Discussion: Visible-Invisible. Art in the Digital Age


From 27 November 2019




Garage Auditorium


Part of the Ingosstrakh and Garage co-run cycle of talks Time for the Future, the audience is invited to discuss the phenomenon of Digital Art along with challenges it brings to the ethics and work of museum institutions and the laws of the art market at large. The audience will learn why they should distinguish between video art and Digital Art, what “posthuman” means, and how the market and the legislation have to change in order to correspond with the advancements in the field of aesthetics.

Painting, sculpture, installation, sound art, video, and even performance—all twentieth- or twenty-first-century art mediums seem familiar, classified, and allocated in today’s museum collections. Experts have learnt how to display, evaluate, document, preserve, and sell them. However, a new generation of artists/researchers choosing digital technologies as their medium has invaded the scene recently. These authors stopped making art objects proper, and even visible physical forms or video projections in their works are merely footprints of processes often generated by nonhuman mechanisms, like neural networks for example. These pieces lose connection with the physical space and question the format of museum display as such. How do these new conditions alter the functions of a museum as an exhibition venue? How do they affect the ethics of treating artworks and artists? And is it possible to retarget services accompanying exhibition-making and the art market itself without losing time and money?

The problem of collecting and demonstrating art publicly leads to the necessity of determining intellectual and physical property right owners and insuring works from loss or damage. But what should be defined as valuable or damaged in a nonmaterial art piece? How do you evaluate the cost of a neural network? And can it function as the owner of the copyright?

As the art market is still controlled by conservative markers, such as the frequency of appearance at international surveys, and the system of relationships between the artist and the institution remains almost the same as in the twentieth century, the need for new mechanisms for working with digital artworks in the fields of law and ethics becomes more and more obvious.



Mirko Mudrinic is Head of Fine Arts and Species Insurance at Ingosstrakh. Head of the group working on the development of uniform requirements for insurance and reinsurance of museum items. He graduated in Metrology, Standardization and Certification from Moscow Polytechnic University and has been working at Ingosstrakh since 2008.




Ekaterina Inozemtseva is a senior curator at Garage Museum of Contemporary Art. She graduated in Philology from Moscow State University in 2004 and subsequently obtained her Candidate’s Degree in Philology there in 2007. From 2003 to 2004, she worked in the Department of Experimental Programs at the National Center for Contemporary Arts. From 2004 to 2005, she was a curator at Gary Tatintsian Gallery (Moscow) and from 2006 to 2011 a curator and deputy art director at Proun Gallery (Moscow). From 2011 to 2014 she was chief curator and deputy director at Multimedia Art Museum, Moscow, where she curated over fifty projects. Inozemtseva has been a curator at Garage since 2014 and a senior curator since 2017. She has written for exhibition catalogues and art periodicals and was awarded Kariatida Prize in 2013. 


Ekaterina Dementieva is Head of New Media at Yandex and co-founder of the Psycho Daily Telegram channel which has over 25,000 subscribers. She launched and directed the web resources Afisha Gorod (2012–2015) and Afisha Daily (2015–2017). Dementieva has been working at Yandex since 2017, coordinating the broadcasting of theater performances on the main page, the project Ya v teatre (I am at the Theater) and the series A Brief History of Everything. She also runs Yandex.Taxi’s Instagram Stories and other content-related projects. She is a regular speaker at Mosurbanforum and teacher at the European University and the online platform Mastera Rossii (Masters of Russia).


Free admission with advance registration