<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><a href="https://artmargins.com/the-soros-center-was-a-perfect-machine-a-dialogue-between-aaron-moulton-and-geert-lovink/" class="">https://artmargins.com/the-soros-center-was-a-perfect-machine-a-dialogue-between-aaron-moulton-and-geert-lovink/</a><div class=""><br class=""></div><div class="">“The Soros Center was a Perfect Machine”: An Exchange between Aaron Moulton and Geert Lovink</div><div class=""><p class="post-byline">Email exchange between <span class="vcard author"><span class="fn">Aaron Moulton (Los Angeles), Geert Lovink (Amsterdam)</span></span></p><p class="post-byline">The following exchange, over email, between Dutch media
theorist and Internet critic Geert Lovink and Aaron Moulton occurred on
the occasion of the exhibition The Influencing Machine at Galeria
Nicodim in Bucharest, which closed on April 20, 2019. The show, curated
by Aaron Moulton, was an anthropological investigation into the
macroview of the Soros Center for Contemporary Art (SCCA), an
unprecedented network of art centers that existed across twenty Eastern
European capitals throughout the 1990s. A survey of historical and
contemporary artwork that explored ideas of influence, revolution,
colonialism, and cultural exorcism, the Bucharest exhibition included a
large archive covering the SCCA network that allowed first-time research
into the institutionalized strategies of curatorial practice in the
early years of the SCCA network, trajectories of influence that lead to
specific kinds of cultural production.</p><div class=""><br class=""></div><div class="entry themeform"><div class="entry-inner"><div class=""><br class=""></div></div></div></div></body></html>