[ARENA] abroeck: Deep Screen - Art in Digital Culture
Andreas Broeckmann
ab mikro.in-berlin.de
Quarta-Feira, 4 de Junho de 2008 - 08:16:40 WEST
(last week, we opened the exhibition 'Deep Screen - Art in Digital
Culture' at the Stedelijk Museum in Amsterdam, which runs until 30
September 2008; below is my introductory text which, I hope, will
contribute to the ongoing debate on art and media; in the 'Postscript
on Media Art', I diagnose 'the liberation of artistic media' ...
Comments are, of course, welcome. -ab)
exhibition info: http://www.stedelijk.nl/oc2/page.asp?pageid=1808
introdution text also available at: http://www.mikro.in-berlin.de/
wiki/tiki-index.php?page=texts
-----------------------------------------------------
Deep Screen - Art in Digital Culture. An Introduction
Andreas Broeckmann
I. Preparations
The initial idea for this exhibition grew out of the Stedelijk
Museum's wish to dedicate one of its periodical Municipal Acquisions
Exhibitions to art that uses digital and electronic media. In our
discussions last autumn we decided that it would be interesting to
take as a selection criterium not the technical media in use, but to
focus on the ways in which artists respond to the cultural and
aesthetic changes afforded by digital technologies. Importantly, we
wanted to open up the exhibition to artists who deal with these
cultural changes, even though in their works they may not be using
the most recent technical inventions.
A call for proposals was published early in the winter, inviting
artists living and working in the Netherlands to submit artworks that
reflect on the image as process, or event. The underlying idea was
that contemporary images, whether digital or analogue, are neither
static, nor fixed once and for all. They are characterised by
generative processes and transformation over time: in digital
environments, even still images are performed and experienced as
events. Moreover, we ascertained that visuality is no longer a
necessary condition of what constitutes an image: sound and touch are
increasingly important in the new image realm.
In the advertisement, we attempted to offer an inclusive definition
of this expanded field of the image as process and the image as
event, a field which encompasses generative computer code as well as
video screens, paintings that reflect on their condition in the
digital era, as well as interactive and non-visual installations. We
were looking for works that tell stories and that trace new routes of
abstraction. Art projects that are shared and cast across networked
and mobile devices. That manipulate our sense of present, past, and
future. Works that are agents in the digital media ecology of images
and that approach, reflect and construct reality.
Another, often decisive criterium that the jury applied, was that the
selected works would actively reflect on digital culture, and at the
same time imagine art beyond the digital.
As a result of this call we received, within only a few weeks,
submissions from around 200 artists of quite different age groups and
backgrounds, and with a wide range of artistic media in use, from
painting and photography, through interactive and software-based
installations, to typographic design and sound art. It is a matter of
course that the jury had an almost impossible task to compare and
select from such a variety of approaches.
What the jury was most interested in was artistic quality; while we
were at times teased by cute ideas and clever applications of
hardware and software technologies, we were really looking for
artistic substance in the proposed works and in the oeuvre of the
artist in general. What we had to keep in mind was also the logic of
a renowned museum collection that, even if it is willing to take
risks, expects durability in the items it acquires. Two questions
thus became the basis for the discussions of the jury: does this work
reflect, in an interesting and unique way, on the cultural and
aesthetic condition of our time, so deeply influenced by digital
technologies, and the social practices associated with them? and is
this a strong work of art that we recommend for acquisition by the
Stedelijk Museum of Amsterdam?
While the jury finally agreed about the artists that we selected for
the exhibition, there were of course many discussions about these, as
well as about artists who did not make it into the show that will run
throughout the summer of 2008, as one of the last exhibitions in the
Stedelijk's temporary exhibition space in the Post CS building. The
jury decided to emphasise the thematic focus of the call, which meant
that some strong works which did, however, not deal with the
exhibition theme, had to be excluded. In cases of doubt, we tried to
take a daring approach, selecting work that would challenge the
museum and its audience to rethink their frames of reference.
II. Into the Deep Screen
William Gibson's cyberpunk novel 'Neuromancer' (first published in
1984) famously begins like this: 'The sky above the port was the
color of television, tuned to a dead channel.' This enigmatic image
has fascinated many critical technology afficinados, conjuring up a
dystopian post-medial world in which the spectacular mass medium of
television would merely be a faint memory, a phenomenon as dull as a
hazy sky. It suggests a TV set, placed in an awkward position,
suspended from above, showering light and electronic noise onto the
landscape. Buildings, roads, cars and people are reflecting the pixel
snow, the boundary between the hissing screen, the glittering points
of light, and the world below, blurred beyond recognition.
