“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.
The external look of the hardware possesses a strongly symbolic component in the representation of its contents, and the makers of music machines have known this for a long time. Reinterpreting this axiom, the artists Mark Argo and Ahmi Wolf have created Bass-Station, an ’80s-style ghetto blaster which, devoided of its original electronic circuits, contains a computer with a linux file server, mp3 player and decoder and a wi-fi network card. This way its historical role, that is, to broadcast sounds sharing them with the block (ghetto), gains a new life with the additional power given by the possibilities of contemporary computer technology. The local network created by it is automatically accessible to everybody within its range and gives the possibility to share any kind of material. The musical icon of this machine preserves its community values, evolving the interaction to an instantaneous exchange of data and sounds in a urban zone which therefore becomes one of the few really temporarily autonomous zones.