Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency

    Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency

    Anna Hulačová at Z2o Sara Zanin Gallery

    Anna Hulačová at Z2o Sara Zanin Gallery

    Re:humanism: Sparks and Frictions

    Re:humanism: Sparks and Frictions

    Miguel Chevalier. Fractal Flowers and Digital Beauty

    Miguel Chevalier. Fractal Flowers and Digital Beauty

    Interview | Elham Puriya Mehr

    Interview | Elham Puriya Mehr

    Ars Electronica 2023

    Ars Electronica 2023

  • FRAME
    FRAME > KAGAMI

    FRAME > KAGAMI

    FRAME > Peter Kogler

    FRAME > Peter Kogler

    FRAME  > ALT*MED – TAPE

    FRAME > ALT*MED – TAPE

    FRAME > Destroy Me Once, Destroy Me Twice

    FRAME > Destroy Me Once, Destroy Me Twice

    FRAME > Ai Weiwei: Making Sense

    FRAME > Ai Weiwei: Making Sense

    FRAME > La Pensée Férale

    FRAME > La Pensée Férale

    FRAME > Searching for the Sky (While Maintaining Equilibrium)

    FRAME > Searching for the Sky (While Maintaining Equilibrium)

    FRAME > Nenuphar de Molitor

    FRAME > Nenuphar de Molitor

    FRAME > Mondi sommersi

    FRAME > Mondi sommersi

  • VIDEO POST
    VIDEO POST > tacit.perform

    VIDEO POST > tacit.perform

    VIDEO POST > Modern Guru and the Path to Artificial Happiness

    VIDEO POST > Modern Guru and the Path to Artificial Happiness

    VIDEO POST > Money Is The One True God

    VIDEO POST > Money Is The One True God

    VIDEO POST > APES

    VIDEO POST > APES

    VIDEO POST > the abacus

    VIDEO POST > the abacus

    VIDEO POST > Navigating Noise

    VIDEO POST > Navigating Noise

    VIDEO POST > Fractured

    VIDEO POST > Fractured

    VIDEO POST > Hi! I Got Hacked!

    VIDEO POST > Hi! I Got Hacked!

    VIDEO POST > Spambots

    VIDEO POST > Spambots

  • SPECIAL PROJECT
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
  • RESOURCES
  • ARSHAKE’S BANNER
  • GAME OVER
  • EXTERNAL PROJECTS
  • GAME OVER • LOADING
  • BACKSTAGE | ONSTAGE
  • PERCORSI • 6 years of the Terna Prize
  • TEMPO IMPERFETTO
  • CALLS
  • ARCHIVE
  • ONLINE RESOUCES
  • it IT
  • en English
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency

    Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency

    Anna Hulačová at Z2o Sara Zanin Gallery

    Anna Hulačová at Z2o Sara Zanin Gallery

    Re:humanism: Sparks and Frictions

    Re:humanism: Sparks and Frictions

    Miguel Chevalier. Fractal Flowers and Digital Beauty

    Miguel Chevalier. Fractal Flowers and Digital Beauty

    Interview | Elham Puriya Mehr

    Interview | Elham Puriya Mehr

    Ars Electronica 2023

    Ars Electronica 2023

  • FRAME
    FRAME > KAGAMI

    FRAME > KAGAMI

    FRAME > Peter Kogler

    FRAME > Peter Kogler

    FRAME  > ALT*MED – TAPE

    FRAME > ALT*MED – TAPE

    FRAME > Destroy Me Once, Destroy Me Twice

    FRAME > Destroy Me Once, Destroy Me Twice

    FRAME > Ai Weiwei: Making Sense

    FRAME > Ai Weiwei: Making Sense

    FRAME > La Pensée Férale

    FRAME > La Pensée Férale

    FRAME > Searching for the Sky (While Maintaining Equilibrium)

    FRAME > Searching for the Sky (While Maintaining Equilibrium)

    FRAME > Nenuphar de Molitor

    FRAME > Nenuphar de Molitor

    FRAME > Mondi sommersi

    FRAME > Mondi sommersi

  • VIDEO POST
    VIDEO POST > tacit.perform

    VIDEO POST > tacit.perform

    VIDEO POST > Modern Guru and the Path to Artificial Happiness

    VIDEO POST > Modern Guru and the Path to Artificial Happiness

    VIDEO POST > Money Is The One True God

    VIDEO POST > Money Is The One True God

    VIDEO POST > APES

    VIDEO POST > APES

    VIDEO POST > the abacus

    VIDEO POST > the abacus

    VIDEO POST > Navigating Noise

    VIDEO POST > Navigating Noise

    VIDEO POST > Fractured

    VIDEO POST > Fractured

    VIDEO POST > Hi! I Got Hacked!

    VIDEO POST > Hi! I Got Hacked!

