Talk about a show with some bad luck. The Aesthetics of Terror was canceled last fall after disputes between its curator Manon Slome and Chelsea Art Museum president Dorthea Kesser were deemed unresolvable, and will now see its second venue, that of the Rose Art Museum fall through. My condolences to all those involved in the exhibition.
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We launched the site last week thinking that it was a great forum for the exhibition until the ‘physical’ show in September at the Rose Museum. The opportunity we have gained from all of this is the realisation that the internet is an immediate and pertinent medium to discuss (via our blog) the issues that arise.
It is also a dynamic medium, where artists and others interested in the impact that art can have on political issues can submit images, ideas, words and comments. We have ended up with a much more dynamic show than we could have previously imagined.
We launched the site last week thinking that it was a great forum for the exhibition until the ‘physical’ show in September at the Rose Museum. The opportunity we have gained from all of this is the realisation that the internet is an immediate and pertinent medium to discuss (via our blog) the issues that arise.
It is also a dynamic medium, where artists and others interested in the impact that art can have on political issues can submit images, ideas, words and comments. We have ended up with a much more dynamic show than we could have previously imagined.
I agree with Tara – in the age of such drastic cuts, the Internet can become an incredibly democratic site for art. As a curator, I am hoping that artists from all over the world will submit work and cultural critics will offer their views. The exhibition, after all, deals with the simultaneity of event and image (or the repression of the image) and it seems to me the internet is a perfect site to progress this investigation. Of course I still hope to show the exhibition in the flesh but am excited and hopeful of what can be achieved in this medium. That the show has a “virtual” presence in Berlin in Embedded Art, is another example of how presence can be felt in many different ways.
I agree with Tara – in the age of such drastic cuts, the Internet can become an incredibly democratic site for art. As a curator, I am hoping that artists from all over the world will submit work and cultural critics will offer their views. The exhibition, after all, deals with the simultaneity of event and image (or the repression of the image) and it seems to me the internet is a perfect site to progress this investigation. Of course I still hope to show the exhibition in the flesh but am excited and hopeful of what can be achieved in this medium. That the show has a “virtual” presence in Berlin in Embedded Art, is another example of how presence can be felt in many different ways.
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