A second historical deep screen goes back another twenty years and
presents not an expansive image of the physical world swallowed by
media, but to the contrary, points to the very representational
limitations and technical idiosyncracies of any medium. After
abandoning music, the artist Nam June Paik discovered the conceptual
potentials of electronic media. In 1963, he was the first artist to
use a TV set in an art exhibition, and unlike others he was less
interested in events shown on the screen, than in the fact that the
technical and the social medium of television could actually be
manipulated. One of the most direct interventions were Paik's
experiments with the magnetic field in which the cathode ray of the
TV tube is guided to draw the lines of light that make up the image,
onto the screen surface. Magnet TV (1965) was an interactive setting
in which the audience was invited to move a strong magnet around the
exhibited TV set, twisting and turning the screen image. Paik's own
favourite subjects for this playful 'demagnetisation' were, a little
later, US president Richard Nixon, and the guru of the new media age,
Marshall McLuhan, whose belief in the liberatory potential of
television in the hands of artists encouraged Paik to test this on
McLuhan's own talking head.
The 'deep screen' which this exhibition takes as its cue is thus not
a new phenomenon. One could also trace it to the broken surfaces of
Cézanne's late impressionist paintings, or to the Renaissance and,
for instance, Hans Holbein's 1533 double portrait of The Ambassadors,
in which a strange anamorphosis in the foreground, camouflaging a
skull, elucidates both the material, painted surface, and the multi-
dimensional space of representation that the painting opens up.
The 'deep screen' that the exhibition title points to, implies a
transgression of the illuminated image surface; it is a dynamic,
spatial and temporal field which connects the presence of the artwork
to the process of perception and interaction. An hypothesis that the
exhibition puts forward is that, while the deep screen has distinct
art historical precursors, it is a phenomenon that has become more
complex in the age of electronic and digital media. Like all good
artworks, the individual pieces in the show of course do a lot more
than illustrate a curatorial concept. However, as one of their
aspects, and in order to offer a red thread for exploring the
exhibition, the presented works probe 'screen depth' in relation to
the construction and deconstruction of space, in relation to the
screen as a space of action and interaction, and as a complex field
of perception.
The fluidity with which we can today imagine virtual spaces as
physical ones, and physical spaces as virtual ones, is determined by
our experiences with digital image spaces which are, by their very
nature, temporal, fluid, and endlessly modifiable. Digital imaging
has not so much physically transformed the material world, but it has
drastically changed the way in which we look and imagine the world
around us. Here's an experiment: imagine a room in your home; think
of the furniture and things that you have in that room; now imagine
that you have a virtual model of this room before your eye and you
can fly through this space while it is, at the same time being
stretched so that you cannot reach the end, then contracting again to
be rolled out onto a flat surface, the virtual camera eye being
trapped somewhere in the middle of the plane. The claim is that
anybody who has experienced 3D virtual spaces through goggles, in a
projection, or on a computer screen, can easily follow that
experiment and imagine the transformations of the imagined space.
Oscillating between space and image, the environments of David
Jablonowski include three-dimensional, sculptural objects, two-
dimensional images and graphic structures which are sometimes bent
and curved into the third dimension, and they include one-dimensional
points of colour, pixel objects which have a spatial extension only
when viewed at a certain angle. Otherwise these pixels become part of
an image space that we can walk through yet that we can also, before
our computer-trained inner eye, collapse into a two-dimensional
composition.
The reverse process can be observed in Erica van Loon's photographic
installations which show flat images whose graphic structures have
been composed in physical spaces. The size and form of the
presenation defies the realism of the photographic medium and tease
the observer to reconstruct the physical space which, in the artwork,
is forced into flatness.
In Gabriel Lester's installation of landscape videos, Choreography,
the camera person's foresighted eye is replaced by robot cameras.
Their movements, each pan, each zoom, each turn, seem devoid of any
romantic intention which would normally guide the human gaze in such
an environment. The rhythm of the music that plays to the images is
used as a functional trigger, rather than as an emotional
augmentation of the mediated experience of nature. A similar
frustration of expectations is relayed by Persijn Broersen and Margit
Lukács' Hinterland #2 series. The artists derive these images from
the mass media and clear them of any referential objects or scenes,
leaving only the backdrop. Like an empty computer monitor, or a white
sheet of paper, these empty pieces of scenery hold the potential for
any event, and for any degree of mediated boredom.
One such scene is the Lost Paradise in Meiya Lin's video installation
in which a postmodern Adam and Eve, lounging in the mellow, virtual
set of a non-descript culture, devoid of guilt, responsibility, or
identity. While the earlier large-scale drawings of Jasmijn Visser
reference a similar iconography of comic strips and computer
animations, her more recent works go beyond the diagrammatic and use
the same visual language for the composition of dynamic, almost
cinematographic tableaus in which the animation of space is being re-
invented.
