Page 161 - The Black Box Book

curating on the web at a time in which the online sphere is overcrowded
and the offline sphere is devoid of interaction.
I started this text by raising the question whether the year 2020
reflected the end of curating on the web. Probably not, because while
I was digging on the internet I came across many examples (often hidden
from the mainstream) of what I described as the effects of a necessity to
develop new forms of negotiation and renegotiations to view and engage
with contemporary art, and art produced to exist online. These are projects
where the curator does not act as a content distributor complying with
the rules of existing interaction network platforms, while depending on
likes and shares to understand their audience but creates new spaces for
the production and distribution of contemporary art, whereby each new
and evolving presentation format has politics inscribed within it.
According to the voices of the artists and curators I interviewed in
2021, there is more to explore; as artist Sebastian Smeigh said:

“The web is always under pressure from apps, platforms, etc., but
at the end of the day it is still an incredibly lively medium, with
the browser probably being the most important piece of software we
have. So working with the web is crucial to securing and developing Figure 11: Emotional Interfaces — Index Page
our future, not just as artists and curators.” (Smeigh, 2021) (2019). Curated by Virginie Tan and Astrid Lours-Riou.
Retrieved from https://emotional-interfaces.com/.
Screenshot of web page from 2020.

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