logo


Enrico Camporesi "Digital Pandemic" Notes and Citations

  1. The collection team, operating under the direction of curator Philippe-Alain Michaud, includes Jonathan Pouthier, Isabelle Daire, and Alexis Constantin.  Alice Moscoso, in charge of the digitization of the museum’s collections, worked closely with us during this time. This text emerges from the collective work and the frequent discussions we have had – at a distance – during the lockdown. 
  2. Tiago Baptista, a curator at Cinemateca Portuguesa in Lisbon, warned in a timely fashion about the consequences of such a gesture of cultural politics: “The easy access to these cultural ‘contents’ that enter our homes through the computer screen is an important gesture that should remind everyone that culture is an ‘essential asset’ as well. But one cannot forget the enormous difficulties that the arts, the entertainment and cultural heritage sectors are already facing, that they will continue to face as long as the pandemic lasts, and that will not disappear when the very difficult recovery of these and many other activities begins.” Tiago Baptista, “A uberizaçao do cinema,” Abril Abril, March 30, 2020, <https://www.abrilabril.pt/cultura/uberizacao-do-cinema> (my translation).
  3. “Julia Stoschek presents her media art collection online,” e-flux, May 18, 2020, < https://www.e-flux.com/announcements/328571/julia-stoschek-presents-her-media-art-collection-online/>.
  4. Lanre Bakare’s enthusiastic note on the success of video art online during the lockdown is probably the climax of such a confusion, starting from its title. “‘It’s great if you’re bored with Netflix’: video art flourishes in lockdown,” The Guardian, May 4, 2020, <https://www.theguardian.com/artanddesign/2020/may/04/its-great-if-youre-bored-with-netflix-video-art-flourishes-in-lockdown>.
  5. Jamieson Webster and Alison M. Gingeras, “The Real Real,” Artforum, May 5, 2020, <https://www.artforum.com/slant/jamieson-webster-and-alison-m-gingeras-discuss-psychoanalysis-during-the-pandemic-82992>.
  6. Kirk Tougas, e-mail to the author, March 29, 2020. 
  7. Data on the online screenings were collected by Antoine Immarigeon, in charge of web projects at Centre Pompidou. 
  8. Wayne Koestenbaum, “Odd Secrets of the Line” (2013), Figure It Out (New York: Soft Skull Press, 2020), p. 112.
  9. Erika Balsom, “A ‘small utopia’? Artists’ film and video online”, Art-Agenda, June 8, 2020, <https://www.art-agenda.com/features/334094/a-small-utopia-artists-film-and-video-online>. I take this opportunity to thank Balsom not only for her writing, but also for our WhatsApp discussions on the topic. They triggered the impulse to write this piece. 
  10. Held at the Bibliothèque Kandinsky, the museum’s research library, these documents are available online at <http://bibliothequekandinsky.centrepompidou.fr/>.  
  11. This is something that can be traced back to Erwin Panofsky’s 1930 luminous account of the facsimile: “Original and facsimile reproduction,” trans. Timothy Grundy, RES: Anthropology and Aesthetics, No. 57/58 (Spring/Autumn 2010): 330-338.