Luna Maurer's design strategies often include the active involvement
of the visitor or user. In her Blue Fungus project for the Deep
Screen exhibition, she turns the entire museum space into a potential
image surface that the visitors can fill, structure, and thus
appropriate, with an immense number of blue stickers. Here, the
exhibition space becomes identical, and congruous, with the
interactive screen of the designer.
Any standard computer with a graphical user interface teaches us
that, whatever we see, can be manipulated, clicked on, cut and
pasted, transformed, deleted. The extent of that manipulation will in
part be dependent on the skills of the user, and in part on the
degrees of freedom that the software in use allows - a realisation
that is responsible for the association of open source software with
the notion of liberty, and of the free software movement with a
particular type of social liberation. We can see this effect of the
image space turned into a space of interaction in Luna Maurer's
project, which can also be read in relation to the multi-user virtual
worlds, like Second Life, where users can design their personal
avatars as well as the collectively visited virtual spaces. The
(constructed) pictorial realism of such worlds, as well as the
'natural' behaviour of the avatars populating them, is put to the
test by the modified Quake levels which JODI are offering in their
Untitled Game hall. The spatial coordinates, as well as the effects
of our interaction seem largely out of control, even though the event
logic of the games still appears to be in tact. In the same way as
Gabriel Lester undermines any romantic notion of landscape, JODI
undermine the naďve assumption that virtual worlds are made of
anything but highly volatile digital code.
And while JODI seem to mock the seriousness of 1960s minimalism, the
software-based, generative drawing machines by Jochem van der Spek
mimic the action painters of the 1950s and replace their spectacular
gestural theatre by an independent, rule-based yet lucid virtual
mechanism. Equally independent is the process that leads to the
detailed little sculptures of Erwin Driessens and Maria Verstappen.
The artists define certain rules for the mathematical calculations
which simulate a form of natural selection to arrive at three-
dimensional, structurally open and strong topological objects. The
sculptures, consecutively realised with a 3D-printer, are based on an
almost autonomous, machinic design process, almost devoid of
aesthetic considerations.
Artworks like these tend to beg the question: who is in control?
Interactive art can dramatise that question and turn it into an
aesthetically powerful proposition, like in the rotating sculpture
Spatial Sounds by Marnix de Nijs and Edwin van der Heide which has
the independent behaviour of an angry, menacing animal. This is an
artwork that is neither a passive or benign mechanism, nor one that
will accept submission under a self-assured observer. The screen here
becomes a tense battlefield in which the human actor must admit
defeat. - A defeat that has already happened in Remco Scha and Arthur
Elsenaar's Face Shift which is predicated on the idea that an
intelligent machine has adopted the human face as an interface, a
screen for expressing the its complex emotions.
If all of this was experienced in the waking state, Nathaniel Mellors
takes us into an uneasy dream world where the loaded relationship
between human and machine is played out as an absurd and psychotic
piece of performance. As the narrative unfolds, it becomes more and
more difficult to decide whether this nightmare has sprung from the
mind of a human, or from that of a machinic Time Surgeon.
In its exploration of the way in which digital media have transformed
mediated perception, the exhibition also asks whether, in the course
of that transformation, the domain of art has been shifted, or
whether that domain might in fact be continuous with earlier or non-
digital artistic practices. An interesting example upon which this
question can be pondered are the painting and video works by Roland
Schimmel which present seeing as a dynamic process. The activation of
images and after-images on the retinal screen of the human eye is
done no less effectively by the still image of the painting than by
the moving image of the video. In contrast, Geert Mul's SN.X4 offers
an opportunity to look into the parallel 'retinal' effects in the
'eye' of the video apparatus. The same scene, shown in four different
ways by careful manipulation of the optical and digital production
technologies used, hints at the metaphorical 'depth' of the systems
that bring forth these dynamic images.
The most fundamental question as to what constitutes a 'screen' is
posed by Gert-Jan Prins' Make Before Break: the Cavity version, a
visually neutral space of pure, non-representational sound that is,
however, rich in associations and acoustic structures. The continuum
between the sound sources, the spatial distribution of the sound
waves, the human ears and the listening minds form the perceptual
field in which the sonic artwork takes shape, and makes sense. Mark
Bain, in a different, yet equally radical gesture, turns the inside
of our bodies, especially our skeleton, into the resonant surface on
which his work, StartEndTime, is presented. The event of the
September 11th attack on the World Trade Center in New York,
documented as seismographic waves, has been transformed into an event
that reverberates in the medium of our body.
Like Bain's installation, a number of the works in this exhibition
are, even though they may have been produced with the help of a
computer, not dependent on digital technology for their presentation.
Nevertheless, they mark significant aspects of a contemporary art
practice that tries to come to terms with the aesthetic and cultural
conditions of a time in which digital techniques and apparatuses have
become a quasi natural part of the environment we inhabit. Therefore,
even the almost archaic techniques, layered on top of each other in
Pierre Bastien's installation Somewhere in the Dark, characterise a
contemporary media ecology in which light, shadows, the human voice
(here that of Robert Wyatt) and acoustic music continue to be crucial
means of artistic expression.
