YesNo by Timo Kahlen feels like “traditional” net art, a well crafted stuck webpage for the user’s aural and clickable enjoyment.
It seems that the general historical moment of reflection has come after the first decade of the internet social access. Many are the related perspectives intertwined in textual speculations and public events. In this META.morfosis catalogue, documenting an exhibition that tool place at Badajoz’s Museo Extreme–o e Iberoamericano de Arte Contemporáneo, there’s much of the work developed in years by the Portoguese curator and theoretician António Cerveira Pinto. His perspective looks ahead and it is not limited to the dissection of the relentless contemporary context. The selected works of art (mostly selected in the ibero-american area) prove that there’s a line of separation between the lost physicality and the structural fragility of the contemporary media art. Talking about that, the publication of an history of net.art rewritten in an nth version by Vuk Cosic, is an iconic choice. As a followup there’s the analysis of the museum’s sacrality implosion / explosion, through the dematerialization of its contents, and then of the museum itself. The museum seem to architecturally melt in the project published in the first 180 pages. The conceptual information conversion that become, philosophically speaking, ‘potential’ is reflected in the curator’s provocative apocalyptic visions. He fears an almost complete disintegration of the electronic culture after the announced energy crisis of the near future. He also fascinates the reader with an extreme theory: the building of technological monasteries that would enable our lucid thoughts on the actual radical transformations.