“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 MIT Press, ISBN 0262033283 The 'media activism' translated into Italian as 'media activism' was born well before the computer networks and has manipulated the media, electrical and electronic equipment before then, with the same shrewdness that today is recognized to the best time operations real conducted over the Internet, infecting now also the art world. This text tries to trace through individual essays, a partial history of collaborative practices involving network of artists apart for spatial or temporal coordinates. Alternatives on television via satellite (Deep Dish TV) to the ethereal networki postal mail art, the strategies that have targeted mechanisms media are a valuable asset in the practices activists, both to demonstrate the feasibility of the tactics developed from time to time, both for the accumulation of ideas capable of intervening effectively in the pervasive view of the media corporation. The insight offered here are concerned, with few exceptions, the U.S. experience (most part of the Bay Area) and must therefore be contextualized in the thin and delicate balance between freedom of expression, guaranteed by the First Amendment, and scaralità of the dogmas of capital that characterizes them. The many contemporary European practices, the many fake media aimed at manipulating the mainstream press to art (like that all of the false Italian Modigliani unpublished) at the Amsterdam pirate radio and TV in the eighties, deserve as much documentation, to offset a prolific production of texts from overseas which threatens to tarnish approaches and concepts equally important.