Abstract
This paper examines the practice of electronic media art from a perspective that stresses the technological and spatial contingencies of presentation. Electronic media art is by nature dynamic, a dynamism that extends to the spatial and technological specificities inherent to the ultimate exhibition of a work. Media artworks are often transformed by the context of exhibition, and it is the question of how to best approach this relationship between artistic intention and local infrastructure that concerns us here. To explore this question, this paper examines how infrastructural issues experienced during the installation of Flow in Toronto (2002) affected the presentation of several artworks. It also looks to the interactive work of Canadian artists David Rokeby and Istvan Kantor as examples of artists whose design and exhibition aesthetic grapples with this question in a productive fashion.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
