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Deep Surfing Domenico Quaranta Deep Surfing Domenico Quaranta Deep Surfing Domenico Quaranta Deep Surfing Selfpublishing, 2016 This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Printed and distributed by: Lulu.com www.lulu.com Domenico Quaranta è critico, curatore e docente d’arte contemporanea. Il suo lavoro si concentra sull’impatto dei mezzi attuali di produzione e distribuzione sulla pratica artistica.I suoi saggi, recensioni e interviste sono comparse in libri, riviste, giornali e siti internet. È autore e curatore di diversi libri, fra cui Media, New Media, Postmedia (2010) e GameScenes. Art in the Age of Videogames (2006). Ha curato diverse mostre in Italia e all’estero. Fra queste: Connessioni Leggendarie. Net.art 1995-2005 (Milano 2005); Holy Fire. Art of the Digital Age (Bruxelles 2008); RE:akt! | Reconstruction, Re-enactment, Re-reporting (Bucharest – Ljubljana – Rijeka – Maribor, 2009 – 2010); Playlist (Gijon – Bruxelles, 2009 – 2010); Italians Do It Better!! (Biennale di Venezia 2011); Collect the WWWorld. The Artist as Archivist in the Internet Age (Brescia – Basel – New York, 2011 - 2012); Unoriginal Genius (Londra 2014); Cyphoria, Roma, Quadriennale 2016. Ha tenuto numerose conferenze e insegna presso l’Accademia di Belle Arti di Carrara. È co- fondatore e Direttore Artistico del LINK Center for the Arts of the Information Age. http://domenicoquaranta.com/ AVVERTENZA. Questo libro è una compilation di testi eterogenei, scritti dall’autore lungo l’arco di 12 anni, tra i 26 e i 38 anni, e messa a punto a scopi didattici. Estratti di libri, saggi per cataloghi e per riviste, articoli di giornale, interviste, atti di conferenze, blog post. Varia lo stile, ora più divulgativo e cronachistico, ora più accademico. Varia la qualità della scrittura, ora più acerba e immatura, ora più raffinata. Variano le opinioni, perché come tutti mi contraddico, contengo moltitudini. Variano le prospettive su uno stesso lavoro. Portate pazienza, mentre lo leggete. Deep Surfing va a sanare, in maniera incompleta e parziale, l’assenza di un saggio in italiano che possa essere proposto come libro di testo per il corso di Net Art nelle Accademie di Belle Arti italiane. Esistono, intendiamoci, degli ottimi testi, ma per la data della loro pubblicazione o per la prospettiva adottata, non riescono a coprire l’intero arco temporale e il range di temi che di solito sottopongo agli studenti nelle mie lezioni. Neanche questo libro ci riesce, ma almeno ci prova. Offre però una cosa più preziosa, almeno a livello personale: una cronaca in fieri di quanto è successo in questo ambito, dai primi anni Duemila ad oggi. Le date dei testi sono importanti, perché testimoniano dell’emergere di nuovi temi, del venir meno di alcune questioni fino a un certo momento cruciali, del variare degli approcci col passare degli anni. Un’ultima nota, banale ma indispensabile. Questo libro non può essere letto senza un browser aperto. Buona navigazione. _ DOMENICO QUARANTA Indice 00. Intro 09 01. Net Art 19 Net Art: le origini (2004) | La leggenda della net.art (2005) | Olia Lialina & Dragan Espenshied: Zombie & Mummy (2003) | Carlo Zanni: Altarboy (2004) | Young-Hae Chang Heavy Industries: The Art of Sleep (2006) | Andy Deck: Screening Circle (2006) | Rosa Menkman (2011) | Aram Bartholl: Dead Drops (2011) | Net Performance (2011) | F.A.T. Lab (2013) 02. Media Hacking 127 Arte e politica ai tempi di Internet (2005) | Media Hacking. Arte e manipolazione dei media (2006) | Eva e Franco Mattes: Nikeground (2004) | The Yes Men (2006) | UBERMORGEN.COM (2009) | Intervista a UBERMORGEN.COM (2009) 03. Arte Generativa e Software Art 185 I figli ideali di Lewitt (2005 - 2006) | Generative Ars (2006) | Minimal Software (2006) | Limiteazero (2005) 04. Arte e Videogame 217 Game Aesthetics (2006) | Game Art (2007) | Machine Animation (2011) | Art Games (2013) | Molleindustria (2004) | JODI: Max Payne Cheats Only (2006) | Eddo Stern (2005) | Cory Arcangel (2005) 05. Mondi virtuali 295 Rimediazioni. L’arte in Second Life (2007) | The Artist as Artwork in Virtual Worlds (2008) | Rinascimento Virtuale? (2008) | Gazira Babeli (2007 - 2011) 06. Surfing Club 351 Vernacular Video (2010) | Collect the WWWorld. The Artist as Archivist in the Internet Age (2011) | Archeologie della rete (2011) | Versioni (2011) | Terms of Service (2012) | VVORK 2006 – 2012 (2013) 07. Post Internet 391 #post-internet (2014) | Situare il Post Internet (2015) | Jon Rafman: Brand New Paint Job (2011) | Enrico Boccioletti: Content Aware (2012) | Brad Troemel: BSTJ Store (2013) | Kenneth Goldsmith: Printing Out The Internet (2013) 08. L’estremo presente 441 Cyphoria (2016) | Intervista a Eva e Franco Mattes (2016) 09. Keywords 467 Virtual Objects (2005) | DON’T SAY NEW MEDIA! (2008) | Mostre open source (2011) | Internet Semiotics (2011) | When an Image Becomes a Work (2012) | The New Aesthetic (2012) | Cariou vs Prince (2013) | Technoviking (2013) | Intervista a Matthias Fritsch (2014) | Un’opzione del menù. Appunti sulla fotografia post digitale (2015) 00. Intro Impara l’arte e mettila in rete 9 DEEP SURFING INTRO Dichiararsi curatore e critico di arte contemporanea può creare qualche serio problema di comunicazione, soprattutto quando si ac- compagna questa dichiarazione con l’indicazione della rete internet come spazio operativo e delle conseguenze sociali, politiche e cultu- rali delle nuove tecnologie come territorio specifico di interesse. Di solito l’interlocutore abbozza, e passa a domande più innocue come “dove vivi?” o, a suo rischio e pericolo, prova a chiedere maggiori specifiche, del tipo, “si, ma di lavoro che fai?”