8 November 2013, 9 am Friche La Belle, Salle Saita - Marseille
For the third time the GAMA foundation invites festival participants to their Archiving Media Art - Politics and Strategies series, this time within the framework of the Instants Video Festival "50 ans d'art media".
The chair of the board, Gaby Wijers, will introduce the moderator Andreas Spiegl, and the panelists Sandra Fauconnier, Marc Mercier, Per Platou, and Mona Schieren who will address this year's topic ?The idolatry of digital archives and the creative industries?.
Speaking of "idolatry" might come as a surprise in view of the dynamics of the New Information and Communication Technologies market and the communication services (social network, online sale...), as well as all the efforts by researcher and developers to provide an expanding and efficient set of tools to collect and preserve our substantially increasing amount of data.
Where does this need for large-scale archiving arise from, what desire does it satisfy? What triggered this culture of conservation? Has it always existed? Have the criteria for the value of the preserved object changed over time? One might argue that during the Renaissance, preservation was guided towards the ?artistic value? of an object as its intrinsic and unique value. Late 19th century, the value of an object was its ?historical value?. Whereas during the 20th the "the value of the age" starts to prevail thus contrasting the cult of innovation and beauty. Even if they are falling apart, the ?old works? must be preserved. A kind of cult of the ruin being the driving ideology. It is the century of museums (sometimes outside museums when a whole district becomes a museum) that provide spaces of profane devotion. And today? Everyone with the help of a PC can set up their own digital museum and put it online, giving a total or limited access to it. A lot of funding is directed towards digital preservation with the objective to create or sustain a market value. What criterion applies for preservation in a market-driven community? Is the economic value the new determining factor for selecting what is worth passing on to the future generations? What is the artist-poet-archivist-curator-conservator?s role in this context? How can they engage in this new approach and contribute to its formation ? or in guiding the revolution of ?art ecosystem??
for the festival see http://www.instantsvideo.com/blog/fr/archives/category/accueil
GAMA, the 'Gateway to Archives of Media Art' provides access to a wealth of information about the works of both well-known and emerging media artists from European collections of media art. The media art content initially comes from eight European media art archives and can be searched and browsed on this navigation platform. The portal networks different databases containing textual and visual information on more than 10,000 works.
The art projects presented include previews of experimental film and video art, performances and installations; they are documented and further contextualized with texts, lectures and events. Users will, for example, find details on early works by Hungarian net artists, video artworks from Slovenia, media art from the Netherlands, France and many other countries from inside and outside Europe, as well as documentaries from the Ars Electronica festivals or experimental films from Sweden.
The project was launched in November 2007 by 19 participating organizations from Europe's culture, art and technology sector with the aim of establishing a central online platform to a growing network of European media art collections for interested members of the public, curators, artists, academics, researchers, and mediators. The undertaking is supported by the European Commission within the framework of the econtentplus programme.
If you want to receive the latest information about the GAMA project you can send your mail address to gama(at)hfk-bremen.de
co-funded by the