Madeleine's Curation and Archival Blog

This semester in university provided me with many valuable experiences, but none as deeply enriching as my DTC 338: Exhibit and Archives course. The class was more than just a primer for curatorial and archival methods — it was a laboratory for practice-based research and collaboration. This experience shaped me immensely, especially when I volunteered to coordinate and curate Game Changers: Reinventing Storytelling Through Video Games. This exhibit ultimately became an opportunity for practicing the ideas we examined in class within the two books: Ten Fundamental Questions of Curating and Everything You Always Wanted to Know About Curating* But Were Afraid to Ask. This was a fundamental learning experience that constructed my thoughts and perceptions concerning what it means to be a curator and what is involved with curating an exhibit.

Of the chief principles that I was exposed to, the definition, role, and purpose of a curator was articulated among our texts:

“a vast, all-encompassing category embracing many workers in the field of visual arts, including education and the many disciplines that are (finally) incorporated into the panoply of an exhibition-making arsenal” (Morgan, 21).

Ulrich-Hans Obrist furthers this notion by stating that:

“the role of the curator is to create free space, not occupy existing space … connecting different people and practices, and causing the conditions for triggering sparks between them” (166-167).

Without a doubt, these statements, and others, encouraged me and situated my skills into the role of “curator.”

The first job in this position was to determine the collection of video games to exhibit — an array of diverse titles that touch upon various narrative styles, game mechanics, and genres. With the help of my colleagues, a selection of video games that best represented reinventions in storytelling was decided upon. This process was terribly difficult, and made me aware of the struggles involving choosing one work over another and the importance of creating a strong curatorial vision.

Part of what Obrist believes is intrinsic and inseparable from this vision, is the production of conversation among temporary communities. I had never thought about exhibit interactions in this way before (which is probably due to my quiet nature). In past exhibitions, I only ever talked to those within my immediate viewing group. However, at Game Changers, I saw the benefit of inspiring conversation among different individuals — especially since each video game playthrough is unique in it of itself. Throughout these interactions we created a space to scrutinize, postulate, and collaborate — a “place for us to take the risk of reading an artwork against the grain of its already accepted historical meanings” (Filipovic, 80).

In conjunction with the new ideas I learned through reading and practice, I acquired leadership experience. Be it from my interaction with the class or from my correspondence with independent game developers, I learned about what is known as “curatorial responsibility” (Eleey, 113). In Game Changers’ case, this meant putting the artist first — allowing developers the independence to speak about and display their work as most pleases them. This responsibility also translated into treating the various teams within the class with respect and making sure that everyone was accounted for.

As displayed above, this semester in our class was a crucial learning experience for me, not just for taking on the role of a curator, but also for future positions in which leadership and responsibility are key. Game Changers 2016 allowed me to demonstrate my skills and talents, as well as my passion for video games. I will look back on this year with warmth and appreciation knowing that, for that one month, we managed to introduce hundreds of people to the power of video game storytelling, creating what Obrist calls an “ephemeral constellation.”

Works Cited

Eleey, Peter. “What About Responsibility?” Ten Fundamental Questions of Curating. Ed. Jens Hoffmann. Milan: Mousse, Italy. 113-119. Print.

Filipovic, Elena. “What Is an Exhibition?” Ten Fundamental Questions of Curating. Ed. Jens Hoffmann. Milan: Mousse, Italy. 73-81. Print.

Morgan, Jessica. “What Is a Curator?” Ten Fundamental Questions of Curating. Ed. Jens Hoffmann. Milan: Mousse, Italy. 21-29. Print.

Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know About Curating* But Were Afraid to Ask. Berlin: Sternberg, 2011. Print.

“It’s all about challenging conventions . . . We must experiment with ways beyond objects” (Obrist, 148).

Electronic Literature and Its Emerging Forms enjoyed a large in-person audience and online presence, ultimately reaching over 4800 people during the reporting period (20 March 2013 through 12 April 2013). This exhibition showcased “27 works of electronic literature by American authors, relevant printed works from the Library of Congress collections, readings by select authors featured in the exhibit, and hands-on creation stations” (Electronic Literature and Its Emerging Forms).

