“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.
CD – Cnc Record
Guitar improvisations, sensitive and cyclical, which were recorded during a special event at the Sendai’s “Dotmov Festival”, and subsequently edited. The flow is a very contemporary harmony of chips and used interfaces: common musical instruments as flutes, horns, and harps at madrigal time. It is really not the use of a laptop, or of a specific software or set-up which reflect the sounds’ coherence to present times (in this case a proper sound system, unraveled as an installation, with no separation from the composer and the public). It is rather the interweaving between techniques, style, sound quality, musical knowledge, idea density and taste that determines the quality of the work. Tones are traced back to the creative flux, cyclical and sexual, but with a flavour of the sacral. A recurrent characteristic within far-eastern musical tradition, even in these sounds from the future.