Glitch: Art & Technology: Processing media matter

Rania Gaafar, Mediarep.Org
NECSUS 9 (2), Autumn 2020: 421-433 URL: The political upheavals, topological disruptions, and perpetual fragmentations of present and future lives in the Middle East and North Africa have resurfaced in a novel aesthetic of crisis in the art worlds and digital infrastructures of the region. Glitch: Art & Technology ( is a timely exhibition
more » ... ely exhibition curated by Los Angeles-based scholar and art curator Shiva Balaghi that focuses on the concept of technical errata and their evidentiary aesthetics in artistic transformations. Across three new galleries on the former campus of the American University in Cairo, on Tahrir Square, the exhibition comprises 13 artists from a variety of disciplines. Balaghi opens her curatorial outline with a nod to German artist Hito Steyerl, emphasising the organic, vulnerable arrangement of our cooperatively and collectively networked lives: 'In today's increasingly fluid media space, images and sounds morph across different bodies and carriers, acquiring more and more glitches and bruises along the way.'[1] Through the figure of the glitch, the curator references the bond between technical devices, our bodies, the material worlds we inhabit, and assorted, mostly digital, artistic practices. As a system-inherent dysfunctionality or an intentional, aesthetic 'post-procedural flow'[2], glitch interrelates myriad cultural and contextual spaces, electronic operations, social systems, and corporate commodities. 'Glitch' as electronic failure, an erroneous synchronic coupling of a signal in time, space, and different electronic channels, implies a performative event of crisis, an other aesthetic narrative, a digital allegory of random or intentional imperfection. The artworks in the exhibition cover a wide range of artistic practices and media, thereby configuring a complex
doi:10.25969/mediarep/15335 fatcat:lqekfzg4yvaqxeu7bqhq3n4g6i