These impressions however, should be considered as groundbreaking. Not only did the exhibit feature works of e-lit (pieces of art that are not traditionally viewed as art objects), but it also made an effort to contextualize and promote creativity and thought through the designated “Context” and “Creation” stations:

“We’ve designed the physical space to promote flow between literary and cultural ‘Contexts’ and ‘Creation Stations,’ where guests can ‘get their hands dirty’ making art using techniques from e-lit’s present and past” (Berens).

Such a layout is unconventional, experimenting with ways to better understand e-lit and its connections to older forms of art, while, at the same time, infusing the exhibit with further interaction and conversation. As Ulrich Obrist champions, it is advised, if not absolutely necessary, “to ‘complexify’ . . . and to introduce other viable models [of curation], experiment with other circuits . . . ‘routine is the enemy’” (146).

In a way, this “creation, production, realization, and promotion of ephemeral [exhibits]” also helps the act of conversation take place (Obrist, 167). The methodology of deliberately creating “Work,” “Context,” and “Creation” stations promotes an environment ripe for interaction and discussion, so much so that even curators Dene Grigar and Kathi Inman Berens write that they:

“believe the exhibit delivers an experience that the digital alone cannot convey, the serendipity of conversation among guests chief among these things” (Electronic Literature and Its Emerging Forms).

Throughout the experience, diverse visitors conversed with one another, building what Obrist calls “hundreds of pedestrian bridges to hundreds of communities who then converge and create new encounters” (169). With these moments of speech enmeshed throughout the typical viewing experience, visitors received a rich and inherently unique look at the exhibit, stumbling upon authors, teachers, enthusiasts, or others just passing by.

In all, this multi-layered experience — enhanced by creativity and historical context — ultimately developed a new curatorial methodology, delivering interactivity and community to a diverse body of individuals. It is clear that curators must take these ideas into account and further build upon them — doing so will attract, capture, and enlighten visitors, new and old.

Works Cited

Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know About Curating: But Were Afraid to Ask. Berlin: Sternberg, 2011. Print.

The New Text exhibition featured at the International Symposium on Electronic Art (ISEA) in Vancouver, British Columbia, attracted artists far and wide. With submissions from Canada, Australia, and even Sweden, this group of renowned creatives represents a diverse amalgamation of geographies and cities – something that, veteran curator, Hans Ulrich Obrist deems as “necessary” and beneficial for the curatorial process (90). Not only this, but the New Text exhibition paralleled a number of other ideas and practices championed and encouraged by Obrist, in the end reflecting the contemporaneity as well as the ultimate success of the New Text exhibition.

At first glance, these pieces of literary art chosen for the New Text exhibition all grew out of instructions, and as such, many of these works – especially those derived from computer code – reflect the idea that “the instruction, not the object, is the work” (Obrist, 49). In fact, some of these works also represent a shift in artistic practice – the rise of performative works. As Obrist remarks, “art continues to be, for the large part, a story of objects” (49). However, with algorithmic pieces like Johannes Helden and Hakon Johnson’s Encyclopedia and Jody Zellen’s Spine Sonnet – that procedurally change over time – we see an ephemerality almost exactly like words, dance, and/or music. Both of these examples randomly generate new patterns and words upon interaction, revealing an infinite number of possibilities (which are very similar to the dynamic conversations prescribed by Obrist).

The New Text Exhibition Team

On another note, as a docent for the New Text exhibition, I watched as many guests traveled in and out, making sure to be as helpful as possible, without being too controlling. It was essential to let these individuals dictate their experience, allowing them full freedom within the space. Obrist knows this all too well, advocating for “a nonlinear experience” since works “don’t reveal themselves instantly” (92). This ability to return should not be compromised; it should be encouraged and facilitated through helpful dialogue and meaningful conversation.

“It was more important how many hours the visitors spent in the show. It’s better to have a few thousand spend an entire day with the show rather than 300,000 run through it” (Obrist, 48).

In all, the New Text exhibition is very akin to the exhibits described as well as the practices advocated by curator Obrist. It is clear that future exhibitions should take these ideas into account – especially those regarding nonlinearity and diversity – while also innovating in other areas.

