Maija Grönqvist, MA student, University of Helsinki
This article is published as a result of a three-month research internship at the Finnish National Gallery
How to preserve process, context, and instability? Software-based art requires a certain amount of institutional rethinking in terms of collecting and preservation. Museums, entrusted with the task of preserving and re-exhibiting their collected artworks even in the most distant future, are battling with a new set of problems related to software-based art. The underlying challenge is that the artworks – often manifested as everything but objects – are created on technologically evolving platforms. As a result, theoretical models and practical strategies linked to software-based artworks are inevitably bound to change.
Preserving software-based artworks is challenging yet vital, as they not only represent the artists’ ideas and concepts, but also the technological possibilities and the complex communication landscape of our time. Long before the official recognition of the digital revolution, artists were already experimenting with the novel possibilities of new media. The first wave of digital art was exhibited mainly at technology conferences or digital media festivals. Towards the end of the last century, however, new media art, the art form that used to be considered ‘peripheral to the mainstream art world’, became an established genre and finally a welcome addition to galleries and museums. This expansion occurred globally in the 1990s, following the unforeseen affordability and user-friendliness of projectors and personal computers.
 Paul 2015, 87; Fino-Radin 2011, 6.
 LIMA 2016.
 Paul 2003, 7.
 Paul 2003, 7; London 2014, xviii; Lialina 2010, 38–39.
Featured image: Reija Meriläinen, Survivor, 2017, video game
Finnish National Gallery / Museum of Contemporary Art Kiasma
Screen capture of the online artwork
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