Page 151 - The Black Box Book

Figure 5: Shulgin, A. (1997).
Desktop Is — Index. Screenshot of index
page from 2010.

Other projects directly responded to platforms for social interactions by myself, which experimented with transitioning exhibitions to differ-
and used them as exhibition sites. On Facebook, there are projects like ent display formats — online and off; Bubblebyte (2011–13), curated by
Gallery Online (2012–2018) whose curators, Ronen Shai and Thomas Attilia Fattori Franchini, Rhys Coren and Paul Flannery, whose exhibition
Cheneseau, presented exhibitions as live performances, and #0000FF strategy developed into the act of taking over institutional websites with
by Georges Jacotey, where artworks were conceived to disrupt viewers‘ artists; or Link Cabinet (2014–2019), curated by Matteo Cremonesi, which
browsing routines and the relationship between public and private, and hosted site-specific artworks on a single web page that were archived
work and leisure while scrolling feeds. after a certain period of public viewing.
Other projects, instead, appropriated tagging systems such as There were also projects that furthered the exploration of the desk-
that of Delicious. For example, Tagallery (2007) by cont3xt.net (Sabine top environment to create ad-hoc downloadable displays, as the case of
Hochrieser, Michael Kargl and Franz Thalmair) questioned the significance Idle Screenings (2012–) by Mitch Trale and ScreenSaverGallery (2012–)
of an exhibition context created through associations, and that of an art- by Barbora Trnková, Marie Meixnerová and Tomáš Javůrek. Moreover,
work when represented by a link. While many exhibitions of that period an exploration in creating unexpected connections between the computer
often appropriated existing web-tools and platforms, others were curated window and a real field location to present artist’s performances, is exem-
on purposely built websites that offered the audience different forms of plified by Field Broadcast (2010–2013) by Rebecca Birch and Rob Smith.
navigation and interaction with artworks. Some of them are: Temporary These experimentations furthered the growth of the art platforms and
Stedelijk (2010–2012), curated by Kalle Mattsson and Amber van den its potential for multiple functionalities, where curators set up spaces
Eeden, which experimented with navigation patterns that were created not only for the display of web-specific art but for devising new modes
using iFrames on the project’s page; or-bits.com (2008–2025) curated of producing and engaging with it.
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