Abstract
This essay looks at the use made by several museums of highly advanced technological and communication tools. An examination of a number of recent media events highlights the important place assigned by museums to new exhibition platforms and techniques, such as virtual exhibitions and extremely high-resolution reproductions. Through an analysis of several recent cases that illustrate how controversies sparked by contemporary artworks are handled, I consider how museums deal with politics and aesthetics in their mediation of artworks in the global era. Particular attention is paid to the Internet presentation of a work by the contemporary artist Chris Ofili entitled No Woman, No Cry , which was selected by Tate Britain to be part of the Google Art Project. A review of several other events dating from 2011 reveals how in the context of the Internet museums pursue the same principles they have long been applying in their exhibition galleries and communications with the public. This essay also casts light on the fundamentally new methods that can be employed by websites in the presentation of images in general and artworks in particular. Keywords: Visual Culture, museums, internet, Google Art Project
Highlights
Ce texte explore l’utilisation que font certains musées des avancées technologiques et communicationnelles les plus actuelles
This essay looks at the use made by several museums
An examination of a number of recent media events highlights the important place assigned by museums to new exhibition platforms and techniques
Summary
Este texto explora a utilização que alguns museus fazem das mais atuais descobertas tecnológicas e de comunicação. O exame de alguns acontecimentos midiáticos recentes permitirá medir a importância que os museus consagram aos novos espaços de exposição: as exposições virtuais e as reproduções em altíssima definição. Apoiando-se em casos recentes que demonstram como são geradas as controvérsias com respeito às obras de arte contemporâneas, veremos como os museus, na era da globalização, podem efetivar o convívio entre a política e a estética na mediação das obras de arte. Que datam de 2011, demonstram como o museu reconduz, na Web, os princípios de práticas que ele aplica, já há bastante tempo, nas salas de exposição e nas mensagens direcionadas ao público. Também, as transformações profundas que os sites internet podem operar na apresentação de imagens em geral e, em particular, de obras de arte. The internet and contemporary visual culture: balancing aesthetics and politics in museums during the global era**
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