BIO
Domenico Quaranta (1978, Brescia, Italy, http://domenicoquaranta.com) is an art critic and curator. He is a regular contributor to Flash Art and Artpulse. He is the editor (with M. Bittanti) of the book GameScenes: Art in the Age of Videogames (2006) and the author of Media, New Media, Postmedia (2010) and In Your Computer (2011). He has curated various exhibitions, including Holy Fire: Art of the Digital Age (Bruxelles 2008, with Y. Bernard), Playlist (Gijon 2009 and Bruxelles 2010) and Collect the WWWorld (Brescia 2011 and Basel 2012). He is a co-founder of the Link Center for the Arts of the Information Age (http://www.linkartcenter.eu/).

My Life Without Technoviking: An Interview with Matthias Fritsch


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?


What's (Really) Specific about New Media Art? Curating in the Information Age


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 Postmedia Perspective


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.



Discussions (51) Opportunities (5) Events (37) Jobs (0)
EVENT

ITALIANS DO IT BETTER!!


Dates:
Wed Jun 01, 2011 11:00 - Sun Nov 27, 2011

Location:
Venice, Italy

ITALIANS DO IT BETTER!!
Curated by: Matteo Bittanti and Domenico Quaranta
For: Neoludica. Art Is A Game 2011 – 1966
54. Esposizione Internazionale d’Arte – la Biennale di Venezia,
Collateral Events
Sala Dei Laneri, Santa Croce 131, Venezia
June 1 – November 27, 2011
ITALIANS DO IT BETTER!! is an alternative Italian pavillion, an irreverent and bold retrospective celebrating the artistic interventions of several generations of tinkerers that use videogames as both tools and means, subject and object of their practices, point of departure and arrival of a techno-ludic exploration. Since the early Nineties, Italian artists have been manifesting an irresistible attraction for digital gaming. They have introduced new original formats – like machinima and political & critical games – an investigated the cultural, social, and economic impact of this medium while the local couch potatoes were distracted by the rise and rise of commercial television.
Designed for the first edition of NEOLUDICA. ART IS A GAME 2011 - 1966, ITALIANS DO IT BETTER!! pays homage to a multitude of artistic trajectories, showcases the most recent developments, and imagines possible futures. The title is both celebratory and sarcastic, if not openly polemic: it reminds us that the ongoing failure of the Italian videogame industry is counterbalanced by a prodigious explosion of original and innovative game-related artistic projects. It also questions the very notion of "Italian-ness", as several artists featured in the exhibition have long fled the country for political and cultural reasons. ITALIANS DO IT BETTER!! thus asks “What does it mean to be an "Italian" artist working with video-games, today?”.
As Matteo Bittanti suggests, «Beneath an apparent jingoistic commemoration of “italian-ness” lies a critical exploration of such puzzling notion through the filter of videogame-informed art. Rather than providing a simple and unequivocal answer to an apparently straightforward question, the premise & promise of this exhibition is that Italians “can work miracles when you least expect it”. These mavericks are our cultural radars».
Domenico Quaranta further elaborates: «Italian art has made a decisive contribution to the recognition of videogames as one of the basic forms of contemporary culture and, more generally, to the reflection on videogame as a cultural artifact. The importance of this contribution can be measured by both the timeliness of some results, and by its quality. We felt it was was necessary to document these achievements in an event in which could reach a mass audience, and thus stimulate a broader conversation.»
Come to Venice to see - and play - with the past, present, and future of Italian Game Art. After all, ITALIANS DO IT BETTER!!
Artists: Matteo Bittanti + IOCOSE, Marco Cadioli, Mauro Ceolin, Damiano Colacito, Les Liens Invisibles, Miltos Manetas, Eva & Franco Mattes aka 0100101110101101.ORG, Molleindustria, Antonio Riello, Santa Ragione, Federico Solmi, Stefano Spera, Tonylight, Vjvisualoop, Carlo Zanni.
Press Material:
http://italiansdoit.wordpress.com/press/
More info:
http://italiansdoit.wordpress.com/
http://www.neoludica.it/


