Jeffery Shaw, The Legible City, 1989. Computergraphic Installation. Collection of ZKM-Medienmuseum, Karlsruhe, Germany.
Digital archiving has lately become a much-discussed topic. The illusion of “everlasting” files, advocated at the beginning of the digital revolution started crumbling away, giving way to a perception of digital formats as one of the most ephemeral documents. “We ought to have a very good strategy for digital archiving” says Hiroko Myokan, former curator at Inter Communication Center (ICC), Tokyo and currently working on archiving the very first media art festival in Japan between 1986–1999, for the Agency for Culture in Japan. On a recent visit to Montreal for BIAN 2012, Mutek and Elektra festivals, Myokan and M-KOS resident editor and digital artist Oli Sorenson freely discuss digital archiving as a key phenomenon to our contemporary condition.
Oli Sorenson [OS]: When we first met in Japan two years ago, we had an interesting talked about digital archiving. You were also in a transition period from working as a curator for ICC to going back to studying. Are you still studying now?
Hiroko Myokan [HM]: Yes, I’m still studying archiving and preservation of media art in
Linz Krems, Austria but I’m also doing research for the Agency for Cultural Affairs in Tokyo about the first video and media art festival that happened in Japan between 1985 and 1999, in the Fukui prefecture.
OS: Were these well archived?
HM: Actually, yes. It’s a very rare case. They don’t have any video documentation but only printed materials as well as some broadcasting archives from the local TV broadcast company.
Posted in Archiving, Digital Arts, Interview, Visual Arts
Tagged Daniel Langlois Foundation, Digital archiving, DOCAM, Elektra, Fluxus, Hiroko Myokan, ICC, International Digital Arts Biennale, Moment Factory, Montréal, MUTEK, Vox
Exhibition view from “Art Hisotires” at VOX. Courtesy of VOX.
VOX is a Montreal-based artist-run centre founded in 1985. After relocating many times within different areas over the years, VOX settled in March 2012 to its permanent home, in the brand new culture complex building 2-22, situated at the heart of downtown Montreal. The inaugural exhibition of their new space entitled “Art Histories” was curated by VOX artistic director Marie-Josée Jean and showcases a total of 16 international artists which all in their own way attempt to deconstruct art history and challenge this great institution. Jean talked to M-KOS of the history of VOX and their inaugural exhibition.
M-KOS [MKOS]: Can you start by introducing VOX, its mandate and its decision to move to the most central location of Montréal?
Marie-Josée Jean [MJJ]: The history of VOX is quite long because this is a group that was formed in 1985, and it’s interesting to know that at the onset the original name was Vox Populi. It was a communications collective predominantly using photography as one of many means of communications, but also radio. The origins of VOX were socially quite active, notably to the extent that VOX gave itself the mandate to defend the rights of youths. Over the years the group specialized into an exhibition space for photography. Nonetheless, our origins are clearly associated with social activism. In fact, the son of the founders of VOX, Marcel Blouin and Lucie Bureau, is now one of the key leaders of Québec’s current student protest (Leo Bureau-Blouin) [laugh].
Posted in Interview, Visual Arts
Tagged Artexte, Artist-run centre, IRWIN, Kazimir Malevich, Kazimir Malevich (Belgrade), Marcel Duchamp, Marie-Josée Jean, Montréal, RCAAQ, Vox