Abstract

New media art involves interactivity, connected networks, and computation, and it is often about process rather than objects. New media artworks present novel challenges for exhibition curators, involving interpretation, exhibition, and dissemination and opportunities to rethink curatorial practice. Curators have nevertheless made some very exciting exhibitions in art venues, from Cybernetic Serendipity (1968) and Software (1970), to more recent shows such as Serious Games (1996), and The Art of Participation (2008) which combine interactive new media art with other contemporary arts. Curators have worked with theories of live art, conceptual art, time-based art and mechanical reproduction to help them keep up with inspirational artists. Does the future lie in a creative fusion between human skills and computing skills, between art and technology?  This presentation shows inspirational projects where artists, programmers and researchers are working together to illuminate the real practicalities behind the rhetorics. Why is the Lord Major of Bristol riding a pneumatic bicycle seat that responds to City Council Open Data?  How did the invention of a Sunderland schoolgirl come to be made by FabLab and collected by the Victoria and Albert Museum? What happens when the public are allowed to interact with giant digital projections in a public square in Mexico City?

The University of Sunderland runs several courses aiming to help both academics and professionals curate new media art:
Curating Art after New Media - Professional Development Course:  http://www.macurating.net/shortcourse.htm  https://curatingprofessionalcourse.wordpress.com/
PhDs in practice-led curating: https://www.sunderland.ac.uk/more/research/institutes/institute-arts-creative-industries/centre-research-art-design/ahrc-funded-phd-studentships-arts-design/digital-art-curation/