Digitizing Art or How to Broaden the Viewer’s Experience

As all of us, know 2020 gave a new meaning to the phrase “Go fully digital”. For many institutions, this new era of online entertainment became a true challenge. If earlier digital art was an experimental practice, which not everyone wanted to understand, in today’s situation it became an impossible opinion due to the fact that all of us did our best to master the digital sphere while working from home. The paper seeks to demonstrate how digital documentation and digital exhibitions became an important part of contemporary exhibition life. Through different examples of video, media, and other types of “digitized” art the author will show digital exhibits may create a place where all viewers are able to come from any location in the world. The main focus of the paper is a case study of three digital exhibitions – two made at the Russian State Art Library as a part of the “RSAL Studio” program, one made by students of the first Russian Digital Art MA program “-Da. Digital Art”. Each exhibit has a different approach to the concept of demonstration of art and methods of its creation. The paper will be followed by an image demonstration, which the author will prepare in case of the proposal approval.

Content

Author and article information

Contributors

Alexandra Orlova

Conference

Publication date: July 2021

Publication date (Print): July 2021

Pages: 35-38

Affiliations

[0001]Russian State Art Library

Moscow, Russia

Article

DOI: 10.14236/ewic/EVA2021.6

SO-VID: a1a43c97-df4b-4ff6-b0b7-4ee71e149c08

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2021

Conference acronym: EVA 2021

Conference number:

Conference location: London

Conference date: 5th July – 9th July 2021

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: AI and the Arts: Artificial Imagination

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2021.6

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

100 Ways to Live a Minute. Digital exhibition. https://100waystoliveaminute.pushkinmuseum.art/?lang=en (retrieved 15 March 2021).
W. Benjamin (2007) The Work of Art in the Age of Mechanical Reproduction. In W. Benjamin Illuminations, Schockenbooks, New York. Pp. 217–252.
G. Böhme (1993) Atmosphere as the Fundamental Concept of New Aesthetics. Thesis Eleven, Number 36, pp. 113-126.
Expectation for the New Nature. Digital exhibition. https://expo.dafefu.cc/en/ (retrieved 15 March 2021).
Playing BAUHAUS. Digital exhibition. http://bauhausrgbi.tilda.ws/ (retrieved 15 March 2021).
E. Tavani (2018) The Construction of Situations and Atmospheres in Installation Art. In Atmosphere/ Atmospheres. Testing a New Paradigm. Milano-Udine, Mimesis International, 2018. Pp. 129–145.
VKhUTEMAS – XX. Digital exhibitionI. http://vkhutemas.tilda.ws/ (retrieved 15 March 2021).

Comments

Comment on this article

[1] 100 Ways to Live a Minute. Digital exhibition. https://100waystoliveaminute.pushkinmuseum.art/?lang=en (retrieved 15 March 2021).

[2] W. Benjamin (2007) The Work of Art in the Age of Mechanical Reproduction. In W. Benjamin Illuminations, Schockenbooks, New York. Pp. 217–252.

[3] G. Böhme (1993) Atmosphere as the Fundamental Concept of New Aesthetics. Thesis Eleven, Number 36, pp. 113-126.

[4] Expectation for the New Nature. Digital exhibition. https://expo.dafefu.cc/en/ (retrieved 15 March 2021).

[5] Playing BAUHAUS. Digital exhibition. http://bauhausrgbi.tilda.ws/ (retrieved 15 March 2021).

[6] E. Tavani (2018) The Construction of Situations and Atmospheres in Installation Art. In Atmosphere/ Atmospheres. Testing a New Paradigm. Milano-Udine, Mimesis International, 2018. Pp. 129–145.

[7] VKhUTEMAS – XX. Digital exhibitionI. http://vkhutemas.tilda.ws/ (retrieved 15 March 2021).

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