In che modo oggi gli artisti usano Internet nelle loro opere?

Texts
DISNOVATION.ORG, Shanzhai Archeology, 2015-2018. Courtesy: the artists. Photo: Seraina Wirz. Installation view, exhibition Escaping the Digital Unease at Kunsthaus Langenthal, 2017

Valentina Tanni. L’uso artistico delle reti telematiche ha una lunga storia, che ha avuto il suo picco con il movimento della Net Art nella seconda metà degli Anni Novanta e primi Anni Zero. Esaurita la spinta avanguardistica, e dissolti movimenti e correnti (compreso il controverso Post-Internet), cosa resta oggi? In che modo oggi gli artisti usano Internet nelle loro opere?

Domenico Quaranta. Da un lato il Post-Internet ha cancellato con un colpo di spugna gli ultimi residui della specificità mediale, facilitando l’emergere di artisti che portano i linguaggi e le culture digitali davanti a un pubblico più ampio, trasversale e globale. Per molti aspetti positivo, questo processo ha però danneggiato la riconoscibilità del fenomeno e la compattezza della comunità che l’ha fatto fiorire, riconducendola alle dinamiche individualiste del mondo dell’arte.
Tuttavia sono restio a vedere in questa transizione un passaggio senza ritorno. Le pratiche di networking e la Rete come piattaforma produttiva e distributiva sfidano ancora i formati e le logiche del mondo dell’arte; e, nonostante i suoi cambiamenti, la Rete non ha ancora smesso di sorprendere: blockchain, browser alternativi, mesh network, bot e intelligenze artificiali, deep web, residui strutturali della vecchia Internet lasciano aperti degli spazi a un uso dal basso, radicale e corrosivo delle reti.

In Valentina Tanni, “Internet e gli artisti. L’opinione di 5 esperti”, Artribune, January 30, 2020.

Talk to Me by Jonas Lund

Texts
Jonas Lund, Talk to Me, 2019. 36 volumes, 740 pages each, available in hardcover and softcover. Produced on the occasion of Hyperemployment. Book Design: Federico Antonini (superness.info); Editorial Advisory: Domenico Quaranta. Available here

On October 21, 2017, at 6:17 PM, Jonas reached out to me with a proposal: to turn his online piece, Talk to Me, launched a few months before, into a book. According to the official text, “Talk to Me is a conversational chatbot, […] trained and modelled on all previous instant message conversations (Skype, WhatsApp, Facebook Messenger) as typed by the artist himself to create a smart, machine-learned, automatically talking version of the artist.” But in reality, Jonas told me, “it’s just me typing the answers through a Telegram bot, so each time someone uses the website I get a message on my phone and I answer.”

Hyperemployment

Exhibitions

Exhibition curated by Domenico Quaranta

Venue: MGLC – International Centre of Graphic Arts, Ljubljana

When: November 7, 2019–January 19, 2020

Exhibition opening and guided tour by the curator: Thursday, November 7, 2019 at 6 PM

Featured artists: Danilo Correale, Elisa Giardina Papa, Sanela Jahić, Silvio Lorusso, Jonas Lund, Michael Mandiberg, Sebastian Schmieg, Guido Segni.

Hyperemployment – Post-work, Online Labour and Automation

Exhibitions

Download the program!

In the current phase of late capitalism, we are experiencing a crucial contradiction every day. On the one hand, the increasing automation of productive processes is apparently making John Maynard Keynes’s promise of a post-work society not only more real, but also closer; on the other hand, labour – far from disappearing – is colonising and altering any given moment and aspect of our existence. The rise of precarious labour has freed us from the alienation of a permanent job, but has also made our lives more unstable and anxious, and is producing new social diseases. The increasing automation has made us more unemployed – a condition we are frantically trying to escape with micro-labours, turning us into “entrepreneurs of the self”.

The Link Art Center Closes Down. Interview with the Founders

Debate, Texts
Collect the WWWorld. The Artist as Archivist in the Internet Age at 319 Scholes, New York 2012. Curated by Domenico Quaranta

What follows is the English translation (courtesy Google Translate, with some editing by yours truly) of an interview originally published in Italian on Artribune, about the end of the Link Art Center (here the official announcement). Together with my long time partners Lucio Chiappa, Matteo Cremonesi, Fabio Paris, I discuss with Valentina Tanni about the increasing awareness of digital cultures in mainstream contemporary art, media art institutions, collaboration, curating, publishing, and working on all this from Italy…

Valentina Tanni, in Artribune, September 19, 2019

After eight years of editorial, curatorial and exhibition activity, the Link Art Center, a cultural association engaged in the dissemination of new media art, announced its closure. We spoke with the founders – Domenico Quaranta, Fabio Paris, Lucio Chiappa and Matteo Cremonesi – to take stock of this important experience.

Let’s start with the inevitable question: why do you stop? Why now?

Domenico Quaranta: The Link Art Center was founded as a cultural association in 2011, with the mission to foster, at national and international level, a greater diffusion and awareness of the “arts of the information age”. At the time we perceived this mission as a burning necessity. We were spectators of a dynamism of the artists that did not find an adequate response in the institutions, in the magazines, in the market. We had to do something, and we did it. But on this front, from 2011 to 2019, there have been enormous changes, both at the artistic level and at a more general level of society, in Italy and in the rest of the world. Just visit a mainstream contemporary art event such as this year’s Venice Biennale to perceive the scale of this change. Themes that once would have been defined as “digital culture”, such as artificial intelligence, are now on the agenda, and not just in a discursive niche; languages ​​that once would have been defined as “new media”, such as virtual reality, are placed in the hands of contemporary art veterans such as Marina Abramovič or Anish Kapoor.