III. Postscript on Media Art
The present exhibition makes no particular commitment to the display
of digital technologies or of current trends in techno-culture. This
is a decision that might be looked at critically by a media art scene
that defines itself in contrast to the contemporary art field. The
underlying potential for disagreement emerges from different
evaluations of the cultural field characterised by interests in art,
technology, internet culture, design, electronic music, open source
software, game culture, and many related issues. This field, which we
can call digital culture, has over the last four or so decades been
growing from a marginal subculture to a diverse and fractured stratum
that cuts right across contemporary society. As the first generation
grows up that has a more intimate relation with the personal computer
than with television, it will become less and less relevant to even
distinguish between digital culture and contemporary culture in
general. This is also why, for artists like Jablonowski, J. Visser,
Broersen & Lukács, Maurer, and others in this show, the distinction
between digital and analogue artistic media no longer seems relevant,
and why for them there is no ideological obligation to submit to the
aesthetic limitations of the epoch-making technologies. For an
earlier generation of artists, it was a decisive step to 'go
digital', or not. Entire artistic careers were ruined by the stigma
of doing 'art with a plug'. (Others were made by the exclusivity
which that stigma offered in certain circles.)
It has been one of the grave misconceptions of 'new media art' to
assume that the new technologies would break with the paradigms of
representation, perception and cognition to an extent that the
effects of that break could exclusively be articulated by means of
these very technologies. However, as this misconception withers, only
the label Media Art - in the sense of 'art based on electronic or
digital media' - will be a thing of the past; a past when it was also
aesthetically decisive when one chose for the artistic programme
determined by those 'technologies formerly known as new media'. In
the same way as contemporary artists are free to use drawing and
painting, photography and film, video and sculpture, they are also no
longer risking their art market career if they develop an interactive
3D-environment, a generative video projection, or a sound
installation. This will mean, on the one hand, that part of what has
been produced as Media Art in the past, will at some point be re-
evaluated as important pre-cursors to later contemporary art
developments - or as idiosyncratic variations of other possibilities
that were not followed up on. On the other hand, the described
liberation of the artistic media will require a further broadening of
art school teaching and art funding, in which the high-ceiling
studios for painters and sculptors are consistently matched by well-
equipped studios for digitally based art production in image, sound,
space, and movement. Artists must have a choice, and they ought to be
as critically aware of the politics, the historical background, and
the aesthetic potentials and limitations of software, as of oil and
acryllic paint, HD video, or bronze.
The overall submissions to our call, and hopefully also the
exhibition itself, are testimony to the fact that artists in the
Netherlands are doing quite well in terms of the liberation of
artistic media. It is now time for the museums, for public and
private collectors to acknowledge a change in the arts that has been
going on for decades and that is a challenge for gallerists, art
historians and conservation experts, much more than for the artists
themselves. In that respect, the strategic ambition of Deep Screen is
to show how much can be gained for the appreciation of contemporary
art from such a broadening of the horizon.
Further reading
Marie-Luise Angerer: Vom Begehren nach dem Affekt. Zürich: Diaphanes,
2007
Departement Kunst & Medien (eds.): Media Arts Zurich. 13 Positions.
Zürich: Scheidegger & Spiess, 2008
Matthew Fuller: Media Ecologies: Materialist Energies in Art and
Technoculture. Cambridge: MIT Press, 2005
Max Imdahl: Farbe. Kunsttheoretische Reflexionen in Frankreich.
München: Fink, 1987
Maurizio Lazzarato: Videophilosophie. Zeitwahrnehmung im
Postfordismus. Berlin: b_books, 2002
Arjen Mulder, Maaike Post: Boek voor de elektronische kunst.
Amsterdam: De Balie / V2_: 2000
Frieder Nake: "Vilém Flusser und Max Bense, des Pixels angesichtig
werdend. Eine Überlegung am Rande der Computergrafik." In: Gottfried
Jäger (ed.): Fotografie denken. Über Vilém Flussers Philosophie der
Medienmoderne. Bielefeld: Kerber 2001, p.169-182
Hans Ulrich Reck: The Myth of Media Art. The Aesthetics of the Techno/
Imaginary and an Art Theory of Virtual Realities. Weimar: VDG, 2007
Martin Seel: Ästhetik des Erscheinens. Frankfurt/M.: Suhrkamp, 2003
Yvonne Spielmann, Gundolf Winter (eds.): Bild - Medium - Kunst.
München: Fink, 1999
Peter Weibel: Gamma und Amplitude. Medien- und kunsttheoretische
Schriften. Berlin: Philo, 2004
Mais informaçőes acerca da lista ARENA