“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.
There was no better day of the commemoration of September 11 for the global launch a similar project. The institutional fake tears, the warm memory of a human catastrophe is celebrated through a careful selection of macabre images to inoculate the same media terror commemorated in 'special' print and television after each of the major terrorist attacks in recent years. It nodal part of this insane process is the prediction of the place of the 'next time', in a succession of 'voices' and analysis of 'experts'. To turn all of this against its own perpetrators is Where-next a game born from the strategic partnership between Guerrigliamarketing.it and Molleindustria , where you can bet on the next attack, specifying time, place and type (using Google Maps). By combining two extreme realities of our times (the legitimacy of the global betting as a practice nell'azzeccare hopeful at the same time and change the future and insecurity instilled by the terrorist attacks, unbearably amplified by the media) they developed this disturbing hybrid if he will bite the most incompetent journalists, will not fail, however, to reflect on how all the other formalize the fact that in an online game the game the massacre done by the media in every tragic occasion, may be trigger complex reactions in those who enjoys . in this way, in fact, are deliggittimate the 'official sources' tell us how it will be built in the reality of the future and there he reclaims through a form built with plenty of playful sarcasm. The result is a hilarious dramatization of terror induced, and a final break of the latent panic as a constituent of living west.