“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.
It still makes sense in a magazine on paper with the theme electronic music with new and exciting features it offers online information (real-time updates and links to labels, shop and artists, pre-listen tracks and tools that allow you to associate other content for statistical and semantic similarity)? Certainly the role of the press has become to preserve the most important information and offer it in a format enjoyable and that makes sense in the timing of consumption. tested this independent North American part of this evolution of the paper medium, distributing interviews, essays and label profiles, and setting up large section of interviews. The editorial looks at the essentials but tries to reflect the state of the art of music production culturally-mail. And it is easy, finally, recognize the signs of the differences compared to the pre-internet perspectives of a decade ago, ie the new spatial coordinates, with, for example, the specific changes in a particular territory) and temporal, with the perennial poised between past and present, in a continuous and dynamic relocate mutual highlights of styles and weight of the most famous works.