• The way to show process on social network platforms

  • January 30th, 2014 | Meeting with Streaming Museum, NYC

    Notes from my meeting with Nina Colosi the founder of Streaming Museum (http://streamingmuseum.org)

    Interested in my project, Nina offered to upload my artists’ works online, starting something simple on her virtual museum then extend to larger and more complex activities such as work showcase on commercial big screens, either within a commercial institution or an art festival, tour exhibitions, and sales.

    The idea seemed very exciting at the first place. However, when I started discussing in detail on the operational issue with my artists, we realised that the online space – or any other social network platforms – might not fit such a project focusing on the artistic process. The questions become:

    1/ How to show the process online?

    2/ What to show online from the process?

    3/ What form should we explore online to support the showcase of the process, a blog, a web page, or still something-else? Should all artists share one same blog, or everyone get his/er own?

    4/ Considering that everyone’s project is different, individual online blog seems the right thing to do. Nevertheless, such a blog requires huge extra work from both the curator and the artist to maintain the update on the daily basis. Are we able to do it?

    5/ How to make the online space the best carrier of an artistic process? It seems that it only makes sense when a pre-installed surveillance camera transmits 24/7 the scene of the artist’s art making process from his/er studio to the online virtual space. The process can be well recorded, shared (by the global audience while an unlimited time duration), and documented on the platform.

    6/ Such a solution can only help to follow up, showcase, and document low-tech supported projects; when VR, AR or complicated technologies involved in the projects, the surveillance camera system will no longer work.

    The above discussion comes from my phone conversation with Ursula Endlicher, New York based artist who originally came from Austria. We took her project Far Flung (follows function) as example (http://farflungfollowsfunction.ursenal.net), trying to figure out how to realise it on Streaming Museum, the conclusion was less positive than we would have imagined. The surveillance system might work for Ursula, but it affects seriously the artist’s creative behaviour, mindset, and even life state. Here, another topic will automatically involve in our original project: the role of surveillance in the artist’s daily creativity, its social role, and its affection on human behaviour. The project that originally focuses on the studies of the artistic process (for artists) and curating methodology (for curators) will turn into something much more complicated, although exciting and meaning, as well.

    Social network platforms which, for most of artistic projects of our time, are so efficient, innovative, and contributing, became almost an obstacle confronting to exhibitions focusing on the artistic process. Such a conclusion urges us to reflect on the next move of art and technology, as well as the way for curators to curate, and manage artistic projects in the field.