Curatorship and the Internet: art presentations as a translation of cultural code

Virtual reality has become an important part of the work of curators, a space in which cultural codes are represented and transformed. The curator is transformed from keeper oftor is transformed from keeper of art into a researcher of culture. The curator himself is not an innocent bearer of a particular cultural tradition. At the present stage of the development of technology and network culture, the focus of curating has shifted to the production of art projects created considering the changes that have made virtuality a part of our daily practice. NFT art has become a controversial symptom of the new attitude towards virtual property. This is evidence of a new ethic and ideology of virtual copyright. If earlier an “event” was perceived as something unique, then in the age of the Internet it can be reproduced many times. Only the reaction to it at a particular moment in time is unique. This provokes repetitions and reconstructions of art projects of the past. The Internet turned out to be a platform where traditional museum and gallery institutions coexist in parallel and a new discourse is being formed. At the same time, the promotional, commercial function of curatorial projects is in demand. The immersive and multisensory projects open old debates about the role and value of art and explore the implications of the web’s influence on our culture and human psychology. Online curation is, in fact, a special cultural practice, since it is not context-free and responds to the Internet not only as a medium, but also as a technologically dependent, cultural, political and economic ecosystem that broadcasts cultural codes.