diff options
Diffstat (limited to 'frontend/site/projects/museum/views/essay.js')
| -rw-r--r-- | frontend/site/projects/museum/views/essay.js | 8 |
1 files changed, 4 insertions, 4 deletions
diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js index 0a70c4e..e271934 100644 --- a/frontend/site/projects/museum/views/essay.js +++ b/frontend/site/projects/museum/views/essay.js @@ -102,7 +102,7 @@ const EssayDetail = props => { const NadimEssay = ({ essayId, index, isCurrent, onClose }) => ( <div className={isCurrent ? "artist-detail visible" : "artist-detail"}> - <div className="page-title" onClick={onClose}>The L<span>ast Museum</span></div> + <div className="page-title" onClick={onClose}>About The L<span>ast Museum</span></div> <div className="page-subtitle">By Nadim Samman</div> <div className="page-content"> <p> @@ -116,7 +116,7 @@ const NadimEssay = ({ essayId, index, isCurrent, onClose }) => ( Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more. </p> <p> - Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. + Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/" target="_blank">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. </p> <p> Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually <i>grounding</i> planetary networks and other globe-spanning systems will be evident. Call it a <i>web-site-specific</i> project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that <i>The Last Museum</i>’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in <i>The Last Museum</i> is a kind of a vector that intersects with all of the stack’s layers. @@ -131,10 +131,10 @@ const NadimEssay = ({ essayId, index, isCurrent, onClose }) => ( This project was conceived during the first wave of COVID-19, amid heightened tensions between the conditions of physical lockdown and globe-spanning telecommunication. Although utterly international, its production required no travel for persons or artworks. When the exhibition opens, audiences will not have to travel to view it. While the development of such a format is not supposed to replace gallery experience, it is at least suggestive for how to approach a growing question in the museum sector: namely, how do analog artworks and digital space can come together a meaningful way? In fact, this is only half of the question: We must also explore how digital artworks can relate to analog space. <i>The Last Museum</i> attempts to work on both problems at the same time, creatively, playing with the issue of translation and re-representation in a bi-directional manner. </p> <p> - At its core, The Last Museum explores how tangibility and distance interact, how things that seem fixed in place might (or do) escape in various forms. In a sense, then, it it clear that we are dealing with an issue as old as art itself (albeit, employing contemporary tools). At least one of the exhibition’s artists, Zohra Opoko, explicitly takes up an art-historical precursor for the crossing of spatial and metaphysical thresholds. The Egyptian Book of the Dead is her inspiration for a series of interventions in a half-built mortuary in Accra, Ghana. Draped with screen-printed fabric, the unfinished site is (literally) shrouded in images that stimulate reflection on how stillness and passage come together. In this work and more, the <i>The Last Museum</i> hovers somewhere between life and death, lockdown and escape. + At its core, The Last Museum explores how tangibility and distance interact, how things that seem fixed in place might (or do) escape in various forms. In a sense, then, it clear that we are dealing with an issue as old as art itself (albeit, employing contemporary tools). At least one of the exhibition’s artists, Zohra Opoku, explicitly takes up an art-historical precursor for the crossing of spatial and metaphysical thresholds. The Egyptian Book of the Dead is her inspiration for a series of interventions in a half-built mortuary in Accra, Ghana. Draped with screen-printed fabric, the unfinished site is (literally) shrouded in images that stimulate reflection on how stillness and passage come together. In this work and more, the <i>The Last Museum</i> hovers somewhere between life and death, lockdown and escape. </p> <p> - The Last Museum launches 30 April and runs until 6 June, 2021, at <a href="https://www.kw-berlin.de/" target="_blank">www.kw-berlin.de</a>. + The Last Museum launches 30 April and runs until 6 June 2021, at <a href="https://www.kw-berlin.de/" target="_blank">www.kw-berlin.de</a>. </p> </div> </div> |