Page 99 - Darko Štrajn, From Walter Benjamin to the End of Cinema: Identities, Illusion and Signification. Ljubljana: Educational Research Institute, 2017. Digital Library, Dissertationes, 29.
P. 99
on digital exposures
electronic presentation in a gallery or a museum or in an exhibition with-
in an event – for example, the biannual mostra in Venice or the Documen-
ta in Kassel, etc. Digital technology further enfolds the imagined space be-
hind the screen since the object can be also generated within the act of what
used to be the shooting of an object, or a scene, or whatever the case may
be. Still, the double gestures are retained at least in the same way as a Der-
ridian trace, which has a complex signifying effect. Therefore, double ges-
tures also affect the institutional external/internal space within the institu-
tion of museum. “It is no exaggeration to suggest that new media provides
performance with an energy and excitement perhaps unparalleled since the
advent of silent cinema. Spectators, faced with the morphing shapes of ho-
lographic form and virtual reality, are confronted with an artistic specta-
cle strangely similar in effect to that of the silent cinematic image described
in 1927 by Antonin Artaud” (Murray, 2008: p. 36). This gives Murray a pre-
text to suggest a new understanding of an increasingly important feature of
contemporary art under the auspice of the digital baroque. Digital technol-
ogy is only the last agency in a whole history, in which marvellous effects
appear in the artistic field. Changes of the modes of production within the
industrial civilization, which decidedly determined social and economic
spaces, exposed a new relevance to the processes of making a work of art.
These changes propelled a range of different approaches to the processes
of the conceptualisation of reflexive impacts of representation (in a perfor-
mance) of interactions between perception and objects generated in the ar-
tistic practice. Of course, Benjamin‘s epistemological break, as it has been
expressed in the notion of aura, serves as an unavoidable explanatory the-
oretical reference here.
Shanghai Twins
“Expository agency ought, however, not to be equated with individual in-
tention” (Bal, 1996: p. 8). This, Mieke Bal’s imperative, expressed in a kind
of a methodological request addressed to expository agency, could be tak-
en nowadays as almost a rule by which the museum custodians work, be-
ing aware that their practice makes up part of some cultural politics. There
is no need to say that especially in art museums, but increasingly in other
kinds of museums too and in other forms and genres of the presentations of
art, the curators tend to avoid any accusation of essentialism against them.
Hence, in this sense they tend to ally with artists in an effort to contribute
to a decentring or even subverting of a dominant (broadly ideologically de-
97
electronic presentation in a gallery or a museum or in an exhibition with-
in an event – for example, the biannual mostra in Venice or the Documen-
ta in Kassel, etc. Digital technology further enfolds the imagined space be-
hind the screen since the object can be also generated within the act of what
used to be the shooting of an object, or a scene, or whatever the case may
be. Still, the double gestures are retained at least in the same way as a Der-
ridian trace, which has a complex signifying effect. Therefore, double ges-
tures also affect the institutional external/internal space within the institu-
tion of museum. “It is no exaggeration to suggest that new media provides
performance with an energy and excitement perhaps unparalleled since the
advent of silent cinema. Spectators, faced with the morphing shapes of ho-
lographic form and virtual reality, are confronted with an artistic specta-
cle strangely similar in effect to that of the silent cinematic image described
in 1927 by Antonin Artaud” (Murray, 2008: p. 36). This gives Murray a pre-
text to suggest a new understanding of an increasingly important feature of
contemporary art under the auspice of the digital baroque. Digital technol-
ogy is only the last agency in a whole history, in which marvellous effects
appear in the artistic field. Changes of the modes of production within the
industrial civilization, which decidedly determined social and economic
spaces, exposed a new relevance to the processes of making a work of art.
These changes propelled a range of different approaches to the processes
of the conceptualisation of reflexive impacts of representation (in a perfor-
mance) of interactions between perception and objects generated in the ar-
tistic practice. Of course, Benjamin‘s epistemological break, as it has been
expressed in the notion of aura, serves as an unavoidable explanatory the-
oretical reference here.
Shanghai Twins
“Expository agency ought, however, not to be equated with individual in-
tention” (Bal, 1996: p. 8). This, Mieke Bal’s imperative, expressed in a kind
of a methodological request addressed to expository agency, could be tak-
en nowadays as almost a rule by which the museum custodians work, be-
ing aware that their practice makes up part of some cultural politics. There
is no need to say that especially in art museums, but increasingly in other
kinds of museums too and in other forms and genres of the presentations of
art, the curators tend to avoid any accusation of essentialism against them.
Hence, in this sense they tend to ally with artists in an effort to contribute
to a decentring or even subverting of a dominant (broadly ideologically de-
97
