Carrino Curatorial

This blog focuses on how Web 2.0 affects artists, curators, and the broader field of curatorial practice. It aims to ask critical questions about the role of the Internet in our contemporary society and culture. Email: [email protected]

[stoptellingwomentosmile]

Women Are Not Seeking Your Validation, wheat paste installation, 2015 by Tatyana Fazlalizadeh Papillion Gallery, Los Angeles, CA

I installed this piece in LA a couple of weeks ago. It will be up through the summer. Today I talked with the gallery owner about the reactions the piece as has been causing in the community and… a lot of men are not happy.  Of course. 

[carrinocuratorial]

Absolutely love this, wish I was home to see it! I stumbled across one of her murals on as I was in downtown LA and they're so powerful, bold, and true.

[futuramb]

A museum that looks forward, not back

“The whole point is to always try and take technology and extrapolate it towards social use – or take a social challenge and then solve it with future technology,“ concluded the advisor. “We’re not just saying, ‘here’s a cool tool!’ – we’re painting the whole picture.”

(via A museum that looks forward, not back | Vision Magazine)

[carrinocuratorial]

Sounds extremely interesting and it will be even more interesting to watch its influence on current museums. Any time a museum does something “revolutionary”-by opening a new museum or renovating their current exhibition spaces,etc-other museums look to that example as a possible model or inspiration for change in their own facility. Past examples include: TATE modern, Oakland Museum of California, and now the upcoming new location for the Whitney in New York. I wonder how this “future” museum will affect technology’s role in other museums when they undergo renovations.

[barretta]

Forget the Cellphone Fight — We Should Be Allowed to Unlock Everything We Own | WIRED

[carrinocuratorial]

Who owns our stuff? The answer used to be obvious. Now, with electronics integrated into just about everything we buy, the answer has changed. The issue goes beyond cellphone unlocking, because once we buy an object – any object – we should own it. But we really don’t own our stuff anymore; the manufacturers do. Because modifying modern objects requires access to information.

Question of ownership when one posts anything onto a site has become even worse-now we have to worry about info on our phone and computers not belonging to us?

[thedigitalmuseum]

Keynote by George Oates, Good, Form & Spectacle: “Openness is Wilderness”, EuropeanaTech 2015 Conference

[carrinocuratorial]

“Too much art, too much data, too much stuff.”

George Oates discuss her past experience of helping to design websites, she helped to create Flickr. She discusses essays about net art, the promises and pitfalls of social media, further web advancements, etc. She explains the mass of cultural data produced and shared on these sites. She feels these sites are directionless and need a curatorial approach of selection, organization, and display as opposed to the constant stream. However, her exploration of different artworks reveals the critical approach of certain net, post-internet, social media, new media, etc. artists to exploring and and presenting these spaces.

[laughingsquid]

Comedian Louis C.K. Plainly Explains to Opie Radio Why He Got Rid of His Twitter Account

[carrinocuratorial]

Louis CK- “it’s too instant, it’s too fast. I don't think the speed helps dialog.... There’s no quality to it.” 

-Are we starting to reach the age where people are realizing the pitfalls of social media websites? When these sites were launched in the mid-2000s they were revolutionary. They helped Obama win his presidency, they've helped the political strikes and struggles in North Africa and the Middle East. But has that phase passed? While my thesis focuses on these earlier, utopian years of possibility and connection, I can't ignore the complete 180 that has occurred within the past 2 years on these sites: further advertising, the selling of these supposed free and public spaces to corporations and the government, etc. However, whats the alternative? And have we reached a point of no return?

[itscolossal]

Winged Insects Built from Repurposed Computer Circuit Boards and Video Game Systems

[carrinocuratorial]

Harnessing the power of post-internet art to mimic parts of the natural world. How ironic that these parts are made from the very innovations in technology that are causing the extinction of these rare and fragile insects. As much as we’d like, technology cannot stand as a substitution for the natural world and its plethora of species. 

[futurescope]

IFTF - Human+Machine Futures forecast map

The great people from The Institute For The Future (IFTF) have released a new infographic which highlights advances in technology that will create new forms of human-machine symbiosis. The map examines how Humans & Machines are:

Discovering how our senses work at high-resolution levels.

Amplifying our “natural” sensory modalities.

Borrowing, mimicking, or inventing senses we don’t yet have.

Mediating our sensory experience through machine interfaces.

Remixing our senses for different experiences.

Sharing our senses in high fidelity, and in more profound ways.

In addition, they created four artifacts from the future, each representing one colour in the system. Good stuff (as always)!

[See the map in detail (PDF)]

[carrinocuratorial]

New “forecasts” for the future of the human-machine relationship, further extension of the cyborg.

