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After a Year of Online Programming, What Worked?
Frieze editors discuss the different trends in digital exhibition-making, from end-of-world scenarios to community-based initiatives
Terence Trouillot In February, an exhibition titled ‘Goodbye, World’, curated by Andreas Templin and Raimar Stange, was installed on an ice floe near the Arctic Circle in Swedish Lapland. Centred on environmental disaster, the show – featuring works by Jonathan Monk, Olaf Nicolai and Martha Rosler, among others – made me think of how COVID-19 has prompted a focus in the arts on the cataclysmic end of civilization. Accessible exclusively online, the exhibition is both tongue-in-cheek and allegorical, suggesting that all artworks will cease to exist in the future.
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Mountain Landscape with Lightning, c1675, by Francisque Millet
This vertiginous Alpine view riven by a jagged streak of fire in the sky was painted in the age when French artists raised landscape to a new status as a serious and poetic artistic genre. Millet, who was based in Paris, shares the grandeur of his contemporaries Claude and Poussin. But we tend to picture their landscapes as calm and still, tinted with Mediterranean light â in short, âclassicalâ. That moderate atmosphere digusted the Victorian critic John Ruskin, who contrasted such milquetoast stuff with the British romanticism of Turner. Here, however, Millet creates an electrifying storm erupting from a calm day, its gold light and black clouds searing against the cool Alps: a scintillating bolt from the blue.
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