Social Media Art Practices as Prefigurative Politics:

2021 ◽  
pp. 179-200
Author(s):  
Zimu Zhang
Keyword(s):  
Social Media ◽  
Media Art ◽  
Art Practices ◽  
Prefigurative Politics

Materiality of visuality. About relationships and transformations of visuality and politics

2020 ◽  
Vol 32 (4) ◽  
Author(s):  
Maria Lompe ◽  
Cezary Wicher
Keyword(s):  
Manufacturing Process ◽  
New Materialism ◽  
Media Art ◽  
Discursive Practices ◽  
Art Practices ◽  
Political Statement ◽  
Climate Crisis ◽  
Final Effect

In the hazy anthropocene era, which M. Chaberski (2019) understood as a serious epistemological crisis, even wider than the climate crisis, visuality plays a very important role -it becomes a vector for visibility and invisibility of discursive and non-discursive practices. The spirit of new materialism has developed a number of concepts, which emphasized non-linguistic ways of shaping meanings and interpretations of reality, and at the same time appreciated non-humans agencies. The article is constructed around the thesis “visual is material,” because in the end every representation refers to the materials, on which our world is build. We can treat this thesis as a political statement, following J. Ranciere observations, that the thought is material (2007). We would like to analyze the significance of materiality by taking a look at media art practices. We can sink into the thicket of connections between materials and track the journey of things, not focusing on the final effect (manufactured item), but rather on manufacturing process (Ingold 2019; Deleuze, Guattari 2015).

From Vertical Roll to .MOV File

2020 ◽  
Vol 47 (3) ◽  
pp. 22-42
Author(s):  
Annie Dell'Aria
Keyword(s):  
Single Channel ◽  
Video Art ◽  
Media Art ◽  
Video Installation ◽  
Cultural Engagement ◽  
Screen Media ◽  
Art Practices ◽  
History Of ◽  
Contemporary Media ◽  
Bruce Nauman

In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.

scholarly journals Techno - Feminism(s) : an investigation into challenging patriarchal hegemony in new media art

2020 ◽  
Author(s):  
◽  
Sarah Kieswetter
Keyword(s):  
Social Media ◽  
New Media ◽  
The Internet ◽  
Contemporary Society ◽  
Media Art ◽  
Art Practice ◽  
Feminist Activism ◽  
Art Activism ◽  
New Media Art ◽  
Point Of Departure

This study aimed to use my own practice to explore patriarchal hegemony in new media art, and its relationship with technology (in this case the internet) through a feminist lens. In this research, the term ‘patriarchal hegemony’ refers to the internet/social media being an inherently male-dominated and controlled space. The theoretical framework is informed by theories from cultural studies addressed though a feminist scope. Furthermore, this study sought to critically analyse how techno-feminist (digitally driven and online feminist activism) artists and activists use technology, the internet, and social media as new innovative platforms. This feminist activism seeks to disrupt and create awareness of the dominant patriarchal hegemonic thinking within contemporary society (Morgan 2017:11). I used my own art practice as a point of departure to investigate techno-feminism and also conducted research on the work of other selected feminist artists who use their digital presence to articulate their media-based art activism. In addition, I critiqued how internet GIFs can be used as visual mechanisms to create awareness of patriarchal hegemony and propose alternatives.

scholarly journals Earth Forces: Contemporary Land Arts, Technology and New Materialist Aesthetics

2015 ◽  
Vol 21 (2) ◽  
Author(s):  
Jussi Parikka
Keyword(s):  
The Body ◽  
Land Art ◽  
Media Art ◽  
Robert Smithson ◽  
Art Practices ◽  
David Gauthier ◽  
Contemporary Artists

This article addresses recent art projects that are discussed under the notion of new materialist aesthetics. This term is used to elaborate connections between these projects and their methods and recent discussions of the nonhuman and posthuman philosophy.  The article also elaborates some positions in technological or 'media art' practices that work on hardware and infrastructure but also on the geophysical underpinnings of media. It expands on more geocentric perspectives in art and aesthetics through connecting a range of such projects by a contemporary artists including Martin Howse, Jonathan Kemp, Ryan Jordan, Terike Haapoja, Jamie Allen and David Gauthier to the body of land art (as represented by Robert Smithson) and current new materialist discussions.

