Einladung zum wissenschaftlichen Vortrag ID 1662

The Global, the Cosmopolitan and Other Internet Art Worlds - One History? (Charlotte Bydler, Stockholm)

Donnerstag, den 2. Dezember 2010, 18:15 Uhr

Hörsaal des Instituts für Kunstgeschichte (Binger Str. 26)

How universal is art history? This is a topical issue for art historians, facing a broadening field of practices in history and geography. Sometimes the changes are understood as effects of cultural and economic globalization, other times they are analyzed as more community-driven and voluntaristic cosmopolitan projects. The concept of net_art, or titles like "Digital Terror” reveal tensions and elective affinities between the historical communities of academic art history and artistic practices. The use of internet in everyday professional life has had profound effects on perspectives on time and categorization. The presentation of Charlotte Bydler draws on ongoing work; art history as an institutional platform for understanding contemporaneous artistic practices. She will begin with outlining a position in art history for contemporary art, to be distinguished from contemporaneous art. She will give examples of challenges to the historicization of art through aesthetic practices on the internet and suggest a method for research largely based on induction from case studies.

The empirical corpus consists of case studies, four US internet platforms for art and cultural projects that she has followed roughly over a decade. These are Ctheory, an online journal and multimedia site; Leonardo Online, the web site of the organization Leonardo: the International Society for Arts, Science, and Technology (ISAST); the now defunct internet art projects platform Äda’web; and Dia Center in New York.

With increasing use of digital technology, possibilities for contact and instantaneous information changes artistic networks, exhibition formats, and markets. Art worlds, however, are communities that are not necessarily interested in globalism and expansion for their own sakes. The challenge is to see how interpretative communities, conceptual worlds, formed by globalization processes can be handled within art history. This topic is part of the larger issue of how production, evaluation, collection, and interpretations of aesthetic artefacts inform each other. As an art historian, her concerns revolve around the possibilities and limitations of this academic discipline.