Works Cited

Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know About Curating: But Were Afraid to Ask. Berlin: Sternberg, 2011. Print.

TransPoetica, as a gallery exhibition, demonstrates the idea of “a synchronous communication in space … [which] involves gestures,visual signals, and a variety of voices” — otherwise known as a conversation (Obrist, 16). Each of Stephanie Strickland’s digital works that were displayed during this exhibit are unique and evocative of conversation in action. These are pieces of born-digital electronic literature, all of them heavily imbued with some sort of interactive and/or generative element that translates into an “embodied presence of speech” (Obrist, 16).

In particular, Sea and Spar Between, a generative poem of Herman Melville’s Moby-Dick, is a fantastic example of an ongoing conversation between the reader and the work in question. As the individual moves her mouse across the screen, random amalgamations of prose appear, filling up the display. This interaction is reminiscent of the gestural aspects of conducting a conversation — as the viewer moves, the work moves, adjusting to the changing atmosphere. In fact, the changing words represent an even more literal form of conversation, feeding the reader bits of information that they must then interrogate and communicate with synchronously.

A screenshot of Stephanie Strickland’s piece, Sea and Spar Between in action

Another wonderful example found in this exhibit, is the mobile version of V:Vniverse. This companion iPad application allows the user to perform a variety of interactive functions, including dragging and tapping their fingers across the screen in order to display a constellation of poems. This instantaneous feedback, again, relays back to the idea of “conversation” and how “it has to do with highs and lows, intervals, pauses, and silences” (Obrist, 16). There is an actual connection between the work and the reader — without the reader’s input, there would be no work.

In accordance with the ongoing theme of “conversation,” a launch party was coordinated on February 25, 2014 (TransPoetica). It marked the beginning of the gallery exhibition, as well as the start of new conversations. The visitors who came to the event, were able to meet with other members of the local community and discuss and explore the artist’s work together. Strickland was also present at this event, which allowed for more in-depth conversations pertaining to her creative activities.

In all, TransPoetica is a great example of interaction and dynamism fueled through and by conversation.

Works Cited

Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know About Curating: But Were Afraid to Ask. Berlin: Sternberg, 2011. Print.

“TransPoetica: Works by Stephanie Strickland.” TransPoetica: Works by Stephanie Strickland. Creative Media and Digital Culture, n.d. Web. 10 Mar. 2016. <http://www.dtc-wsuv.org/transpoetica/index.html>.

Inventory Assignment #2

In How About Pleasure?, Dieter Roelstraete interrogates the under-valued notion of pleasure and play in modern society, inspecting questions like “What constitutes seriousness in curating?” and “Does the invocation of any form of pleasure, visual or otherwise, necessarily align curatorial practice with the evil forces of entertainment?”

Such examination reveals that, although it is a common notion that “art as an institution of critique is far too important to squander its precious energies over the futilities of ‘fun’,” pleasure is a cultural universal and is reflected in all human cultures (Roelstraete). This statement reveals that, not only are pleasurable exhibitions important to understanding and critiquing the human condition, but they also complement the more serious exhibits – which arguably are needed “to remind us, even in the comfortable seclusion of art, of the stark reality of the human condition outside art” (Roelstraete).

An example of this contrast done well, is the Creative Media and Digital Culture (CMDC) program’s Anthropoetry: Modern Expressions of the Human Condition exhibit that featured a diverse array of multimedial poetry during its reception to the public. This diversity of works from international artists played into the exhibit’s overarching theme of capturing “the emotions and experiences that constitute human life”: Birth to Youth, Joy of Discovery, Family and Friends, Love, Faith, Nature and Mortality (Anthropoetry).

Among these poems, a number of playful and game-like examples infuse the exhibit-space with a spark of pleasure – a human necessity – and thought-provokingly contrast the presence of more serious and darker pieces. Animalamina, New Word Order: Basra, and Stud Poetry are three titles under the category of “Pleasure”; they utilize poetical styles and conventions, while also including elements of play – interactivity, point scoring, set of rules – in order to convey important messages to their players. This inclusion of play, as a form of pleasure, reinforces Anthropoetry’s aims – as an exhibition – to capture human life, as well as its various stages, and ultimately reminds us of the importance of games in human culture.  

