The technologised interface between physical and virtual spaces has consequence upon how communication and meaning is culturally negotiated and the act of involvement or participation is socially organized organised through the art of exhibition. How might these relationships be designed? As broached in this short paper, the curatorial project Remote is indicative of the influence that the digital has had on matters involving curatorial design and the ‘dimensioning’ of the exhibition form itself.
The following text will lead towards an abbreviated summary of this particular curated project by discussing how an understanding of the exhibition (as a hybrid medium) might be illuminated by approaching it as a complex structure exhibiting both formal and contextual qualities. After a brief digression in which the publication format itself is introduced as a contributing form of exposition to this argument, an ecology of exhibition will be focussed upon. The term ‘ecology’ is particularly appropriate to this discourse as it resonates well with a curatorial design perspective of the exhibition as a dynamic, interconnected system of forms, spaces and relationships. The main part of the article is composed of five short episodic sections that, when combined, aggregate as a collection of concerns (thematic, design-based, institutional, curatorial) relating to the mediation of the extended typology of spaces that make up the exhibition complex: [artifact – exhibition – museum].
Author’s Acknowledgment & Attribution
The author would like to expressly thank the contributing artists and designers for their creative investment, professionalism and commitment to the Remote project.
Vince Dziekan (Senior Lecturer and Deputy Head, Multimedia & Digital Arts) acknowledges his affiliation with Monash University, Faculty of Art & Design and the institutional support given to this research.