Formless: Fluid Reality in New Media Art
The exhibition Formless: Fluid Reality in New Media Art deals with defining form and content from the perspective of digital technologies and new media. New media art implies digital practices that are based on programming a work of art, like computer, digital and biotechnological art. In their works, the artists observe fluid positions and unstable boundaries in the framework of new media art. They deal with production of flexible forms, plugging into fast data flow, openness towards instant information, reflexive organization and participation in hybrid net systems.
The exhibition title itself is borrowed from the concept 鈥淟鈥檌nforme鈥�, written about by French theorist Georges Bataille. In the context of the exhibition, the concept of 鈥渇ormless鈥� represents a metaphor that could describe the today鈥檚 world and contemporary art. Although the production of the works of art is dominated by digital technologies, the attention is focused more on the experience/perception than on the form/representation because, as Bataille pointed out long ago, art is manifested as a reflex for 鈥渙vercoming boundaries鈥�. Observation of the 鈥渞eal鈥� in the digital world is a strategy for reexamining the boundaries condensed in the 鈥渇luid reality鈥� full of possibilities, but also traps.
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The exhibition Formless: Fluid Reality in New Media Art deals with defining form and content from the perspective of digital technologies and new media. New media art implies digital practices that are based on programming a work of art, like computer, digital and biotechnological art. In their works, the artists observe fluid positions and unstable boundaries in the framework of new media art. They deal with production of flexible forms, plugging into fast data flow, openness towards instant information, reflexive organization and participation in hybrid net systems.
The exhibition title itself is borrowed from the concept 鈥淟鈥檌nforme鈥�, written about by French theorist Georges Bataille. In the context of the exhibition, the concept of 鈥渇ormless鈥� represents a metaphor that could describe the today鈥檚 world and contemporary art. Although the production of the works of art is dominated by digital technologies, the attention is focused more on the experience/perception than on the form/representation because, as Bataille pointed out long ago, art is manifested as a reflex for 鈥渙vercoming boundaries鈥�. Observation of the 鈥渞eal鈥� in the digital world is a strategy for reexamining the boundaries condensed in the 鈥渇luid reality鈥� full of possibilities, but also traps.
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