Published in: Lorenzo Giusti, Nicola Ricciardi (Eds.), Museums At The Post-Digital Turn, Amaci — OGR — Mousse Publishing, Milan 2019, pp. 177–198. Buy the book here

The aim of this contribution is to contest itself — or, rather, its title. It is to demonstrate that, at the end of the second decade of the twenty-first century, we have reached an evolutionary phase in the so-called digital arts in which there is no longer any point hypothesizing about whether it is necessary to develop specific exhibition strategies that may facilitate public presentation in the display spaces of contemporary art of works that make use of digital media in their production or distribution, and/or make reference to the themes, aesthetics, and procedures that have emerged alongside digital media. [1] Further radicalizing the matter, this text sets out to show that today, the “problem” with digital art lies in the very use of this term, and in the artificial logics of merging (of works and artists that have little or nothing in common) and of segregation (from the rest of contemporary art) that its use reflects, and at the same time contributes to maintaining and consolidating. [2]