October 9, 2004 Nathan Jurgenson had a good point by questioning the viewpoint or more precisely the situation and positioning of the gaze in big data realities. Which might bring us to discuss the spectator’s viewpoint altogether: the modern subject has been designed by exhibition, confronting Renaissance’s geometrical perspective, giving large place to all kinds of imaginary greatness and domination (see Jean Cristofol’s discussion of the anti atlas and his precise critique of cartographie). Now, if the view from nowhere becomes generalized (again) and in realm of positivist phantasies of almightiness is used by industrial firms to manipulate users, how can we reconsider gaze in the exhibition space to put the critics of illusionary but authoritarian, reductionist and simplifying subject-making at stake?
Source : View From Nowhere
Beyond the White Cube and the quest for autonomy and specificity that characterized the history of modern and contemporary art, the latest practices of art are implementing strategies of infiltration, immersion and encryption. Compatibility has become the first criterion of the aesthetic of downloadables forms.
This program is designed to explore new formats compatibles now developed by the artists in a global networked culture.
Source : Bazaar Compatible Program
How do exhibition spaces and venues evolve? May 29th, 2015, EnsAD.
With Jean Cristofol (philosopher and researcher, ESA Aix-en-Provence), Mari Linnman (curator, New Patrons program, Contexts, Paris) and Pau Waelder (critic, curator and researcher Palma de Mallorca). Moderators: Thierry Fournier (artist, curator and researcher) and J. Emil Sennewald (critic and journalist, lecturer), heads of Displays project.
How do exhibition spaces and venues evolve? Given that nowadays, a large part of audience experiences with the arts occur online, how does the exhibition’s distinctiveness evolve? What kinds new forms are being invented in the dialogue between real space and the network? How can the shared spaces of the exhibition and individual web practices be connected? How can criticism and emancipation in relation to the rationale of attention economics be constructed? How can relations between museums, online exhibitions and data bases be qualified?