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dc.contributor.author
Melachroinou, Konstantina
el
dc.date.accessioned
2023-04-11T10:31:24Z
dc.date.available
2023-04-11T10:31:24Z
dc.date.issued
2023-04-11
dc.identifier.uri
https://repository.ihu.edu.gr//xmlui/handle/11544/30139
dc.rights
Default License
dc.subject
New media art
el
dc.subject
Curating
el
dc.subject
Digital art
el
dc.title
Curating New Media Art Online and Offline Challenges
en
heal.type
masterThesis
en_US
heal.generalDescription
This dissertation was written as part of the MSc in Art Law & Arts Management at the International Hellenic University. The institutional acceptability of interactive digital and new media art is, at best, sporadic and sometimes problematic, despite the continued attention of artists the last two decades. According to a literature review and survey of artist and curator perspectives, the theoretical nature and installation-level needs of interactive new media art are little understood. In addition, due to the rapid growth of the technologies that make this art form achievable, literature swiftly becomes obsolete. On the other side, institutional spaces seem to have an ellipses of technological tools in order to include different digital interactive artworks in their permanent collection. At the same time many digital artworks are exhibited in temporary exhibitions, creating new curatorial methods. Therefore, it was necessary for my research to use online sources, blogs and interviews in order to reflect the current situation of interactive digital and new media art, in Europe, the United States and Canada. The research questions on how curatorial, maintenance and managerial tools can be used in order for a cultural professional to create a more accessible and meaningful exhibition in today's society and what are the challenges of such a process. For my experience as an active cultural professional in contemporary art, I consider the case study of the exhibition Plasmata: Bodies, Dreams and Data (2022) which was organized and supported by Stegi, Onassis Foundation in Athens. Plasmata is an interesting example that contains all the above questions and concerns in multiple levels. Of course in order to understand the curatorial norms of new media art today I had to search for previous practices, since the 60s and find its historical roots. This research has the potential to improve our understanding of the relationship between new media art and interaction and online - offline presence, within the framework of art history and contemporary curation, institutional and networked (non-institutional) administration.
en
heal.contributorName
Melachroinou, Konstantina
en
heal.dateAvailable
2023-04-10
heal.language
en
en_US
heal.access
free
en_US
heal.license
http://creativecommons.org/licenses/by-nc/4.0
en_US
heal.recordProvider
School of Economics, Business Administration and Legal Studies, MA in Art Law and Arts Management
en_US
heal.publicationDate
2023-01-30
heal.abstract
This dissertation was written as part of the MSc in Art Law & Arts Management at the International Hellenic University. The institutional acceptability of interactive digital and new media art is, at best, sporadic and sometimes problematic, despite the continued attention of artists the last two decades. According to a literature review and survey of artist and curator perspectives, the theoretical nature and installation-level needs of interactive new media art are little understood. In addition, due to the rapid growth of the technologies that make this art form achievable, literature swiftly becomes obsolete. On the other side, institutional spaces seem to have an ellipses of technological tools in order to include different digital interactive artworks in their permanent collection. At the same time many digital artworks are exhibited in temporary exhibitions, creating new curatorial methods. Therefore, it was necessary for my research to use online sources, blogs and interviews in order to reflect the current situation of interactive digital and new media art, in Europe, the United States and Canada. The research questions on how curatorial, maintenance and managerial tools can be used in order for a cultural professional to create a more accessible and meaningful exhibition in today's society and what are the challenges of such a process. For my experience as an active cultural professional in contemporary art, I consider the case study of the exhibition Plasmata: Bodies, Dreams and Data (2022) which was organized and supported by Stegi, Onassis Foundation in Athens. Plasmata is an interesting example that contains all the above questions and concerns in multiple levels. Of course in order to understand the curatorial norms of new media art today I had to search for previous practices, since the 60s and find its historical roots. This research has the potential to improve our understanding of the relationship between new media art and interaction and online - offline presence, within the framework of art history and contemporary curation, institutional and networked (non-institutional) administration.
en
heal.advisorName
Veleni, Themis
el
heal.committeeMemberName
Veleni, Themis
el
heal.academicPublisher
IHU
en
heal.academicPublisherID
ihu
en_US


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