“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.
Strings of codes and images, recontextualizations integrated by GUI interfaces, a development paradigm aimed at allowing an interaction with a computer by means of graphically manipulating objects. Relations that, in the ‘prologue’, detourning ‘Introducing Stereophonic Phonograph Records’, an advertising short movie shot in 1958, cite the first industrial products explicitly produced for the new mass markets, bringing us back to a seminal and ‘immersive’ relation between humans and technologies. The main sections are two, with the titles ‘SoundCode.Sketches’ and ‘cinema.tik’, in this project by Brian Mackern, a net artist from Uruguay of great professionalism and depth. In the first ones, the code process is strictly bound to its representations, with minimal sounds reflecting the equally skinny readapted code sequences. In the other ones, the video materials used, even if they subtend the same processes, are invested by the iconographies induced by loops-fragments of historical films (Stalker, Solaris, Vertigo, Love Flower…) tightly connected to the artist’s own history as consumer of cultural imagery.