22 Nov 2013 7:00 PM
Salon Suisse – Criticism and Dissent
Salon Suisse – Criticism and Dissent
Palazzo Trevisan degli Ulivi
Campo S.Agnese-Dorsoduro 810
I-30123 Venezia
T +39 041 24 11 810
Art has undergone tremendous changes in the 20th and 21st century―and with it, art criticism. In particular, contemporary art is enmeshed in a dense net of marketing, design, tourism, research, education and financial speculation. Therefore it is doubtful if art criticism in a narrow sense still exists at all. How should art critics approach “internet memes” or “mashups” which often surpass museum or gallery art with regard to cunning? Does the term “originality” still make sense in an era of “re-creativity” in which remixes and cut-and-paste-mentality have gained momentum? And how should art critics deal with nebulous “research projects” carried out by artists that are neither scientists nor traditional aesthetes?
Campo S.Agnese-Dorsoduro 810
I-30123 Venezia
T +39 041 24 11 810
Art has undergone tremendous changes in the 20th and 21st century―and with it, art criticism. In particular, contemporary art is enmeshed in a dense net of marketing, design, tourism, research, education and financial speculation. Therefore it is doubtful if art criticism in a narrow sense still exists at all. How should art critics approach “internet memes” or “mashups” which often surpass museum or gallery art with regard to cunning? Does the term “originality” still make sense in an era of “re-creativity” in which remixes and cut-and-paste-mentality have gained momentum? And how should art critics deal with nebulous “research projects” carried out by artists that are neither scientists nor traditional aesthetes?