Works Cited

Roelstraete, Dieter. “What Is Pleasure?” Ten Fundamental Questions of Curating. Ed. Jens Hoffmann. Milan: Mousse, 2013. 33-39. Print.

“Anthropoetry: Modern Expressions of the Human Condition.” Anthropoetry. Creative Media and Digital Culture Program, n.d. Web. 19 Feb. 2016. <http://www.dtc-wsuv.org/anthropoetry/index.html>.

Comment on Dan Ellertson’s Inventory

Dan,

I enjoyed how you elaborated upon the roles student curators played during Game Changers 2015. By juxtaposing Sofia’s prescriptions — for curators new and old — and the tasks students undertook during this exhibition we are able to delineate that the curator’s primary roles have remained much the same (except for changes in technology).

I also agree that the website for Game Changers not only attracts publicity, but also acts as a sort of digital program — highlighting future events and competitions for potential visitors.

Comment on Justine Hanrahan’s Inventory

Justine,

Your response really evokes the importance of new-age exhibits like Game Changers. By placing video games in the realm of the arts, we really do attract a new generation of viewers, as well as interrogate an older audience’s perceptions of what art is. The quote that you pick from Chus Martinez, really speaks to this and helps make your point clear.

I also like that you mention how the Game Changers exhibit purposefully used a specific vocabulary to both refer to and expose the artistic qualities of video games. Such language not only reflects how similar the medium is to earlier ideas of art, but also helps us describe new phenomenon that cannot be experienced in other forms of art.

Inventory Assignment #1

When reflecting back on my first Game Changers exhibit experience, I am reminded of the diverse group of individuals that walked through our doors throughout the month of March. This conglomeration of people, this “public sphere,” was the main reason why we decided to create this exhibit. Our curation team strove to expose these disparate, yet geographically-connected citizens to the innovations of video games. In retrospect, these objectives were also intrinsically attached to our method of curation; by selecting and displaying these video games in one gallery space, we brought together distinctive works, enabling them to create an overall theme – a “public” – while also allowing them to stand on their own, in all their glory.

In his piece, What Is the Public? Juan Gaitán explains that:

“to have access to works of art in order to change them, to alter their experience of the world, to sharpen and heighten their sensibilities to it, to make it come alive anew for them, so they can walk away at a different angle to the world” (34),

in the end, this is what our visitors most want from us. By curating an exhibition under the theme of “Video Games as Innovation,” Game Changers did just that; the collection offered a brief yet accessible timeline of significant video games:

“that . . . changed cultural views and behaviors as well as impacted business, education, health, and communication” (Game Changers 2015 Website).

Interestingly, enacting this social contract meant that it was our responsibility to create a space that not only left the collection whole and digestible, but also preserved the autonomy of each work – letting it stand alone and speak for itself.

Much like the human beings we attracted, the video games we chose were uniquely crafted and brought together under one room. These works simulated:

“the way the public sphere is structured today, as a gathering of non-parallel and exponentially individualistic identities and interests” (Gaitán, 36).

This relationship is explicitly displayed on the Game Changers 2015 website. The “Gallery” tab features a complete list of the video games shown during the month, but upon clicking on one of the entries, specific information pertaining to the game appears front and center. The Remodal plugin that enables this effect also dims the background, creating contrast and difference.

In all, Game Changers reflects a connection between a “public sphere” and a “public of works,” revealing that both parties are autonomous yet dependent. They speak for themselves at times, and in other instances they gain value by joining together, creating diverse conceptions of meaning.

Works Cited

Gaitán, Juan A. “What Is the Public?” Ten Fundamental Questions of Curating. Ed. Jens Hoffmann. Milan: Mousse, 2013. 33-39. Print.

“Game Changers: Video Games as Innovation.” Game Changers: Video Games as Innovation. Creative Media and Digital Culture, n.d. Web. 29 Jan. 2016. <http://dtc-wsuv.org/projects/gamechangers2015/>.

Here are two photos: one of my manga collection and the other of my figurines, toys, and ephemera I have collected over the years.

Presentation of Chapter One

What is a Curator? by Jessica Morgan