Due to recent cuts in arts funding and populist cultural policies, these institutions lack the support to foster dialogues with art produced outside the traditionally defined artistic centers.
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IXOPUSADA is invited to make the alternative Newsletter with the intention to customize the traditional SMBA Newsletter for the exhibition without loosing its original identity and importance.
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As well, he chooses not to edit, refusing the use of montage to manipulate our look and to tell a story following the traditional dramatic pattern of accelerating action, climax and denouement.
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The ways in which art and businesses already work together (there is even an organization called Art and Business) largely fall within this traditional role division and are therefore unacceptable to Orgacom.
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Orgacom believes that art and business can learn from each other and feels that the traditional separation of the practical things of the everyday and the useless things that belong in a museum is unproductive for both parties.
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The snapshot traditionally stood for the ineptitude of the family photographer, but also, in recent days more than ever before, for immediacy and authenticity, qualities which are valued highly by many young, contemporary artists.
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In these wall-works Colton took parts of the earlier half-scale model to support the new work, in a circular process reminiscent of the traditional play of sculptors, and perhaps, most recently, of Didier Vermeiren or Kirsten Ortwed’s dialogues with moulds and casts.
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It includes ancient, pre-Columbian precursors of modern tomatoes, traditional cultivars from all parts of the world, as well as game-changing industrial varieties, such as the first variety that was bred solely to withstand handling by a mechanical harvesting machine.
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You see short street scenes in which a group of Staphorsters, women or children in traditional dress, continually flee from the film camera: those 'under fire' from the camera, turn, dive or run away, cover their faces; they do anything to get out of view as quickly as possible.
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In many ways, digital art confounds the logic of (museum) presentation institutions: it cannot be seen independently of hardware and interfaces, it is often co-authored, it has scarcely broken through in traditional collection circles like those of private collectors and museums, and it questions art’s focus on the object.
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