EVENT

DE_ZER Vol. 3


Dates:
Mon May 16, 2011 22:15 - Wed May 25, 2011

image
DE_ZER Vol. 3

The DEberlusconiZER is proud to announce DE_ZER Vol. 3,
the third of a series of exhibitions in which some contemporary artists
are invited to give a new meaning to the informational space
"liberated" from the unwieldy presence of the Italian Prime Minister.
Every show includes three works by three different artists and lasts ten
days, in an unprecedented adaptation of the codes of street art and
public art to the online environment.
From May 16 to May 25, 2011, three works will alternate randomly into this public space: Offresi piazze italiane per aspiranti rivoluzionari, by Maddalena Fragnito; Your Face Here, by Les Liens Invisibles; and The bigger a man's gun the smaller his doodlewick, by Jon Cohrs.
Maddalena Fragnito uses the space provided by the DEberlusconiZER to set up a marketing campaign for her brand new project: http://offresipiazze.wordpress.com/,
the website of a company renting out city squares of different sizes to
wannabe revolutionaries. The work ironically plays with the celebrated
revival of Italian's public spirit, but behind this playful facade it
offers a real service: providing useful informations for activists, and
explaining the history and the current use of places that should be
considered, but not always are, public spaces.
The Italian collective Les Liens Invisibles also made a marketing campaign promoting A Fake is a Fake,
a web publishing tool that let you use, for your website, the readymade
interfaces provided by the most inportant news platforms, from the New
York Times to Repubblica. The work pokes fun at the savoir faire of the
Italian Prime Minister, but it's also an invitation for everybody to
contrast, with the tools provided by the internet, his videocracy.
With his animations of young,
sexy, armed women and his quote by Calamity Jane, the American Jon Cohrs
puts together his interest in Internet memes and the macho, patriarchal
model embodied by Silvio Berlusconi on the international media.
The DEberlusconiZER is a web tool
that replaces the images and words related to the Italian Prime
Minister. The software subverts the media machine created by one of the
most controversial figures in Italian politics by reclaiming the space
devoted to him and using it for new porpuses.
The DEberlusconiZER is a project by Elisa Giardina Papa, Fabrizio Giardina Papa, Giovanni Salerno and Floriano Lapolla.
The artists have been selected and invited by art critic Domenico Quaranta.
info@de-zer.com
www.de-zer.com


image

Italian on-line newspaper Il Sole 24 Ore DEberlusconiZED with Offresi piazze italiane per aspiranti rivoluzionari, by Maddalena Fragnito.

image

Le Figaro DEberlusconiZED with Your Face Here, di Les Liens Invisibles.

image

Newsweek DEberlusconiZED with The bigger a man's gun the smaller his doodlewick, by Jon Cohrs.


DISCUSSION

Out Now: In Your Computer


The
LINK Center for the
Arts of the Information Age

is proud to announce the publication of the book In
Your Computer
, by
Domenico Quaranta.

The book is a
collection of texts written by the author between 2005 and
2010 for exhibition catalogues, printed magazines and online reviews:
a pocket version of what the author would save from the universal
flood, in a world without computers. It
documents most of the fields of research he has focused on
critically: from Net Art to Software Art and videogames, from
biotechnologies to the debate around curating and the positioning of
New Media Art in the contemporary landscape, and back to Net Art
again.
Domenico
Quaranta, In Your
Computer
, LINK
Editions, Brescia 2011.
Soft
cover, 180 pp, English, € 12.00, ISBN: 978-1-4467-6021-5
More info
Buy it on Lulu.com (€ 9.60)  
Free download
Domenico Quaranta

LINK Center for the Arts of the Information Age

EVENT

DE_ZER Vol. 1


Dates:
Tue Apr 26, 2011 00:00 - Wed May 04, 2011

image

DE_ZER Vol. 1
The DEberlusconiZER is proud to announce DE_ZER Vol. 1,
the first of a series of exhibitions in which some contemporary artists
will be invited to give a new meaning to the informational space
"liberated" from the unwieldy presence of the Italian Prime Minister.
Every show will include three works by three different artists and will
last ten days, in an unprecedented adaptation of the codes of street art
and public art to the online environment.
From April 26 to May 4, 2011, three works will alternate randomly into this public space: Pussy, by Claudia Rossini; Lavorare stanca, by Alterazioni Video; and Open Internet, by Aram Bartholl.

Claudia Rossini (1986) lives and works in Venezia, where she
studied Visual Arts at the IUAV / Faculty of Arts and Design. Pussy
replaces Berlusconi with a content even more present and pervasive
online: the picture of a cute cat. Tender and ambiguous at the same time
(because of the sexual implications of the title), the cute cat is also
a symbol of sharing and freedom of expression in online environments:
censor our cats, and we will revolt. Cute cats are thus the emblems of
the openness evoked by the German artist Aram Bartholl (1972), whose
work is often concerned with the internet and its participative culture.
Bartholl's Open Internet is a place where anonymous masses of people
share and manipulate any kind of content, sharing an acute sense of
freedom and the will to resist against anything that could interrupt
this continuous flow of images, texts and informations.
The Italian collective Alterazioni Video, founded in Milan in
2004 and including Paololuca Barbieri Marchi, Alberto Caffarelli, Matteo
Erenbourg, Andrea Masu and Giacomo Porfiri, belongs to the same
horizon. For years, Alterazioni Video has been contributing to this
ongoing process of collective manipulation of images. Lavorare stanca is
the picture, appropriated and manipulated, of a pair of gauntlets,
whose fingers seem to have been adapted to a new anathomy, consequence
of the thousands of accidents at work that happen into general
indifference.

