Mise en Séance
In recent years De Hallen Haarlem has put the relationship between art, ‘the digital’ and the world surrounding us under the microscope. In Inflected Objects # 2 Circulation – Mise en Séance this issue has been further studied. The exhibition connected works from the permanent collection of the Frans Hals Museum | De Hallen Haarlem with those of four contemporary artists: Martijn Hendriks, Katja Novitskova, Vanessa Safavi and Dan Walwin. Central questions in the exhibition were: What is the impact of the online distribution of images on the attribution of value to (art) objects? What happens to the meaning of a work of art when it is moved from depot to exhibition space, or to the online environment of a blog?
In the research and exhibition project Inflected Objects the central finding was that “the digital” is no longer a separate category, but is interwoven with our daily lives. This hybrid everyday reality, in which virtual and physical processes are inextricably linked, has an increasing impact on the materiality of the artistic process. Artists working with the Internet, no longer work exclusively in the “online” virtual space, but return to the object and its physical grounding in the world of things. Things which, according to some contemporary thinkers, might very well exist by themselves, rather than always needing a connection to us.
With Inflected Objects guest curator Melanie Bühler has launched a series of exhibitions in which the influence of digital technologies is examined as part of our contemporary experience. In her series of exhibitions in various places, of which # 2 Circulation is the second chapter (after # 1 Abstraction in the Istituto Svizzero in Milan earlier this year), she traces the development of a new kind of autonomy for contemporary art objects, influenced by the effects of ‘the digital’.
For the past years Melanie Bühler (CH, lives and works in Amsterdam) has been working as a freelance curator and researcher. She conceived Lunch Bytes, a series of panel discussions and presentations on the impact of the ubiquity of digital technology on contemporary art, at the initiation of the Goethe-Institut in Washington. Her anthology ‘No Internet, No Art. A Lunch Bytes Anthology’ was recently published by Onomatopee.