[huffpost]

Creepy ‘Sat Nav’ Device Steers People With Tiny Jolts Of Electricity

[carrinocuratorial]

Now this is creepy... Technology which allows you to control the movements of another person when they're hooked up to the proper mechanics. I'm wondering why this even needs to exist?

[paddyjohnson]

GIF of the Day: Vince Mckelvie’s GIF Remix Tool

If you’ve already filed your taxes, congrats. You probably have a couple of minutes to take a breather and fiddle around with Vince Mckelvie's…

[carrinocuratorial]

Posted on art f city as the gif of the day. Vince Mckelvies art net tool allows the viewers to use the gif itself as a virtual paintbrush over the composition, resulting in a series of multiples and fragments.

[j-eom]

I’m a Cyborg, But That’s OK (싸이보그지만 괜찮아), Park Chan-wook

[carrinocuratorial]

At this point, aren't we all cyborgs?

[mikisugiaikuro-deactivated20200]

IF YOUR ART GETS STOLEN

[carrinocuratorial]

https://www.tumblr.com/dmca Go there, and do as the instructions say. When my art was stolen, I got the post reported, and it was taken down. Don’t worry, it doesn’t just take down the sources post, but it takes down all the reblogged posts too. Please give this a reblog, many artists out there may not know this is here. And remember, ask permission before sharing, or don’t post it.

Repost about how an artist can have any unauthorized reposts of their art exhibited or made online taken down... It's interesting to think about the issues of ownership once an artwork is put into the endless virtual realm. Technically, though, the sites would own this work. Anyone who disagrees with me can go back through the pages and pages of the small text user agreement that we all automatically agree to when we create these sites.

[salon]

Wikipedia entries for several high-profile victims of police brutality and misconduct have been edited by computers from the New York Police Department’s network, according to Capital New York. The entries include descriptions of the death of Eric Garner, Sean Belland Amadou Diallo, as well as general entries on stop-and-frisk and other NYPD controversies.

The NYPD is trying to erase its crimes.

[carrinocuratorial]

Interesting and disturbing story about how others can affect the memories and stories of a person postmortem through websites...

[hyperallergic]

A Video Game Lets You Navigate Giorgio de Chirico’s Surreal Cityscapes

[carrinocuratorial]

Very interesting continuation of net.art... And similar to the work of net artists in the 90s who utilized the video game as a medium and site for online performances. Only this time, one is navigated through an online version of surrealist work.

[hyperallergic]

The Radical Art of Archiving Performance, as Practiced by Martha Wilson

[carrinocuratorial]

This interesting article talks about Carolee Schneeman's attempt to use alternative sources to document her performances, which took place in alternative spaces. The Internet is now providing another alternative space, especially in the ever-expanding field of contemporary feminist artwork, to document and disseminate such works to a larger public.

[new-aesthetic]

‘Pics or it didn’t happen’ – the mantra of the Instagram era

Sharing itself becomes personhood, with activities taking on meaning not for their basic content but for the way they are turned into content, disseminated through the digital network, and responded to.

[cf An Elixir of Reminding: “Nostalgia is the negation of death, it proves we are still living even without an identifiable future. Instagram is a machine for producing instant nostalgia, a ward against death.”]

[carrinocuratorial]

This is exactly the case... One now feels the need to document themselves at every event or it's as if it didn't happen. Why do we crave the validation of others in the forms of "likes"?

[newmuseum]

New in our First Look: New Art Online series co-presented with Rhizome: “Amalia Ulman: Excellences & Perfections”

Amalia Ulman used her social media profiles to stage a five-month scripted performance inspired by extreme makeover culture. Click here to view the project, archived with Rhizome’s new social media archiving tool Colloq. 

Image: Amalia Ulman, Excellences & Perfections, 2014 (detail). Performance: Instagram. Courtesy the artist

[carrinocuratorial]

Rhizomes new archiving tool, Colloq, attempts to capture social media performances and online art in an ongoing, open structure as opposed to the capturing of online art in static screen shots. While it sounds interesting and almost revolutionary to the field of archiving, this project has only archived one performance in the years of working toward this project. Even this archive is imperfect and experiences technological hiccups. I think the majority of people assume that because something is online, it's automatically archived. However, this couldn't be further from the truth and oftentimes art that uses or engages online spaces is even more difficult to archive. So how do curators address this issue? And when will our culture realize that a large majority of art (performance, net art, social media art especially) is inherently ephemeral and directly conflicts with the concept of archiving. How does the act of archiving change the nature of these works? Can we learn to let things go? Or will this hurt and eliminate the possibility of writing these works into our contemporary art history for the future?

[carrinocuratorial]

The New Museum features a strictly online exhibition platform. It’s latest show includes poetry as art practice commissions…