The DEberlusconiZER is a web tool that replaces the images and
words related to the Italian Prime Minister. The software subverts the
media machine created by one of the most controversial figures in
Italian politics by reclaiming the space devoted to him and using it for
new porpuses.

The DEberlusconiZER is a project by Elisa Giardina Papa, Fabrizio Giardina Papa, Giovanni Salerno and Floriano Lapolla.
The artists have been selected and invited by art critic Domenico Quaranta.
info@de-zer.com
www.de-zer.com
image

Italian on-line newspaper Il Fatto Quotidiano DEberlusconiZED with Pussy, by Claudia Rossini

image

Italian on-line newspaper Il Fatto Quotidiano DEberlusconiZED with Lavorare Stanca, by Alterazioni Video

image


New York Times DEberlusconiZED with Open Internet, by Aram Bartholl
info@de-zer.com
www.de-zer.com


EVENT

Raise Your Flag!


Dates:
Sat Apr 16, 2011 18:00 - Sat Apr 16, 2011

Location:
Barcelona, Spain

Raise Your Flag!
The first Speed Show in Barcelona


Curated by Domenico Quaranta - http://domenicoquaranta.com/
>
for The Influencers 2011 -
http://theinfluencers.org/>
When: Saturday, April 16, 2011
Where: Bornet Cyber Café - C/ Barra de Ferro, 3 - 08003 Barcelona, Spain

The Speed Show Exhibition Format -
http://fffff.at/speed-show/
«Hit an Internet-cafe, rent all computers they have and run a show on them for one night. All art works of the participating artists need to be
on-line (not necessarily public) and are shown in a typical browser
with standard plug-ins. Performance and life pieces may also use
pre-installed communication programs (instant messaging, VOIP, video
chat etc). Custom software (except browser add-ons) or off-line files
are not permitted. Any creative physical modification to Internet
cafe itself is not allowed. The show is public and takes place during
normal opening hours of the Internet cafe/shop. All visitors are
welcome to join the opening, enjoy the art (and to check their
email.)» SPEED SHOW Manifesto by Aram Bartholl 2010
Concept

Since the mid Nineties, the Internet proved to be a powerful platform for artists who wanted to bypass the traditional art system and bring
their work directly to the spectator (more often a user, a
collaborator or a prosumer), outside of any institutional framing.
After the first, pioneering years, for many artists the Internet stopped to be the only legitimate platform of activity, and most of them
reconciled with the art world. However, today the Internet is still a
radical environment, that is often chosen to make things and explore
possibilities not available elsewhere. It is still the place where,
in Bijörk's words, you can start your own currency, make your own
stamp, protect your language, make your own flag and raise it. It is
the studio, the exhibition place and the audience. It is the place
where art happens without frames and labels, where it meets popular
practices and occasionally becomes one thing with them. It is, as
video was in the Seventies, “the vacancy of art”.
The art that happens there may sometimes migrate elsewhere, but while on the Internet, it often requires its own contexts and platforms. Some of them are started by artists, and often perceived as artistic
projects themselves: relational platforms where art, in the best
net.art tradition, happens in the dialogue, in the connection, in the
exchange, in the collective manipulation of images, data, archives,
myths.
Raise Your Flag! is, in a way, a tribute to the two frame projects it happens within: the Speed Show series, started by artist Aram Bartholl in 2010, which reclaims a public space - an Internet cafe - as an exhibition space; and the festival The Influencers.
The show collects works that are, above all, platforms: places of
gathering, discussion and organization of online and offline events;
production platforms offering simple tools that may help you to join
the never ending flow of works; curated or open content aggregators;
group blogs; individual artworks that are, themselves, the starting
point of an evolving creative process.
Our tip to the user is not only to look at them, explore and enjoy their
contents; but also to get involved, contribute, create and share new
contents and, when not possible, to steal the idea, upgrade it, start
a new platform and raise your flag.
Domenico Quaranta & The Influencers, 2011
Artists:

Ryder Ripps, Scott Ostler, Tim Baker & Stefan Moore (US)
Jon Rafman (CA), Parker Ito (US), Micah Schippa (US), Tabor Robak (CA) & John Transue (US)
Iocose (IT)
Ryan Trecartin & David Karp (US)
Anonymous
Oliver Laric (DE)
Aaron Meyers (US)
Aaron Koblin (US) & Daniel Massey (ME)
Spirit Surfers (US)
Johnatan Vingiano & Brad Troemel (US)