“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 elbows of sound and visual artists (typically as a couple) are closer and closer and the symbiotic dialogue that begin sometimes produces excellent results. This collection of works is not a quick compilation, but a four year work summa of selecting and supporting the live ‘microscope session’, carried out by the TMA and DS-X.org synergy. The visuality of the music found his appropriate roots in the artistic transition through the twentieth-century avant-garde, that have more and more involved the spectator till the second half of the same century. Here the cultural triumph of the performance has brought the art in the daily life and it is reflected in the current vj practices investigated in the booklet essays. The suspense created by the performance use of time and the resulting sequential narrative, are told by the two poles (visual and sound) with their respective attractive energy charges. This unstable and fluctuating equilibrium is then transmitted full in the face of the spectator, as in the impressive monotone moiré made by Kloma on the pressing sounds by Daisuke Ishida, or in the biomorphic fluctuations made by Ritchie Riediger seemingly generated straight from the sounds by Mille & Mr. Hirsch. If the sound seem to have reserved a compulsory future switchover to the screen, the pixel, in its turn, seem to being added by a fourth parameter after Red, Green and Blue: Sound.