Portuguese artist Mariana Silva (1983) is not so much interested in the digital art work as the process of digitalising it in the first place. In Space, Tensta konsthall’s curatorial online platform, Silva explores this second wave of digitalisation, one that is becoming so prevalent in the western art scene. By scanning and constructing three-dimensional archives, galleries and museums are able to make their work more accessible to the public. Merely visit Space at www.tenstakonsthall.se and enjoy an eclectic rotation of several digital 3D-scans from the comfort of your very own home.
Silva is also interested in the complicated – potentially healing – role of digitalisation in a modern world facing climate change and war. Whether it’s the destruction of cultural heritage by Isis in Iraq and Syria or the controversy surrounding the Elgin Marbles at the British Museum, art has always been rich with political debate.
Silva is preoccupied by two other trends in the creation of these 3D archives. Firstly, the fact that large technology companies have suddenly become invested in cultural institutes. Secondly, that museums invite visitors to get involved in the very act of 3D archiving through organised events wherein the public take panoramic pictures and then assemble models from these collections. Yet, visitors often have limited knowledge of such specialised techniques, and the scans they create often result in imprecise copies of the originals. What does this say about the future of such museums’ collections?
The Annotated Friends of Interpretable Objects – Mariana Silva is on display at Tensta konsthall until 3 September.
On Wednesday the 5th of July at 19:00, Silva will give an artist presentation.
Words: Daisy Fernandez