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contemporaryart.html
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<h3>A Proposal for an Internet Site - RS and the art of Stephen Willats</h3>
<p>
In 1996, Stephan Willats wrote about a "strangely muted" response to a new social and fluid infrastructure - the World Wide Web. Rather than mark a new wave of socially connected art, he saw a continuation of art practice within the, "institutional conventions of the Art Gallery or Art Museum..." This practice treated art, "in the manner of an emulative icon to be witnessed but not interfered with or changed". Despite the emergence of this new social infrastructure Willats argued that there was a strengthening of object centred cultural values, one way communication, and the representation of art as a fixed and unchanging icon of its time.
</p>
<div class="imageboxleft">
<img src="http://stephenwillats.com/media/uploads/projects/2010-Cybernetic-Still-Life-No.5for-web_1_jpg_440x880_q85.jpg" name="imgbox" id="imgbox">
<p><a href="http://stephenwillats.com/work/cybernetic-still-life-no-5"/>Cybernetic Still Life No. 5, 2010</a>
</div>
<p>
Willats associates this institutional effect with a reduction in the complexity of art in terms of its social interfaces and a tendency towards, "object-based peception". Contributing to this was the demarcated of specialisms and languages of those involved in presenting art and culture.
</p>
<p>
One response to this is something called the 'curatorial'. Maria Lind, former Director of the Tensta konsthall,
in Stockholm, put it as this -
<blockquote>Is there something we could call the curatorial? A way of linking objects,
images, processes, people, locations, histories, and discourses in physical space? An endeavor that encourages
you to start from the artwork but not stay there, to think with it but also away from and against it?
</blockquote>
</p>
<p> While many institutions have expanded their engagement with some audiences with events that happen outside and around the gallery space, Willats and Lind maintain that the dominant position is still the 'object' and the 'gallery'. While academic activity may touch on wider interdisciplinary issues, the gallery remains the place in which the audience must adapt to the model, context and language of the institution. In contrast, Willats' art is often conducted within the context of a specific audience (for example his work with tower block residents). These projects transform the audience into participators investigating the operating models in which they live, often divorced from the wider community, including art and cultural organisations - their tower blocks are seen as 'objects' rather than communities of people. Art then becomes a practically relevant process that reconnects people and facilitates change.
</p>
<p> Potentially, institutions have the chance, albeit not as directly as Willats, who placed art in the locations of the participating 'audience', to reach out beyond the physical walls of the institution. To Willats, the ability to use a network like the World Wide Web is to conduct a two way conversation or exchange which, further than the 'curatorial', engages different people within different contexts and with different perspectives. However, this is not a function that traditional forms of institutional narrative and documentation support. Despite considerable investment in the 'digital' the transposition of object oriented practices and standards, one way communication (the assertion of a particular language and model) has not made effective use of networks or delivered a meaningful digital engagement. Effective use of the Web needs a review of how to engage and build knowledge in a way that brings together currently demarcated groups, whether specialists or audience, into a non-hierarchical participatory system of knowledge development and ongoing dialogue. In supporting this inclusive and balanced need, Willats proposed a 'homeostatic' model of the Web.
</p>
<p>Oldman & Tanase (May 2019)</p>
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