Monika Fleischmann, Wolfgang Strauss: Performing Data (2011) [English/Polish]

Performing Data exhibition (April-June 2011) is a review of Fleischmann and Strauss´ body of work from Virtual Reality (Home of the Brain) up to Mixed Reality (Murmuring Fields or Energie-Passagen), from Fluid (Liquid Views) to Rigid (Rigid Waves) up to Floating Interface (Media Flow).

Monika Fleischmann and Wolfgang Strauss from the Fraunhofer IAIS Research Institute show an intersection of the body and immaterial digital data. From Body Space (Virtual Striptease) to Knowledge Space (Semantic Map): Interactivity as an extension of touch is a central strategy of their work – interactivity with its complex relationship to reality, re-presentation and presence.

The body as interface and intersections to the disembodied digital information. Immersion in data flow causes productive moments of disturbance and suspension, and consequently – a feeling of real physical presence.

The exhibition Performing Data includes works from the early 1990s, when the artists/scientists were co-founders of the ART+COM collective in 1987 in Berlin. Since 1992 they developed their work as research artists at KHM and GMD – the German National Research Center for Information Technology, since 1997 as directors of the Media Art & Research Studies (MARS) department and since 2001 at Fraunhofer Society, in the Institute for Media Communication (IMK) and the Institute for Intelligent Analysis and Information Systems in Sankt Augustin, Germany.

The catalog with DVD and essays by Ryszard W. Kluszczyński, Derrick de Kerckhove, Luca Farulli
Released in September 2011
Editor: Krzysztof Miekus
Co-editor: Karolina Koriat
Publisher: National Centre for Culture, Warszawa 2011 in collaboration with Laznia Centre for Contemporary Art, Gdańsk, 2011
ISBN 978-83-61587-55-2
114 pages

video interview with the artists
exhibition

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Eric Kluitenberg: Legacies of Tactical Media: The Tactics of Occupation: From Tompkins Square to Tahrir (2011)

Tactical Media employ the ‘tactics of the weak’ to operate on the terrain of strategic power by means of ‘any media necessary’. Once the rather exclusive practice of politically engaged artists and activists, the tactical appropriations of media tools and distribution infrastructures by the disenfranchised and the disgruntled have moved from the margins to centre stage. The explosive growth of mass participation in self-mediation incountless blogs, video sharing platforms, micro-blog ging, social networking has created an unprecedented complexity in the info-sphere.

While this frenzy of media activity has been heralded as the catalyst of the new democratisation movements in North-Africa and the Middle-East, the anti-austerity/precarity movements in Southern Europe and the UK, and the recent #occupy movements in the US and Northern Europe, its increasingly intransparent complexity combined with the post 9/11 ‘crash of symbols’ has thrown its political efficacy into question. The demise of WikiLeaks as the crown jewel of on-line whistle-blowing has added to a thoroughly opaque picture.

More than ever tactical media operators require effective instruments to the create tactical cartographies they need to navigate the hybrid realities they are immersed in. This notebook traces the legacies of tactical media to begin creating these hybrid cartographies.

Publisher Institute of Network Cultures, Amsterdam, 2011
Network Notebooks 05
ISBN/EAN 978-90-816021-8-1
57 pages

publisher

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Anne Laforet: La conservation du net art au musée. Les stratégies à l’œuvre (2009) [French]

“The preservation of net art is a complex topic which requires the construction of a specific approach to look at internet artwork, one that takes into account the material dimension of the artwork. Preservation does not deal only with aesthetics, not only about the way the audience experiences artworks, but needs to have access to these types of information so the preservation process can take place.

This research presents an overview of works created by and for the Internet. The artworks which are described in this work are chosen specifically as examples for preservation purposes, and not according to a typology created for different purposes. This research also presents an overview of the institutions (based in Europe and in North America) that have developped specific preservation strategies. It takes the form of case analyses, which stem from observations, readings, and interviews.

This thesis also looks into the interaction between preservation and the other functions of the museum (collection, exhibition, research). Preservation cannot be tackled independantly, because it deals with the artwork’s life cycle within the museum. Every art work has to be treated in a way which is specific to itself. The issue of notation also arises then, as it’s necessary to find ways to describe artworks, especially as their technological environments will eventually be obsolete. This research explores the ways to compensate obsolescence: emulation, migration, score, re-interpretation, self-archiving, automatic archiving, etc (which can be also combined).

The attention to net art work as material socio-technical object means to find a way to look at those works : the code which composes the artwork, the files, its different files and the way they are organized, what happens on the screen, the interactions between the artward and the audience that experience it. The notions of code performativity and activation are useful in this approach.

Preservation happens only when value is attributed to what is preserved. Two categories of actors outside of the museum take part into this process: the art market on the one hand and art critics and art historians on the other. Both influence and get influenced by the museum.

All these elements allow the composition of a pluridisciplinar cartography on the topic of net art preservation.”

The preservation of Net Art in museums. The strategies at work
PhD thesis, University of Avignon, France
Supervisor: Jean Davallon

author

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