“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 design, understood as artistic production process, has evolved its own techniques constantly, transforming both thanks to the possibility that new tools have realized, for both theoretical deviations that these have stimulated. The computer, adagli since the dawn of its graphical capabilities made available to libraries of code designed to combine the primary signs and draw on the screen using a code simple enough. John F. Simon, Jr., perhaps the electronic artist with the most traditional art background, connects directly to the theories of the masters of abstract design such as Klee, Kandinsky and Miro to the possibilities of automated tools design (as in Living Mobile II , Unfolding Object and Arrow Variations – Book 1 ), proving, as the quoted Manovich, like his simple gestures are amplified by the machine through appropriate processes that make them complete. code, in this case, does not simulate nor emulates, but implements the necessary algorithms with the insights of the artist, putting the tools in the hands of the user virtual design, ductile enough to understand the genesis and use. The same code, therefore, is able to formalize the idea and transform it into an instrument, molding it into the evolutionary path of the author and then offering it to a free public use.