Mohammad Salemy — Art After the Machines

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Mohammad Salemy — Art After the Machines

"This text is brought to you from the intersection of collaboration and hyperstition. What makes this experiment necessary is the severity of the cultural crisis in which art stubbornly refuses to find itself. For art to make sense and to survive the uprooting effects of the escalating cybernetic revolution, it needs to be something other than what it has been. The place to consider the future of art is as much the world of thought as it is the artist’s studio or the gallery."

Listed here are some excerpts from the full text : 5 / 26

  1. [...] If we are to hang onto anything that might be called or resemble art, our efforts have to include not only understanding what art is, but also what art does, and even more importantly what it ought to do [...]
  2. [...] By removing the diverse and subjective interpretations or experiences of art as its condition of possibility or telos, we can collapse the entire edifice of the dominant art paradigm. [...]
  3. [...] Art must respond to the problem of enablement, i.e., how the making of artworks enables both the maker and the viewer to think. [...]
  4. [...] The artist begins with a certain set of ideas and access to a level of already produced knowledge, as well as an understanding of how proactive risk-taking opens up the outcome of the artwork to contingency. [...]
  5. [...] The future valence of art will depend on its modularity and adaptability to multiple platforms. For art to face the machines, it needs to leave the church of humans and become fully processual and transmittable.
  6. [...] read more here

Mohammad Salemy is an independent Vancouver-based critic and curator from Iran. He has curated exhibitions at the Koerner Gallery and AMS Gallery at the University of British Columbia, as well as the Satellite Gallery and Dadabase. He co-curated Faces exhibition at the Morris and Helen Belkin Art Gallery. Salemy holds a masters degree in Critical and Curatorial Studies from the University of British Columbia. Retrieved from