Framing the Internet

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Framing the Internet, which took place at Columbia University on October 4, 2011, represents the first in a series of panel discussions – collectively entitled Exit Strategies – that will focus on paradigm shifts in contemporary curatorial practice. Exit Strategies is organized by Ceren Erdem, Jaime Schwartz, and Lisa Williams as a part of an annual program of events by graduate students in the MA in Modern Art: Critical and Curatorial Studies program in the Department of Art History and Archaeology, and was founded in conjunction with Interventions Journal, the content of which is drawn from artists, critics and historians in great part to provide a forum in which the themes explored in Exit Strategies can be further investigated.

Framing the Internet was conceptualized as an exploration of the ways in which the Internet and digital media have been mobilized as curatorial, artistic and pedagogical platforms. It is not difficult to see how thoroughly these technologies have permeated artistic production and discourse in recent years. To that end, we were pleased to welcome three speakers who have engaged these concerns in productive and innovative ways in their practice:

Bettina Funcke is currently the Head of Publications for dOCUMENTA (13) and has been integral in the conceptualizing and building of the architecture of its website. She has lectured on aesthetics, art theory, and criticism, and her writings on contemporary art and its production have been published widely in artist monographs and magazines. After editing books at Dia Art Foundation, she was Senior Editor U.S. of Parkett, and is a co-founder of The Leopard Press and the Continuous Project group. Her book, Pop or Populus: Art between High and Low, was recently published by Sternberg Press.

Alexander Galloway is a professor of Media, Culture, and Communication at New York University and author or co-author of several books on media and cultural theory. A founding member of the software collective RSG and creator of the Carnivore and Kriegspiel projects, Galloway is a frequent lecturer in both the U.S. and abroad and he is recipient of a number of grants and awards including a Creative Capital grant in 2006 and a Golden Nica in the 2002 Prix Ars Electronica.

Anton Vidokle is an artist, curator, and co-founder of e-flux, an international network which reaches more than 50,000 visual art professionals on a daily basis through its website, e-mail list and special projects. In association with e-flux, he has produced projects such as Time/Bank and Next Documenta Should Be Curated By An Artist. Vidokle initiated research into education as site for artistic practice as co-curator for the unrealized Manifesta 6, and subsequently organized an independent project in Berlin called Unitednationsplaza, featuring numerous seminars, lectures and various projects.

We were grateful to be joined by moderator Alexander Alberro, Virginia Bloedel Wright Professor of Art History at Barnard and Columbia University. Alberro’s most recent research explores new forms of art and spectatorship that have crystallized in the past two decades.

Lastly, the editors would like to thank Professor Kaira Cabañas for her guidance and support of this panel, as well as the staffs of the Visual Media Center and the Art History Department for their invaluable assistance.