Quid Pro Quo: The Logistics of Exhibiting Digital Art
Digital art is by its very nature ethereal and struggles to fit into any existing formulations for exhibition and collection. Recently, digital art has been in the limelight relating to the increasing popularity of NFTs.
We had a conversation with artist, coder and neurographer Mario Klingemann, a veteran in the art + technology space working with all of the acronyms from AI to NFT. His works have been exhibited within physical and digital exhibitions, including at museums like the Barbican and Pompidou. His more conceptual art uses technology as a performance, making a point about the world around us. His more figurative work employs artificial intelligence, using algorithms as a paintbrush in a methodology some call "generative art". Especially with this movement of generative art, the display and value of a unique piece in a world of infinite multiplicity is difficult for some to comprehend.
Are some forms of digital art not made to be exhibited? Is there such a thing as a digital original, and what value can we ascribe to it? How do you preserve the way a digital artist wants people to view their work - or is that even important to digital artists? Are we getting closer to a solution to the NFT carbon footprint? We hosted a conversation with generative digital artist Mario Klingemann on the logistics of exhibiting digital art.