Finally, a Semi-Definitive Definition of Post-Internet Art. Installation view of Art Post-Internet Those in search of a definitive text on post-internet artmaking now have a source book to download.
Curators Karen Archey and Robin Peckham have released Art Post-Internet, a catalogue to accompany their show Art Post-Internet at the Ullens Center for Contemporary Art, Beijing China. More than that, it’s full of primary source research and information about post-internet art from dozens of critics, curators and museum professionals. These include Christiane Paul, Ben Davis, Domenico Quaranta and myself to name a few. Each catalog receives its own unique unique download number, as well as a weather report for the day and place where it was downloaded. This design decision by the Berlin-based studio PWR is the quality that perhaps most closely ties the work to post-internet art, as they define it. Which ideas, artists, curators and institutions do you associate with this term, and which movements or creative producers do you think are its precedents? Pilvi Takala — The Trainee. The Trainee, 2008Installation Three videos with a duration of 13:52, powerpoint presentation, keycard, letter The Trainee has been produced in collaboration with international accounting firm Deloitte.
In order to realise the project, the artist worked for a month as trainee in the marketing department of Deloitte, where only a few people knew the true nature of the project. During the month-long intervention, an initially normal-seeming marketing trainee starts to apply peculiar working methods. Gradually she shifts from the position of someone others believe to be normal, to the object of avoidance and speculation.
The videos and slideshow reveal a spectrum of ways of handling the odd member in a group. We see the trainee sitting at her workstation in the consultants' open-plan office space, or in the tax department library all day doing nothing. What provokes people about this ‘non-doing’, aside from the strangeness, is the element of resistance. Archive – Aram Bartholl. ↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓
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¡maldita lisiada! Www.ehu.es/arteytecnologia/lcilleruelo/textos/arte_de_internet.pdf. Www.sfu.ca/~jstockho/courses/iat100/media/RachelGreen_WebWork.pdf. Una historia del Arte de Internet. Systems Esthetics. Jack Burnham Systems Esthetics Reprinted from Artforum (September, 1968). Copyright 1968 by Jack Burnham. A polarity is presently developing between the finite, unique work of high art, that is, painting or sculpture, and conceptions that can loosely be termed unobjects, these being either environments or artifacts that resist prevailing critical analysis. This includes works by some primary sculptors (though 0 some may reject the charge of creating environments), some gallery kinetic and luminous art, some outdoor works, happenings, and mixed media presentations.
William.hoza.us. Luther Blissett (seudónimo colectivo) Bobbicknell-knight. PAGES IN THE MIDDLE OF NOWHERE (former FIRST AND THE ONLY REAL NET ART GALLERY) Proyecto "Cacharreando: Makey makey + Scratch" Netart e Arte Electrónico. Music History In Gifs - Design. If we didn't work yet still managed to own a computer, we would probably spend a good portion of our time watching the endless vortex of procrastination that is the world of gifs.
We're totally not alone. As you might be aware. The Internet is jam-packed with them and we stumbled upon a new set which has steamrolled its way into our gif hall of fame. Josh Carrafa has transformed iconic moments from music history into 8-bit moving nuggets of brilliance. You can see some of the best below and even more here. 1969 - The Beatles. MediaArtLab. Джозефин БосмаМежду умеренностью и экстримом (крайностью). Разногласия между нет-арт теорией и арт-дискурсом (2000)Тематика: Медиа-сообщества , Медиа-арт , Медиа-артЯзык оригинала:английский Society on the Internet is hardly different from that off-line.
The few differences in cultural, social, and political structures up to now, should mostly be credited to the specifics of its technology and to the inexperience of people working with it. Harlem Shake - For Website. Cornelia Sollfrank. Four professionals in the field respond. "From the standpoint of contemporary creation, to me the notion of 'fake' suggests three types of art forms practiced on the Internet. The first one is the art of pretense, of trompe-l’œil. I’m thinking of Christophe Bruno’s Google Adwords that exploited an advertising service to guide users towards his personal website — the small ad displayed on the Google page could be considered a fake. The second type has to do with fictitious corporations and identities, examples of which you can find in the work of Luther Blissett and Cornelia Sollfrank.
Femenino.net.art: feminización de la cultura y red Internet. Teniendo en cuenta que lo femenino ha sido uno de los "otros" visibilizados en las últimas décadas, origen y sentido de relevantes cambios sociales, nos encontramos con la dificultad que supone "definirse" para la mujer o para cualquier "otro" que haya estado excluido del juego social. A partir de esta dificultad indagamos en el doble juego de deconstrucción de su imagen pasada y la afirmación de un "querer ser" (darse forma a sí mismo), sólo posible como proceso (siempre inacabado).
De esta manera vemos cómo se favorecen ’identidades’ que rehuyen el esencialismo y se definen en lo provisional. Teniendo en cuenta que muchas manifestaciones de la provisionalidad y multiplicidad en nuestra cultura, incluida la adopción de personalidades online, están contribuyendo a un replanteamiento general de las tradicionales concepciones unitarias de la identidad, las experiencias en la red Internet nos ayudan a elaborar estas nuevas visiones del "yo". · Deconstrucción mediante nuevos lenguajes.
La insoportable levedad de los archivos digitales >> El arte en la edad del silicio. Mapa de Geocities creado por Olia Lialina y Dragan Espenschied con gdmap.
Dos célebres artistas, la rusa Olia Lialina, pionera del net.art y el alemán Dragan Espenschied, se han convertidos en arqueólogos digitales.