On Curating: Curating the Digital
- Submitting institution
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Teesside University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 15955058
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Edition, including editorial, of On-curating (Issue 45), Curating the Digital
- Open access status
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- Month
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- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
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- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The editorial with On-curating (Issue 45) Curating the Digital (March 2020) develops over five years of research. The initial aim of the Issue explored i) curation through estrangement, ii) contemporary methods towards social engagement and politics, iii) digital perspectives to examine the contexts of collaboration, society and engagement. The editorial is supported by initial research from a previous collaborative publication, Spheres of Estrangement: Art, Politics and Curating, which included research from Franco ‘Bifo’ Berardi, Ken Gonzales-Day, Anke Hennig, Alistair Hudson and Suzana Milevska, around the relationships between recuperation of art activism as a genre and the consideration of the role of identity in our estrangement from reality through art practice and curatorial display. This journal being a significant re-examination of estrangement as a fully incorporated component of the curatorial experience, a stimulant for ‘surplus alienation’. Therefore, the Issue asked what artistic, architectural and curatorial approaches to estrangement offer current discourse in organisation, aesthetics and activism. The articles I edited and contributed unpack estrangement for the political, social and cultural context of curatorial practice and education. That grounding and development led to Curating the Digital which considering the influence of production through contemporary digital networks and increased reliance on digital technologies, explored the post-digital relationship of estrangement and experience in art making. This included contributions from Helen Hester and Amanda Beech. The editorial research framework examined what the relationship of place, automation, labour, and archives, have in relation to technological effects in production under neoliberalism. This included four interviews focused on art practice, digital art-making and how the digital is an asset in the making and production of art and society. The issue also considers media artworks that are process-oriented, immaterial (e.g., only software), or networked systems and how they exist in gallery collecting processes and preserving of media art.
- Author contribution statement
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- Non-English
- No
- English abstract
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