“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.
cd+dvd – C0C0S0L1DC1T1
The relation between sound and vision has become clearer since the introduction of their interpretation as sets of binary data. In their numerical abstraction, these two sets are fomally identical, therefore they are much easier to manipulate them for verifying their reciprocal influence. There are many operations to prove this, such as this ‘-40′, where, starting from some homogeneous original material, a bidirectional experiment is built, made of original videos with remixed audio and original audio with remixed video. The time difference between the visual and auditive components is mixed by the artists (among them: Deadbeat, Venetian Snares, Lowfish, Cinétik and Shawn Chappelle). The past represented in the original is refocused on an altered present where old technologies are combined with the effects created with new technologies. The nationalist video propaganda, the subject of this reelaboration, becomes the memory of a national identity which has almost dissolved, and is reminiscent of today’s hyper-pervasive propaganda which can model popular identity. The sounds, manipulated in their temporal and contextual flow, light up intermittently, becoming the invisible line followed by the images connected by means of their respective contents.