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One of the curators, Simone Bertuzzi , a visual artist and musician, too, posted a series of videos and music references on Afrofuturism , seemingly without any context, which claim to open up the debate about the postcolonial world by looking at its musical productions. Another curator, Marianna Vecellio , uses three chapters of text to articulate her curatorial academic position. In my opinion, the digital format may limit the possibilities of creative expression for the curators.

The projects are still arriving after the launch as all texts are being painfully translated into English; in the coming days, all seven projects will be live.

Screen grab of curator Simone Bertuzzi web platform from www. TAXI is still forming its identity, but it has interesting, online curatorial company. Continuing with the seven guests, seven items format, the second round of 7 x 7 involved individual curators being asked to contribute exhibitions.

Unfortunately, the site is no longer online. In fact, I see strong similarities between the community-run cultural activities in Torino and those in my old neighborhood in Brooklyn, where friends open venues and program each other in them. In both places, the small-village mentality of shared resources and social support create a nourishing environment in which to make art and feel alive.

Living broke and in chaos is nothing new to New Yorkers, but the political, religious, financial, and historical situation in Italy is creating a whole generation of intelligent anarchists here. Our law is freedom. I am constantly trying to comprehend how one sense of home New York fits with my other sense of home Lindsay interiority. The end of Artissima has arrived and none too soon. Writing made me an observer and not a participant. And the fair organized the normal chaos.

Artissima took place in Turin, Italy, November 9— Sign up for our email newsletters! From thought-provoking books to various dazzling accessories, visit the Hyperallergic Store for artful presents this holiday season.

Using sonic frequencies that register just below human audibility, this exhibition in Richmond, Virginia provides site-specific experiences for sound to be deeply felt. In a psychological context, confabulation refers to obvious falsehoods invented by individuals to fill gaps in their memory. In Infinities, guest-edited by curator and art historian Nadia Kurd, artists and writers discuss the influence of Islamic visual cultures in Canadian contemporary art. We get addicted to things in ways that each have pros and cons.

From supporting artists who work with traditional media to those who base their practice in digital, crypto, VR art, or NFTs,. ART covers it all. Assyriologist and associate professor Martin Worthington, who worked on translations for the Marvel movie, created the first film entirely in Babylonian in Lindsay Benedict www. Primarily through physicality and the use of the body How do you think people will react to this type of agency?

LT: I think it's an absolutely positive quality. I'm embarrassed by the number of video shows I've missed out on because I simply don't have the time to sit down for 20 minutes during a lunch break, or my inability to focus because of outside distractions in galleries.

It becomes really frustrating in a large museum exhibition, such as the current WACK! Since we'll have at least 40 videos in our next show, the idea of being able to watch them wherever and whenever is ideal. Having artists' videos hosted on YouTube or Ubu has really changed how viewers experience of video. The physical element, the inherent self-consciousness of being judged by other viewers on how long you watch a video in a gallery, or how you are reacting to what is onscreen, is gone.

The tradeoff at this point is the quality and resolution of watching work on a computer, and this doesn't work at all for installation, but the freedom and availability of the work now is refreshing. Video is a medium which is meant to engage with the viewer, and this dialogue is only enhanced by its availability on the Internet.

Are there other websites that you've found are really contributing to this relationship to video, or to art in general? NW: Gotta give some love to Rhizome here: the community and the staff do a great job selecting out cogent, interesting work and presenting it in forms appropriate to their "venue," the internet.

VVORK is a great curatorially-minded blog, and mysterious enough to intrigue while providing links where possible for further investigation. Our boys at Sundays New York , an artist-run dark horse riding in from out West, are consistently amazing. And Jon Feinstein and his colleagues at Humble are expanding their excellent monthly solo and group shows to include texts and now even a grant program. All of these, though, are heavily curated programs. I do love the comprehensiveness of registries like those at White Columns and Artists Space, but frankly it's mostly just sensory overload when I try to pick through them.

And forget about Saatchi: it's like every grandma with a paintbrush is up on there. Here again is the strength and weakness of the internet; democracy can be overwhelming! You recently curated an open invitational at Third Ward with Feinstein, and I remember you had something like 1, submissions from a call to action by Humble? What a classic transposition of the internet into physical space: swimming through so much work to present something compelling and navigable.

What was that process like for you? Did you feel that the show had more weight because it was presented in a gallery setting, or could it have been as effective online? LT: I think it was very important for the Humble show to happen in physical space- it added legitimacy, for the organization and the artists. Many of the artists in the show were already featured at one point or another on the website, but having their photographs actually printed, framed and hung on the wall for the public to interact with made a huge difference.

This differentiation is especially explicit in photography, when many works will never be printed unless purchased or exhibited. Humble certainly would have never received 1, submissions without the countless number of photography blogs, online listings, message boards, etc. Wading through any pile of submissions is exhausting, and clicking through a slideshow becomes akin to flipping the pages of magazine, though with less risk of papercuts.

I think our generation is more accustomed to this type of editing, searching, and quick viewing, though, and as a contemporary curator, your brain is trained to sort and absorb images at an accelerating pace.

And many times when you curate a show, you don't see the physical work until it arrives for installation. You've stared at the jpeg for so long, the actual object can be jarring. Your past online project, pHytonics, had stringent rules about the image presented being "the work" rather than documentation of the work. Has your attitude about presenting work online changed since then? NW: Well pHytonics was a strange beast One of the core values of the project was derived from title, which itself was a derivation of the word "phyton.

Secondarily, the site was also meant to be a promotional tool for the artists each week a single artist presented a selection of work and as such, ease of navigation and clarity of purpose were key. In other projects online, I don't feel it's important to present only "work.

Can you imagine if a gallery printed a photograph of an installation and showed it in lieu of a piece?! Wait, but do you remember when I was going to have a show of representations of art?

The idea was to collect and present only those objects that are actually "work" by big-name artists, but that was not actually the work itself. For instance the Bruce Nauman poster you can get in the basement of DIA; hi res files from photographers originally destined for books I was working on that I could have had printed; or Cory Arcangel's "Black and White gif", free printouts of how to make a black and white gif.

At bottom the idea was to question how a fiscal value is placed on objects, and also investigate the idea of again! LT: I haven't really, though I immediately thought of artist Brian Clifton, who had a exhibition of his collection last year at his project space "On View: Selections from the B.

Project Room Permanent Collection" B. I love how ubiquitous this idea has become, both with independent artist sites and institutions.