Roddy  Hunter

Current research/thesis title:

Curating The Eternal Network After Globalisation

"The research focuses upon production, distribution and reception of network art practice before and after globalisation."

The research focuses upon production, distribution and reception of network art practice before and after globalisation. It does so to engage with the Internet as ‘the most material and visible sign of globalisation’ (Manovich 2001) whose emergence as preeminent network technology arrives concurrently with the disappearance of its utopian promise. Understanding this dynamic is significant in how we curatorially reconceive of 20C utopian, post-avantgarde network art practices predicated on transcending borders of body, mind and territory after the Net has arguably reconfigured those paradigms and parameters fundamentally.

Taking Robert Filliou’s 1968 conception of ‘The Eternal Network’ as a starting point, the research seeks to understand the opportunities and limitations of network art through identifying and developing a range of models in theory and practice. The main practice output of research has become focused on curating only the second edition of ‘The Art-of-Peace Biennale’ as conceived by Filliou as early as 1970, proposed in 1982 and organised firstly by René Block at the Kunstverein in Hamburg, Germany, in 1985.

The contemporary edition ‘The Next Art-of-Peace Biennale 2015-17’ occurs mainly, though not exclusively, through the online resource and seeks to respond to the radical shift in modes of online production, distribution and reception since the first edition. The research describes, contextualises and critiques my development of ‘The Next Art-of-Peace Biennale 2015-17’, including evaluation of my attempt to develop the project as a nomadic biennale, biennale-as-meeting, as-workshop, as-network. Through engaging processes and methods of how ‘curatorial behaviour’ explores the locations, durations, materialities, and interactions of network art practice, the research seeks to propose curatorial principles able to withstand the ‘high-tech gloom’ (Filliou, 1985) of mendacious globalisation but also able to successively regenerate network art practice after the Net.