“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 concept of public space in a city, even if originally intended as a physical place for debate and confrontation, has undergone a radical transformation during the years, and now fully contains all the immaterial production of the media. This multifaceted project by some russian artists, sponsored by the De Balie center in Holland, succeeds in producing an articulated discussion of life in these public spaces through media incursions which challenge many of the conventions we take for granted in urban territories. One of the most interesting aspects of their actions is that they have opened media windows on reality, grafting projections, wall paintings made with pixel-bricks, tags and sounds in the life tissue of crowded places. The performances staged in Russia, particularly, cast a light on the mutations a twisted nation has undergone during the last twenty years, and highlights the forwards accelerations and the backwards pulls towards a frozen cultural and social past, hardly explainable by a traditional analysis. Inside these contexts, street interaction and the rips that digital alphabets open up in daily life can interact perfectly, giving us a vision both innovating, in that it makes a contradictory media reality blossom, and historical, in that it bring our attention back to the public spaces, against the morbid trend of intrusion in private spaces, so practiced by the entertainment multinationals. Finally, a word of praise for the excellent graphics, which reproduce the cyclostyled samizdats, reflecting the dame spirit of reappropriation of reality and media.