REFLECTING ON REFLECTIONS; SPECULATING ON SPECULATING, ALL AT ONCE

Megarave - Metarave, 2014

Since the early 2000s, an increasing number of artists with a focus on desktop-based practices decided, where possible, to leave the technologies at home when they were invited to exhibitions. Software was converted into prints, videos, installations; performative media hacks were documented and presented in set-ups inspired by the ways in which conceptual and performance art manifest themselves in physical space; and the early adopters of the “post-internet” label, whose practice mainly consisted in appropriating and reframing internet content and playing with the defaults of desktop-based tools, naturally looked at video, print and installation as media to operate in physical space. This text has been commissioned for and first published in Megarave - Metarave, exhibition catalogue, Kunsthaus Langenthal / WallRiss Friburg 2014, pp. 37 - 46. Re-published in Domenico Quaranta, AFK, Link Editions, Brescia 2016, pp. 8 - 22

2007

Although the term post-Internet emerged in 2008, since then many writers, critics and curators have been involved in the discussion of what it might mean. Some see it as the ’translation’ of net.art to fit the ecosystem of contemporary art, whereas others understand it as a form that is ’aware’ of its own environment and still carries the flag of institutional critique. Instead of using the Internet just as its material, post-Internet practitioners also take the Internet as subject matter and problematized topics like surveillance, infrastructure and control over the Internet. This dissertation puts an emphasis on theorizing the concept of post-Internet by referring to invisible infrastructures that shape the Internet, conceptualized by James Bridle as ’the New Aesthetic’; critique of neoliberal agents on the Internet as discussed by Zach Blas; the validity of distinction between digital and physical culture in the age of ’digital natives’ and the problems of authenticity, performativity and temporality in the post-Internetage. Opening chapters gives a non-linear development of the Internet as a medium and the subject of artistic practice, thus distinguishing net.art that is made using material gathered online from post-Internet. After ’defining’ post-Internet, the dissertation looks into real life applications and case studies in order to explore curatorial strategies and processes, especially focused on the rep- resentations of such works in physical spaces. Methodologically, theories are handled and explained using the practices of artists and other producers to point out the disappearance of difference between the theory and practice in life after the Internet.

Journal of Curatorial Studies, 2015

Manchester and London: Cornerhouse and SPACE (2014), 256 pp., ISBN: 978-0-95695-717-7, Paperback, £15.95

This paper examines the role of Internet technology as an important factor in the creative processes of art making. The paper’s focus is on digital time, the physical life of internet art and the artist’s choices relating to that. By examining the physical life of internet art, the paper highlights the time-based element of internet art and how internet art essentially unfolds and evolves over time. This raises issues on how internet art is being both preserved and experienced online and how its aesthetic, conceptual and historical identity evolves alongside the technological medium. The paper continues with an examination of the artist’s decision making process relating to the artwork’s digital time conditions from a political point of view. By choosing its present online conditions, artists can manipulate the artwork’s past and future, gaining unprecedented control over the artwork itself. Specific examples of artists are being presented and discussed throughout the paper to provoke and support the paper’s concept of digital time in internet art, as a very important factor that allows us to rethink how art operates within our contemporary conditions.

Art in the Age of the Internet, 1989 to Today edited by Eva Respini, 2018

The essay critiques the term Post-internet art as capacious reference to the ways that experiential, multisensory installations treat images as inherently variable and reproducible, and—in the most benign cases—as mutable works, equally at home in the space of the museum or on a webpage. In contrast, however, this essay argues that Barry, Birnbaum, Hershman Leeson, Scher’s and other post-internet art antecedents introduced in the 1990s suggest new affinities with what can be thought of as other perceptual systems and subjectivities. In doing so, their multimodal and multiplatform artworks offer a feminist methodology for contemporary art history that contests and re-inscribes existing modernist predecessors.

In the last decade, New Media art and internet art have generated a significant quantity of scholarly attention and assumed a fairly assured, if still marginal and contested, space within the international art scene. 1 It is only quite recently, however, that the wide-ranging significance of the internet's affect on cultural and political life has been properly recognized. The international scandal caused by Wikileaks' release of hundreds of thousands of confidential American diplomatic cables is only one of the most obvious signs of the drastic transformations taking place in our conception of information and the public sphere. Naturally, the new forms of exchange and sociability that are being generated have significant implications for art institutions that extend well beyond art that exists on the internet or makes use of new technologies as medium or subject matter. Seth Price's Dispersion, an open-ended and widely distributed essay begun in 2002 (it also appears in various forms as an artist's book, a freely available online PDF, and a wall sculpture) is unique in that it takes the transformation of public space and collectivity brought about by the internet as a jumping-off point for a historical reconsideration of the boundaries between art and non-art. 2 Exploring various attempts to infiltrate or claim the territory of life outside the policed boundaries of art institutions, from Duchamp to conceptual art via Pop (all failures, to one degree or another), Price argues that the increasingly "dispersed" condition of culture -in other words, the vastly increased accessibility and reproducibility of

Art in the Age of the Internet, 2016

Speaking of the internet, the digital, the postdigital— and the convergences within the contexts of art and technology, and of new media—has become a drag.