Matthias Fritsch is an independent artist from Berlin, most well known for his work Kneecam No 1—the live video that brought Technoviking to the internet. Over a decade after he uploaded the clip that went viral, Fritsch now is enduring a long legal battle with Technoviking himself, who sued for the reproduction, proliferation, and unwarranted use of his likeness. In response to the process, Fritsch is making The Story of Technoviking, a crowd-funded documentary that aims to shed light on the legal issues surrounding viral images. Below, Fritsch talks about what it’s like do battle in court with a viking, the ownership of images in the internet age, and hopes for his current project.
My Life Without Technoviking—since the trial began, Fritsch is no longer allowed to use images of the plaintiff's face.
DQ: Matthias, I'm of course curious about the video that originated it all. What was, for you, Kneecam No 1 (2000) before it became an internet meme? Why did you upload it to YouTube? Were you expecting such a viral reaction? What did you think when it happened?
This text has been written for the proceedings of the international conference "New Perspectives, New Technologies", organized by the Doctoral School Ca' Foscari - IUAV in Arts History and held in Venice and Pordenone, Italy in October 2011
The "portal" designed by Antenna Design to show net based art in the exhibition "Art Entertainment Network", Walker Art Center, Minneapolis, 2000. Courtesy Walker Art Center, Minneapolis.
In the late nineties and during the first decade of this century the term “new media art” became the established label for that broad range of artistic practices that includes works that are created, or in some way deal with, new media technologies. Providing a more detailed definition here would inevitably mean addressing topics beyond the scope of this paper, that I discussed extensively in my book Media, New Media, Postmedia (Quaranta 2010). By way of introduction to the issues discussed in this paper, we can summarize the main argument put forward in the book: that this label, and the practices it applies to, developed mostly in an enclosed social context, sometimes called the “new media art niche”, but that would be better described as an art world in its own right, with its own institutions, professionals, discussion platforms, audience, and economic model, and its own idea of what art is and should be; and that only in recent years has the practice managed to break out of this world, and get presented on the wider platform of contemporary art.
It was at this point in time, and mainly thanks to curators who were actively involved in the presentation of new media art in the contemporary art arena, that the debate about “curating new media (art)” took shape. This debate was triggered by the pioneering work of curators – from Steve Dietz to Jon Ippolito, Benjamin Weil and Christiane Paul – who at the turn of the millennium curated seminal new media art exhibitions for contemporary art museums; and it was – and still is –nurtured by CRUMB - “Curatorial Resource for Upstart Media Bliss” - a platform and mailing list founded by Beryl Graham and Sarah Cook in 2000 within the School of Arts, Design, Media and Culture at the University of Sunderland, UK. As early as 2001, CRUMB organized the first ever meeting of new media curators in the UK as part of BALTIC's pre-opening program – a seminar on Curating New Media held in May 2001.
In the context of this paper, our main reference texts will be CRUMB-related publications, from the proceedings of “Curating New Media” (2001) to Rethinking Curating. Art After New Media (2010), a recent book by Beryl Graham and Sarah Cook; and New Media in the White Cube and Beyond, a book edited by Christiane Paul in 2008. Instead of addressing the specific issues and curatorial models discussed in these publications, we will try to focus on the very foundations of “curating new media”, exploring questions like: does new media art require a specific curatorial model? Does this curatorial model follow the way artists working with new media currently present themselves on the contemporary art platform? How much could “new media art” benefit from a non-specialized approach? Are we curating “new media” or curating “art”? ...
The following excerpt comes from the final chapter of my book Media, New Media, Postmedia, recently published in Italian by Postmediabooks, who kindly gave Rhizome permission to republish it in English. The book is an attempt to analyze the current positioning of so-called “New Media Art” in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history.
One's computer is a repository of valuable things that, for some reason, never went public: projects, drafts, short notes, private emails, unreleased interviews, unpublished texts, tales, poems, lists of quotes, image collections, spam email collections, whatever.
If you think this content may be relevant or interesting also for a wider audience; if you think it may work well in book form, circulated digitally or printed on paper; the book series “In My Computer” may be the right jar for your jam.
“In My Computer” is a series of books collecting unpublished material available in your computer, produced by LINK Editions and circulated both in digital and printed form through the print-on-demand (POD) service Lulu.com. The book can take any shape compatible with POD's production and distribution standards. In My Computer # 1 | Miltos Manetas has been published in 2011, and is available for buying and free download here: http://www.linkartcenter.eu/editions/in-my-computer-1?lang=en.
LINK Editions is a publishing initiative of the LINK Center for the Arts of the Information Age. LINK Editions uses the print on demand approach to create an accessible, dynamic series of essays and pamphlets, but also tutorials, study notes and conference proceedings connected to its educational activities. A keen advocate of the idea that information wants to be free, LINK Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) licence. More info: http://www.linkartcenter.eu/.
HOW. You can apply by sending to the email address firstname.lastname@example.org a short concept / description of your book proposal, together with a short bio and a sample of what you want to do. Language of the application: English.
WHEN. The deadline for the submission is September 15, 2012. After the deadline, a jury will select the proposals that will be published in 2012 – 2013.
WHO. Your submission will be evaluated by an international jury including:
Andreas Broeckmann, art historian, curator, Director of the new Leuphana Arts Program at Leuphana Universität Lüneburg and former director of Transmediale, Berlin.
Ben Fino-Radin, artist and Digital Conservator, Rhizome at the New Museum, New York.
