Domenico Quaranta (1978, Brescia, Italy, 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 (

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.

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The Unbearable Aura of a Website

Hi Rhizomers, I hope you enjoy this article: Domenico Quaranta, “The Unbearable Aura of a Website. Originality in the Digital Age“, in Artpulse, Vol. 2 No. 3 Spring 2011
the digital medium, Benjamin’s theory about the work of art in  the age
of mechanical reproduction seems to have reached its dead end.  When
there is no difference between copy and original, the aura fades  and
rarity can only be artificially simulated. Yet, is it always true?
with Benjamin and Groys, this article shows how, like the mythological
Phoenix, aura can resurface in the most replicable digital  artifact:
the website.
Go on reading on Artpulse:


Thomson & Craighead at the MINI Museum for XXI Century Arts

Mon Mar 28, 2011 10:38 - Thu Mar 31, 2011

The MINI Museum of XXI Century Arts is proud to announce the launch of the second site-specific project designed for its low cost, itinerant architecture: Here (2011), by the London-based artists duo Thomson & Craighead (
Here has been developed by the artists with the specific conditions of the MINI Museum in mind. It takes the shape of a digital photograph of a street sign displaying the text “Here 24, 859 >”. According to the Certificate of Authenticity provided by the artists together with the work, «When displaying this work, the MINI Museum should be physically installed along a North/South axis, so that the surface of the screen is running from North to South or South to North. This ensures that the information contained in this digital artwork is accurate and that the distance between the museum and here is almost exactly 24,859 miles at all times.»
Thus, Here can be described as a piece of institutional critique that turns the Museum into a statement about its own relativity in space. Being the MINI Museum a traveling institution, Here provides it with a fixed reference point, according to which it could be localized on the world map: the Museum can be everywhere, but it would always be 24,859 miles from “here”.
Furthermore, the piece describes the Museum as a “there”, and the “here” it points to as a mysterious, distant, fading “elsewhere”, moving as the Museum moves, but always 24,859 miles from it.
Thomson & Craighead got the MINI Museum from Paul B. Davis, its previous – and first – temporary owner. They added the work and put it on show on March 26, 2011 in a small private view at 37a Sekforde St, London. According to the artists, «the work was well received». In the next days, before disappearing to the Scottish highlands for over 5 weeks, they will hand the Museum over Martin John Callanan (, who will take care of it along the next weeks.
Jon Thomson (born 1969) and Alison Craighead (born 1971) are London-based visual artists, who work with video, sound and the internet. They have been working together since 1993. Much of their work to date explores how technology changes the way we perceive the world around us. They use live data to make artworks, including “template cinema online artworks” and gallery installations, where networked movies are created in real time from online material such as remote-user security web cams, audio feeds and chat room text transcripts.
Thomson lectures at the Slade School of Fine Art in London. Craighead is currently Reader at the University of Westminster, and also lectures in Fine Art at Goldsmiths, University of London.
The MINI Museum of XXI Century Arts (also known as MMAXXI) is a 7'' digital photo frame bought on eBay equipped with a 4GB pen drive. Founded and directed by Domenico Quaranta, the MINI Museum will travel from node to node around a network of artists, and will host temporary solo shows by the artist owning it at the time.
More infos:
Press images:


The Postmedia Perspective

hi rhizomers,
just a short note to let you know that the text above is available in spanish here:


