The theme of Repair for this year’s Ars Electronica festival was apropos, as the festival moved to the Tabakfabrik, a former cigarette factory and sprawling complex of buildings that was churning out cartons of Marlboros as recently as last year. The smell of tobacco was still heavy in the air, and evidence of the factory’s work continued to linger: ear plugs still available in dispensers, pneumatic tube carriers still sitting in baskets, and boxes emblazoned with cigarette logos being used as exhibition design material. The factory, which is a protected historic landmark, is beautiful and perhaps deserved a Golden Nica of its own -- for best representation of the festival theme.
If we consider Internet art to be a distinct category of art making that uses the Internet as its primary medium or platform, we necessarily distinguish it from other forms in which the Internet does not play a primary role. The objects of Internet art are necessarily immaterial, and it is this immaterial quality that makes them so notoriously difficult to exhibit and archive. For some artists this has led to a kind of hybridization of Internet aesthetics and real world objects, such that they might be purchased or viewed in a real-world setting such as a museum or gallery space. For others it becomes a matter of the careful curation of digital images and documentation in an effort to brand oneself and build cultural capital where there is little possibility for financial compensation. After all, how do you monetize an object whose natural setting is a networked space that encourages many-to-many distribution practices? How do you sell a website, a .jpeg? These are responses to a crisis in image making and distribution in which older curatorial models that rely on the limitations of physical space and the exchange of physical objects are increasingly undermined by distanced, virtual, and distributed viewership online.
For art collective JOGGING - artists Brad Troemel and Lauren Christiansen - this crisis is not limited to Internet art, but has instead become the normative condition under which art is produced and viewed today.