. Quando spiego che insegno una materia che si chiama “Net Art” all’Accademia di Belle Arti, so già che l’argomento successivo sarà il tempo. Per questo vorrei partire con un paio di definizioni, molto sog- gettive ma utili a impostare il discorso. Per me, l’arte contempora- nea è quel territorio della produzione culturale in cui si coltivano idee che non si potrebbero sviluppare in altri ambiti, in forme che non sarebbero accettate in altri ambiti. Ovviamente, anche il mon- do dell’arte contemporanea è un contesto strutturato di produzione culturale, con le proprie regole, le proprie convenzioni, e una pro- duzione, diciamo, “di genere” che si adatta alla perfezione a queste regole e a queste convenzioni, e “vende bene”; ma diciamo che qui, per tradizione, lo spazio di libertà disponibile è più ampio che in altri contesti produttivi. Questo accade perché, con un lento pro- cesso avviatosi verso la fine dell’Ottocento, il mondo dell’arte con- temporanea è andato definendosi come il luogo in cui l’artista non deve produrre in accordo a delle regole del gioco già date, ma deve confezionarsi da solo la propria regola del gioco, proporla e sperare di essere ascoltato, sulla lunga o sulla breve distanza. Per questo, le attitudini più adatte ad affrontare un’opera d’arte contemporanea sono l’umiltà e l’ascolto. Un prodotto di design deve funzionare; un film e un romanzo devono intrattenere; una canzone 10 DEEP SURFING INTRO pop deve emozionare. Per rispondere a queste funzioni, sono stati sviluppati dei modelli, con cui i grandi creatori possono giocare, variandoli, sovvertendoli, manipolandoli (facendo, a volte, grande arte). Ma se un cavatappi non stappa, un film o un romanzo non ci coinvolgono, una canzone non ci emoziona, abbiamo il diritto di giudicarli con molta severità. Un’opera d’arte non deve fare niente che non sia rispondere alla propria regola interna, che come spetta- tori siamo invitati a individuare prima di giudicarla. Se questa rego- la ci intriga, e se l’opera la esaudisce bene, probabilmente ci piacerà. É un gioco molto rischioso, dove la grande arte è poca e quando manca non c’è nemmeno la consolazione del buon artigianato, ma è molto seducente. L’obiettivo “alto” di ogni creazione è aiutarci a capire qualcosa su di noi e sul mondo in cui viviamo. In ogni ambito, questo può avve- nire dedicandosi a questioni senza tempo o affrontando il presente, e con esso il futuro, che come sappiamo è già qui, ma è mal distri- buito. Nell’arte contemporanea, grazie alla libertà di cui abbiamo parlato, ciò è avvenuto spesso affrontando questioni, e adottando materiali e linguaggi del proprio tempo. La sua storia può essere an- che letta così: le avanguardie storiche rispondono all’industrializza- zione e alla guerra, la Pop Art ai mezzi di comunicazione di massa, il minimalismo alla produzione seriale, il concettuale all’emergere della teoria dell’informazione e del software, l’Appropriation Art e il Postmoderno all’iperproduzione culturale e all’esplosione dei mezzi basati su meccanismi di “copia e incolla”. Nel mondo in cui vivo io, la politica parla attraverso i social me- dia, la guerra si fa con i droni e l’economia si fonda su processi to- talmente smaterializzati. La televisione ha ceduto il passo a internet e al computer come luogo di intrattenimento primario. Il mondo è 11 DEEP SURFING INTRO connesso globalmente da reti di comunicazione e voli low cost. Il terrorismo, la fine della privacy e il surriscaldamento globale sem- brano trovare nell’attuale ecosistema tecnosociale la propria causa, il proprio terreno di esistenza, e la propria cura. Per me, l’arte di oggi non può esistere al di fuori di tutto questo. Quando ho cominciato a interessarmi all’arte contemporanea, nei tardi anni Novanta, rispondere a tutto questo voleva dire fare “Net Art”. Internet era qualcosa che qualcuno poteva ancora scegliere di non avere: uno spazio di comunicazione percepito come immateria- le, in cui si entrava dallo schermo di un computer attivando un deli- zioso e rumoroso dispositivo chiamato “modem”. C’erano ancora il “reale” e il “virtuale”, due dimensioni separate e distinte; e fare arte sul virtuale voleva dire fare arte nel virtuale: un’arte pubblica, libe- ramente accessibile, dispersa in uno spazio di comunicazione, che metteva in discussione i tradizionali concetti di autore, proprietà, unicità e valore che sembrano così innervati all’opera d’arte.
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