The theme of social media's impact on expression from and the exhibition of traditional forms of art will not rest, and it probably should not. Though terabytes have been spilled on this topic, I wanted to highlight a section of an exchange with Whitehot Magazine's Eleonora Charans and Venice Biennale Curator Massimiliano Gioni. The entire exchange is here.
Charans: The scale question is interesting. What are your feelings about drawing today in the era of Instagram?
Gioni: I can simply add that the more images become intrusive and interchangeable, the more they suffocate us with their omnipresence, the more it is important to treasure images of a different intensity. I don't want to make that comparison suggest that drawings are good and Instagram is bad: in fact this exhibition relies on a polemical question raised in front of images and art works - on many levels it's a show that implies that there is no such a thing as art, but rather different forms of figurative expressions, different forms of visual cultures...
Gioni's answer mirrors much of the discourse around the "backlash" against networked aesthetics and the networked subject -- that somehow a "re-inflation" of the image will arrive (see Jurgenson). It also reminds me how the tech discourse always inspires polemics, both inside and outside of the objects it directly controls.