    VIDEO POST > Spambots

    VIDEO POST > Spambots

  • SPECIAL PROJECT
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
  • RESOURCES
  • ARSHAKE’S BANNER
  • GAME OVER
  • EXTERNAL PROJECTS
  • GAME OVER • LOADING
  • BACKSTAGE | ONSTAGE
  • PERCORSI • 6 years of the Terna Prize
  • TEMPO IMPERFETTO
  • CALLS
  • ARCHIVE
  • ONLINE RESOUCES
No Result
View All Result
Arshake
No Result
View All Result
Home News focus

Tate’s Intermedia Art programme

Michela Ruggeri by Michela Ruggeri
06/10/2013
in focus

16576_noplace_top

What happens when art meets new technologies? And when an  institution crosses new media’s creative anarchy?

Tate Gallery has no doubt about it: the Tate’s Intermedia Art Programme is launched; events, performances, and new media are used to create new ‘intermedia’ works and forms of art. It does not matter if the museum itself does not pertain to new multimedia technologies and it arose as the National Gallery of British art in the mid nineteenth century instead.
The English museum responds to the new emergency imposed by the present time by putting itself in the middle of the research as a spur to experimentation and to the dialogue among the museum, the artists, and the new media, thus extending the diffusion and exhibition of works beyond the walls of the gallery.
At the end of the 90s, museum policy, in general, has witnessed a winding path leading from the first experiences of heritage digitalization to the Network role as a “practical model of knowledge and power structures decentralization”(2). By giving up the ‘goldstandar’ policy of the museum collection, in its traditional sense, it found itself “at the height of the mechanical reproduction age”(3), according to Elena Giulia Rossi’s striking reference to Walter Benjamin’s famous theory.

Along with the global information and technology revolution and the consequent shift of economic mechanisms, the Tate, perceiving the change of society and arts, evolves by reshaping its own role in the dialogue, it opens on a new, muting, unpredictable scenario such as the new media. As you can read in the Tate Report 2002-2004: “Many of Tate’s aims can be fulfilled through embracing new technology and finding ways to use it most effectively”(4). It exploited the Internet to its own advantage, enthusiastically using it as a boosting medium rather than a problem posing trend or as an unavoidable end due to the technological drift of the time being. Since 1999, it commissions, promotes, and hosts in its virtual venue – Tate Online –   praxes, ideas, processes blending old and new technologies, from the radio to the internet, into new unexpected artistic issues related to the most recent political and social implications.
Charlie Gere in “Networked Art and the Networked Gallery” has already pointed out the fundamental evolution of the Tate from a gallery to a ‘distributed network’ which takes advantage of “multiple connections between the various sites, virtual and physical”(5). No longer the building vut the Tate trademark, which applies to different places and processes, both physical and virtual, as the postindustrial society strategies suggest.

The Intermedia Art Programme is not a proof of the ineluctable and problematic end of the present time, but of the ‘cultural shift’ strictly tightened it the Internet age and to the technological development of the society.

by Michela Ruggeri

Notes

  1. Events such as “Net_condition” at ZKM (1999-2000) and “010101: Art in Technological Times” at the Museum of Modern Art in San Francisco (2001), the presence of Net Art at the Venice Biennale in 2000, hiring Christiane Paul as an associalte new media curator at the Whitney Museum of American Art in New York, the commission of on-line works by the Guggenheim in New York and of course the Tate in London. In 2005, in Italy, the exhibit “Connessioni leggendarie” (Legendary Connections) in Milan is almost a retrospective on the history of Net Art: it goes through the decade 1995-2005 in the declared effort to save the tale (5) of Net Art.
  2. See Elena Giulia Rossi, ArcheoNet. Viaggio nella storia della net/web art e suo ingresso negli spazi dei musei tradizionali, (Journey through the history of the net / web art and its entry in the spaces of traditional museums), Lalli, Poggibonsi, 2003, cit., P. 36.
  3. See Tate Report 2002-2004 cit., P. 240, seen at
  http://www.tate.org.uk/download/file/fid/4432 (2004).
  4. See Charlie Gere, “Network Art and the Networked Gallery” at http://www.tate.org.uk/intermediaart/entry15617.shtm (2006).
ShareTweetShareSend
Previous Post

BEYOND Festival is at at ZKM

Next Post

Archimedes: art and science of invention

Next Post

Archimedes: art and science of invention

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

CALLS

Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency
Calls

Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency

29/05/2023
Driving Energy Terna Award 2023
Calls

Driving Energy Terna Award 2023

22/02/2023
S+T+ARTS Prize 2023
Calls

S+T+ARTS Prize 2023

04/02/2023
RE:HUMANISM Art Prize: SPARKS AND FRICTIONS
Calls

RE:HUMANISM Art Prize: SPARKS AND FRICTIONS

01/02/2023

CRITICAL GROUNDS

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.
Critical Grounds

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.

08/07/2020
Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO
Critical Grounds

Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO

26/11/2019
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2012-2022 – ARSHAKE

No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
  • RESOURCES

© 2012-2022 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.