Art and Minitel in France in the 1980s

2016 ◽  
Author(s):  
Annick Bureaud
Keyword(s):  
Social Media ◽  
New Media ◽  
Media Art ◽  
Collaborative Practices ◽  
Creative Practice ◽  
New Media Art ◽  
Current Trends ◽  
Internet Platform ◽  
Net Art

The Minitel (French videotex system) is often considered as a “pre-Internet” platform and the art that was created with it as belonging to “network art” and/or “collaborative” practices on a “social media” avant la lettre. In which respect is this true? This article provides an initial map and a typology of minitel-based creative practice by identifying works and documenting its context as it happened in France, compared to other countries. With detailed descriptions of selected works and of the ART ACCES online magazine-gallery project, it proposes an analysis that will be compared to and confront net art, new media art, and current trends in e-publishing.

scholarly journals Identitas digital: Konstruksi identitas pada pameran karya seni Biennale Jawa Timur 8

2021 ◽  
Vol 5 (2) ◽  
pp. 187-198
Author(s):  
Jokhanan Kristiyono ◽  
Rachmah Ida
Keyword(s):  
Social Media ◽  
Discourse Analysis ◽  
Digital Media ◽  
Identity Construction ◽  
Digital Communication ◽  
Analysis Method ◽  
Data Archives ◽  
Digital Discourse ◽  
Art Practices ◽  
Community Movement

Biennale merupakan pameran dan diskusi karya seni yang rutin diadakan setiap dua tahun. Tahun 2019 merupakan kegiatan Biennale Jawa Timur (Jatim) ke-8 dengan tema “GAS TOK! Lebur Sakjeroning Jawa Timur” melibatkan 500 seniman dan 40 kurator, terdiri 65 kegiatan yang tersebar di 16 kota dan kabupaten di Jawa Timur. Berbeda dengan kegiatan Biennale Jatim sebelumnya, tahun ini lokasi pameran tersebar di berbagai daerah Jawa Timur. Seluruh arsip data dan dokumentasi rangkaian Biennale Jatim 8 dikumpulkan dan dipublikasikan melalui akun Instagram @jatimbiennale8 sebagai bentuk identitas gerakan komunitas Biennale Jawa Timur. Gelaran Biennale Jatim 8 merupakan sebuah perayaan dan imajinasi bersama yang bersifat inklusif. Penelitian ini mengangkat permasalahan tentang konstruksi identitas komunitas Biennale Jatim.  Metode analisa wacana digital dalam penelitian ini menganalisa kontruksi identitas yang diciptakan oleh Biennale Jatim 8 melalui media komunikasi digital media sosial Instagram. Akun Instagram @jatimbienale8 dan @biennalejatim menjadi obyek penelitan analisa wacana kontruksi identitas, dan praktik seni yang terjadi pada Biennale Jatim. Hasil penelitian ini menunjukkan sebuah wacana perubahan dan perlawanan terhadap kegiatan Biennale Jatim sebelumnnya. Perubahan ditunjukkan dari segi penyelanggara, pendanaan, format acara, lokasi berlangsungnya kegiatan, dan kerja kuratorial. Biennale Jatim 8 mendobrak dan melawan stigma tersebut. Diskursus kontruksi identitas baru tersebut ditunjukkan dengan jelas dan tegas pada proses produksi karya seni, pameran Biennale hingga pasca pameran melalui media sosial Instagram @biennalejatim8 yaitu identitas digital Biennale Jatim.     Biennale, an art event (visual) both exhibition and discussion of artworks, comes on regularly every two years. 2019 is the 8th East Java (Jatim) Biennale with the theme “GAS TOK! Lebur Sakjeroning Jawa Timur” involves 500 artists and 40 curators, consisting of 65 activities spread across 16 cities and regencies in East Java. Unlike the previous East Java Biennale, the exhibition locations are spreading across various regions of East Java. All data archives and documentation of the East Java 8 Biennale series are collected and published through the @jatimbiennale8 Instagram account as a form of identity for the East Java Biennale community movement. The 8th East Java Biennale is a celebration and shared inclusive imagination. This research raises the issue of the identity construction of the East Java Biennale community. The digital discourse analysis method in this study analyzes the identity construction created by the East Java 8th Biennale through the digital communication media of Instagram social media. Instagram accounts @jatimbienale8 and @biennalejatim became the object of research on the discourse analysis of identity construction and art practices at the East Java Biennale. The results of this study indicate a discourse of change and resistance to the previous East Java Biennale activities. The changes show organization, funding, event format, location of activities, and curatorial work. The 8th East Java Biennale breaks and fights the stigma. The discourse on constructing a new identity is clearly and unequivocally demonstrated in the art production process, the Biennale exhibition, and post-exhibition through social media Instagram @biennalejatim8, the digital identity of the East Java Biennale.

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