Written by Eduardo Navas
Commisioned by MEIAC, Badajoz, Spain, March of 2010, for the exhibition Re/appropriations, organized by Gustavo Romano. The exhibition was launched in December 2009. The text is released online with permission. Complete text is available on Remix Theory.
The exhibition Re/Appropriations, curated by Gustavo Romano, proposes that artists in networked culture find their creative potential in the appropriation, selection, and combination of pre-existing material on a meta-level—that of the re, or more specifically, Remix as a form of discourse. To this effect, Romano recontextualizes the artist as a “redirector of information,” rather than a creator. This premise as the entry point for creative production at the beginning of the twenty-first century leads to a recurring question often posed on the popular awareness of Remix: “Remixing, as an act of combining material has been around for a long time, one could argue since symbolic language was conceived; so, what is so different about the elements of Remix explored during the first decades of the twenty-first century that make them unique from those in the past?”[1]
Complete text is available on Remix Theory.
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