The Social Media Art: post-production procedures from Anne Horel and Petra Cortright

Name: GUSTAVO BARATA LEONARDO

Publication date: 14/07/2017
Advisor:

Namesort descending Role
FABIO LUIZ MALINI DE LIMA Advisor *

Examining board:

Namesort descending Role
ALMERINDA DA SILVA LOPES Internal Examiner *
FABIO GOMES GOVEIA External Examiner *
FABIO LUIZ MALINI DE LIMA Advisor *

Summary: The present dissertation aims to investigate and explain social media art in connection to Nicholas Bourriaud´s post-production theory and practices and its applicability on the universe of pre-existing, online data: terabytes of audio, video, image and text that are impossible to be measured but are ever expanding in a myriad of information that is constantly being reformatted by the users. It analyzes the transformations by which eighteenth-century art has gone through, from the physicality of the artistic object to its aspect and fabrication, starting with the avant-garde groups of the beginning of the twentieth-century until the culmination of contemporary art made by computers, especially from the eighties onwards with web and net art and the evolution of the Web 2.0, which allowed for massive sharing of content. It presents a case study of two artworks from Anne Horel and Petra Cortright, plus interviews by artists Scorpion Dagger and Ailadi Corteletti, to reaffirm theoretical discussions about art made in networks and its validity against the refusal of important institutions to showcase such art - a fact which was verified via analysis of four eminent profiles selected on Instagram -, undermining the intrinsic educational purposes of such organizations in both their physical premises and internet presence. It examines the reasons why some of these institutions resist digital and social media arts due to their restrict, but possible, commerciality factors, which differs from the current standard by which physical and tangible artwork is bought and traded by few connoisseurs who hold possession of the objects in circulation. At the end, it approaches and debates important aspects to be considered so that the education in contemporary art can be broader and more accepting of this very modern artistic practice as a whole, as relevant as the art previous to the digital era in which society and its cultural production methods are presently inserted and in development.
Keywords: Art. Dematerialization. Internet. Post-production. Social Media

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