the many doubts we all have about the definition of digital
art and what
to do with it's products...

But if this is so, there is also a great probability that 21st
century art
will introduce the most radical transformation in the human
sphere since the invention of perspective and the discovery of

I would like to describe this transformation as the
transformation of narrative art into 'code art'.

When does 'code art' begins? Can it be a "variable media",
like Jon Ippolito
and many others wish? And if not? Where does it happen? I mean
where does
'code art' makes it's point? Would it be in some private space
(the screen as an
intimate space?); or in a new kind of public space (the screen
as a
communication 'agora'?). Would this kind of art survive in a
museum environment? Would you see it as a merchandize? How
large is
it's territory when we think about it as part of the

Hipothesis: when we've got the best art students learning
the 'code', then the many doubts that we now have will vanish
into the

- A project curated by antonio c pinto for meiac
n:C Pinto;Antonio
tel;fax:+351 217 963 509
tel;work:+351 217 979 723
org:Aula do Risco
adr:;;R. Alberto Oliveira (Corucheus), At 27;Lisboa;;1700-019;Portugal
note;quoted-printable:Antonio C Pinto is an artist and writer living in lisbon since the early seventies. To read he's cv please go to=0D=0A
fn:Antonio C Pinto