Domenico Quaranta, art critic, curator and Artistic Director of the Link Center of the Arts of the Information Age.
In December 2008, Patrick Cariou filed suit for copyright infringement against Prince, Larry Gagosian, Gagosian Gallery, and Rizzoli books after a number of photographs from Cariou’s publication Yes, Rasta (2000) were reappropriated without consent in Prince’s Canal Zone series. In March, 2011, Manhattan federal court judge Deborah Batts ruled against Richard Prince and the Gagosian Gallery, demanding that all works and materials relating to Prince’s Canal Zone be delivered up for impounding, destruction, or other disposition.
“After Prince” and "After Cariou" are projects of the students of the “Net Art” class at the Accademia di Belle Arti di Brera in Milan. Anybody can contribute. The projects have an educational value, with a focus on collage, appropriation and remix as grounding languages of contemporary art, collaborative platforms, open cultures and animated gif as a native online language.
Every content of these websites is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License - http://creativecommons.org/licenses/by-nc-sa/3.0/.
- Google “Richard Prince” / "Patrick Cariou" or just visit the artists' website;
- Choose an image and download it;
- Make your animated gif;
- Visit http://afterprince.tumblr.com/ or http://aftercariou.tumblr.com/, click on "submit" and upload your image (or just upload the image on your Tumblr with the tag "after prince" or "after cariou").
Ripa di Porta Ticinese 113 (MM2 Porta Genova)
Thursday, April 12th, 2012, 8 PM -11 PM
curated by Domenico Quaranta
BYOB (Bring Your Own Beamer) is a series of one-night exhibitions invented by artist Rafaël Rozendaal, where artists are invited to bring their own beamers and show their own work, exploring the medium of projection. Conceived as an open idea that anyone can borrow, the first BYOB took place on July 20th, 2010 in Berlin, and was followed by dozens of other events all around the world, turning into a worldwide phenomenon that can be followed online on the website http://www.byobworldwide.com/.
BYOB MILANO will take place in the exhibition space of Museo Pecci Milano, and will host in a flexible, always-changing setup the work of many artists, including: Alterazioni Video, Andreas Angelidakis, Ivano Atzori, Fabrizio Bellomo, Enrico Boccioletti, Paolo Branca (VjVISUALOOP), Martin Butler, Marco Cadioli, Diego Caglioni, Claudia Campus, Sarah Ciracì, Adam Cruces, Sabine Delafon, Carlo dell’Acqua, Matteo Erenbourg, Francesco Fonassi, Helga Franza, Silvia Hell, Iocose, KK,S, Luca Leggero, Les Liens Invisibles, Miltos Manetas, Kenji Matsushita, Marco Mendeni, Filippo Minelli, Molta Gente, Bruno Muzzolini, Otolab, Laurina Paperina, Angelo Plessas, Anja Puntari, Sara Rossi, Claudia Rossini, Rafaël Rozendaal, Santa Ragione, Lorenzo Sarti, Filippo Solibello, Priscilla Tea, Maurizio Temporin, Tonylight, Carloalberto Treccani, Carlo Zanni. BYOB Milano is the first experiment of adaptation of this format to a museum space, and will profit from the dialogue with some of the works of the collection, presented in the exhibition Turbolenze (curated by Stefano Pezzato).
Domenico Quaranta is an art critic, teacher and curator. He is the co-founder and artistic director of the LINK Center for the Arts of the Information Age.
Organization and production:
LINK Center for the Arts of the Information Age
In collaboration with:
Museo Pecci Milano
Special thanks to:
Gloria Maria Cappelletti
For further information please contact:
LINK Center for the Arts of the Information Age
+39 340 2392478
The last decade has witnessed an incredible growth in the production and distribution of images. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. Collect the WWWorld. The Artist as Archivist in the Internet Age investigates the impact of this process on art practices and the artist.
The exhibition sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of visual material produced by popular culture and advertising. Collect the WWWorld is an attempt to show how art responds to the information society.
March 9, 2012 - May 20, 2012
Opening: March 8, 2012, 6.30 PM
(A guided tour with the curator is scheduled for 7.30 PM)
the LINK Center for the Arts of the Information Age and the House of Electronic Arts Basel
Alterazioni Video (I), Kari Altmann (USA), Kevin Bewersdorf (USA), Luca Bolognesi (I), Adam Cruces (CH), Aleksandra Domanovic (D), Harm van den Dorpel (NL), Constant Dullaart (NL), Hans-Peter Feldmann (D), Elisa Giardina Papa (I), Travis Hallenbeck (USA), Admir Jahic & Comenius Röthlisberger (CH), Jodi (NL), Olia Lialina & Dragan Espenschied (D), Guthrie Lonergan (USA), Eva and Franco Mattes (I), Alexandra Navratil (CH), Seth Price (USA), Jon Rafman (USA), Claudia Rossini (I), Evan Roth (USA), Travess Smalley (USA), Ryan Trecartin (USA)
The research work around the exhibition can be followed on the blog: http://collectheworld.tumblr.com.
LINK Center for the Arts of the Information Age
For further informations:
Doris Gassert: +41 61 331 58 40 – email@example.com
House of Electronic Arts Basel
Exhibition space: Oslostrasse 10 – 4023 Basel / Münchenstein
Office: +41 61 331 5840
Exhibition space: +41 61 283 6050
firstname.lastname@example.org - www.haus-ek.org PR: email@example.com
Press material available at: