[-empyre-] situational politics

["Melinda Rackham" <melinda@subtle.net>]

couldn't agree more..
the museum needs to address its mission  to have and to hold,  to sanctify
and validate only specified contexts, to classify screen works as  "art" and
therefore valuable only if they fit into the film or now 30 year old  video
installation mode. (and to that end to uphold a  hi resolution filmic large
scale presentation mode, while minimising the delicious lo-fi lo res
aesthetic of the low bandwidth and streaming video.)
While current practice is undeniably embracing distributed, experiential,
gaming and networked works: works which span invisible spectrums like Zina
Kayes; works which span time zones, space,  location, and virtualised bodies
like Adam Nashes scorched happiness, and qnoors: inbox;   works which  span
art categorization like nat&ali, works which span screen and delivery
modes -which people carry with them and interact with,  like Chris Caines.
As our communications modes, lifestyles and therefore art practices change,
the museum which doesnt facilitate there forms becomes  just an archive of
the past art practice rather than situating itself in the present.

Melinda

 chris wrote:
locations. These techniques using wireless in one form or another often
seem to me to be suited to making work about making the invisible
visible, whether the invisible things are fictions, histories or just
the wireless soup we live in.

zina wrote:
>grey shirted woman waits patiently next to the photobooth with 2004
flyers
>and a video camera. someone sits down inside with a handset and the
>attendant takes footage of their knees under the threadbare curtain....

chris wrote:
Would be quite wonderful, I'd love to have all that video footage, 3mths
worth of different people reading. I think holding onto projects like
this in the context of an art or cultural event/institution is about
extending the umbrella to facilitate an audience traveling offsite while
still feeling part of the "show". This may end up being more challenging
for curators than integrating various new media forms into galleries has
been in the past decade as it kind of sidelines the big building aspect
of the museum, as an art housing barn anyhow.

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