“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 only way to stem the desperate natural reuse of existing information, whether they are music tracks or video images is shake the specter of the law, even if more time passes, the more duplication techniques / sampling become trivial. Jon Routson is an American artist who in his installations (for example, entitled 'Bootleg (The Dreamers)' or Bootleg (Kill Bill Vol 2)) shows the secret experience of watching a movie in public. Routson with a camcorder takes the first run movies by going to see in theaters and recording the angular point of view, as well as the background noise and the reactions of the public. One of the last equipment has been built on three screens with as many copies of 'Passion of the Christ' with Mel Gibson, taken in three different places, one of which was the roof of a building of an outdoor room. A sort of 'live' the cinematographic representation, in short, which usually can not be shown outside the meeting rooms for the copyright issues of all that you see and feel the screen. The artist lives in Baltimore, Maryland where his practice will soon formally illegal, as it is already in New York and California. The hysteria against duplication led to the end of June to ' stop a minor from Los Angeles who was filming Spider-man 2. The projectionist was equipped with night-vision goggles, the latest to terrorize little kids in the United States who are at risk up to a year in prison for this offense, while rumors of monetary benefits ($ 100) to employees of salt that will act as informers. Returning to Routson, his work, among other things, never put up for sale, it becomes symbolic for a battle needed to freedom of expression. To comment, distorting, ironic in any way contemporary culture is an inalienable right of individuals that historically has never been denied (political satire is a classic example), and never will be.