Last week I attended the NET.ART (SECOND EPOCH) conference in Buenos Aires, organized by Medialab-Prado. The subtitle, "The Evolution of Artistic Creation in the Net-system" speaks to the broad range of perspectives included at the conference and, indeed, the Madrid-based organization was able to draw participants from all over Latin America, including Argentina, Peru, Brazil, Mexico, and Chile to the week-long panel series, which was hosted by the Centro Cultural de España.
Most of the discussion at the conference centered around framing the history of net art, articulating its recent transitions, and assessing the current state of the field. There was a general agreement that while many critics declared net art dead after the fall of the dot-com economy, it in fact never went anywhere and is instead still thriving.
Minnesota-based curator Steve Dietz and Amsterdam-based critic Josephine Bosma presented keynote talks on the current state of the network and networked art. These talks were framed as "seminars," with each lecture followed by structured group debates. Dietz's talk was entitled "Beyond 'Beyond Interface': Art in the Age of Ubiquitous Networking." He proposed that we consider whether what we are seeing now as truly a second epoch of net art, or rather something more like art after networks. While his talk came before Bosma's closing lecture, the latter looked back farther in taking a different historical perspective. Bosma articulated five generations of networked artists, the first of which predated the public interest. Her paper was prefaced by a confession that critics always view work through the lens of the era in which they came upon the art scene, and that while she is considered an expert in the field, she now feels removed from the present generation of net artists who are no longer working within the "Net ...
marc garrett