01_Davis_Untitled_2010 at the MINI Museum

Tue Jan 25, 2011 14:12 - Tue Jan 25, 2011

The MINI Museum of XXI Century Arts is proud to announce “01_Davis_Untitled_2010”, the first site-specific work commissioned for its revolutionary exhibition space to the London-based artist Paul B. Davis.
The first artist to be featured at the MINI Museum, Davis decided to exploit this extraordinary opportunity to turn his interest in circuit bending and hacking systems into a form of “institutional critique”. When you turn it on, if there is no memory card inserted, the MINI Museum displays a default screensaver featuring three kitschy landscape images set, for some mysterious reasons, somewhere in Greece. Davis opened the device to see if it was possible to get those images out of it; but when he realized that, beyond its glamorous surface, the MINI Museum is actually a piece of «ghetto chinese engineering», he decided to simply take photos of the Museum when it displayed those demo images. Then he made «a screwed and chopped remix of Manuel Göttsching's seminal proto-techno track E2-E4»
(1984) and he copied both the track and the photos on the USB pen
drive. The final result has been documented here: According to Davis, «the behaviour of the
device in its “default” state is almost identical to this except
for some differences in the image quality which you can notice on
close inspection, and of course Manuel Göttsching.»
«It is exactly what I was expecting from Paul, but still it's a surprise», Domenico Quaranta, the MINI Museum Director, declared. «He could have easily uploaded a version of his wonderful compression videos, but he decided to make a comment on the Museum as both an institution and a piece of crappy technology. With his minimal intervention, he turned the original screensaver - a beautiful example of the vernacular images displayed by default on consumer technologies, from computers to cell phones - into art, hinting back at appropriation art of the eighties in an absolutely modern, post internet fashion.» According to Quaranta, «“01_Davis_Untitled_2010” also works as a tip for the artists who will come next, on the way to approach the MINI Museum.»
Up to now, “01_Davis_Untitled_2010” has been shown in a private exhibition in Room 3148 of the Los Angeles Airport Hilton Hotel in December 2010. A public show will be announced soon.
A founder member of the BEIGE Programming Ensemble together with Joe Beuckman, Cory Arcangel and Joseph Bonn, Paul B. Davis
lives and works in London, UK. In the late 90s he pioneered the use
of hacked video game cartridges as an art practice. According to Paul
Pieroni, «while the materials utilised are ready-made, the use
principle is entirely hand crafted; Davis altering the existing code
while adding nothing new.» He has exhibited internationally and his
work is represented by Seventeen Gallery, London. A recent interview
for “The Creators Project” can be found here:
The MINI Museum of XXI Century Arts (also known as MMAXXI) is a 7'' digital photo frame bought on eBay equipped with a 4GB pen drive. Founded and directed by Domenico Quaranta, the MINI Museum will travel from node to node around a network of artists, and will host temporary solo shows by the artist owning it at the time.
Paul's MINI Museum tutorial:
More informations:
Stay updated:


The MINI Museum flies to London

Fri Oct 15, 2010 00:00 - Wed Oct 13, 2010


The MINI Museum flies to London

The MINI Museum of XXI Century Arts is proud to announce that on Friday October 15, 2010, the MINI Museum Director will fly to London to officially entrust the Museum to Oliver Laric, its first temporary owner.

Berlin based artist Oliver Laric (1981) is currently in London to present Versions (2009 - 2010) as part of Frame 2010, the solo-projects selection of Frieze Art Fair (14-17 October 2010. Versions is an ongoin project aimed at exploring historical and contemporary ideas relating to image hierarchies, where a largely enthusiastic conception of a digitally driven contemporary age of polymorphous imagery is squared by a series of examples drawn from pre-digital, pre-web culture. The project comprises a constellation of works, including sculptures, a bootleg copy of a book on Ancient Copies, and a video.

As an artist, Laric ( is concerned with issues such as copyright, appropriation, versioning and translation. He is one of the founders of vvork (, an art blog acting as an exhibition space and, occasionally, a curatorial platform that organizes events in brick-and-mortar venues.

«The selection of the first temporary owner is the only act of curatorial control I will indulge in for a long time», Domenico Quaranta, the founding director of the MINI Museum, said. «Since both Versions and vvork had a strong influence on the concept of the MINI Museum, it was quite a natural choice to entrust Oliver with it.»

The MINI Museum of XXI Century Arts (also known as MMAXXI) is a 7'' digital photo frame bought on eBay equipped with a 4GB pen drive. The MINI Museum will travel from node to node around a network of artists, and will host temporary solo shows by the artist owning it at the time. All the artworks shown in the MINI Museum will enter the permanent collection of the Museum itself. The Museum will return to the Director when there is no more storage space left.