“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 – Ahornfelder
The harmonic structures in this work have a distracted quality, a fragile polyphony. Experimenter and transalpine videomaker Anne Laplantine is well-known for projects created under the moniker Michiko Kusaki e Angelika Koehlermann. She is now turning her attention to a style of digital pop, rendered in the form of “pseduo-ballads”, which make use of fictitious synthetic orchestrations that modulate through various aural pleasantries. The attitude here is, however, ultimately bizarre, twisted and always ambivalent. The work is not without classical-baroque references, here restructured into a more contemporary guise. Refined sound miniatures often remain deliberately unresolved, as if to exorcise, while the (self-referencing) format of the songs include samples and field recordings that are abruptly interrupted by folktronics developments, or transversally arranged flute, guitar and drum machine sounds with larval melodies. This is a territory that may not seem specifically defined in terms of stylistic choices, but coherence does in fact prevail through the deliberately haphazard planning. There is no naïveté in this music – it is the product of a refined and eccentric sensibility.