“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.
Books on Demand GmbH – ISBN 3833443693
The software culture investigation made in the last four years by Alexei Shulgin and Olga Goriounova has never stopped nor stalled going deep into new branches of research made publicly visible at every new Readme festival. The guests gathered at different editions has pointed their discourse on software as code, literature, social component, cultural archetype, activist tool, language interface, etc. etc. The 2005 edition happily joined the Hartware MedienKunstVerein in the critical analysis of its ‘production’ aspects. So the immaterial holy markets and their post-fordistic production schemes were subjected to different creative manipulations and analysis. The software membrane between intellectual production and almost autonomous systems has been definitively accepted and even ‘dissolved’ in our contemporary culture). But software more and more constitutes the breathing apparatus of production, interfacing the transformation of intellectual goods from scattered individual input to public influencing output. The frequent juxtaposition of software culturalism and aestheticism has brought a different and broader consideration of its role, legitimating its specificity in the digital cultural landscape.