“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 life cycles of information, and the relationship between staff size and public dimension that they cause, are an ecology of the data in their eternal flow of information that touches or crosses our minds. WorldTree of Raewyn Turner and Colin Beardon is a cross-platform software which goes back to work ethnomusicologist Australian Ashley Turner displays the process (completed) the textual contents that evolve and die, after being drawn from the magna sap of the network, through a tree that is gradually forming, as the contents themselves are drawn from the roots and form the lush 'foliage' to decay naturally and then settle back to his feet. The 'food' is the content of sites of amateur astronomy, analysis of tissues and cellular technologies, while the songs of the birds symbolize the biodiversity of the data present in the network. The tree then becomes the center of a process of vital information, as suggested by Turner, in a connection from ground to roof, which here seems to be more between material and immaterial reality. At the same time, the overlap between personal and public information (on the trunk and leaves) combines the subjective reactions to the universality of access of digital communication. It is all made in an intuitive, 'light', if you will, compared to the complexity of the metaphor, but which has the capacity to make visible a never-ending process fluid and articulate.