“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.
book+CD – LMC/Resonance – ISSN 1352772X – RESsupp2CD
The sound art scene has received a tardy acknowledgment, and then only because of the fascination of its technical apparatus and of the extensive use of sound in installations / electronic works of art, instead of a considered evaluation by the contemporary art world. The experimental music sectors and their appearing in galleries and museums have given back dignity to the same scene. But one of the recent propulsive forces is undoubtedly Resonance FM, the Londoner radio that is collectively managed and that obtained some important public funds that triggered many initiatives and high profile cultural aggregations. One of them is the Resonance Magazine, and this is a precious supplement in a form of a small book and a cd. Here the sound art specific, always hovering between art and music, is pictured from some of the most interesting perspectives, including the disenchanted use of science, the listener induced sensation of different spatial coordinates or the conceptual use of verbal generation, with some tracks examples on the enclosed cd. Sound instead of multimedia examples, underlining the acoustic dimension. The radio medium is still the standard bearer of this dimension and this product’s density of contents make it a sort of little well curated exhibition on paper and cd.