“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 – Touch
Three dense and acousmatic tracks, in which Robert Hampson displays unconventional attitudes in very imaginative ways, are devoted to the construction of complex soundscapes. The plots are constructed with great care for the pauses; the ones in ‘Umbra’ – quote from Latin referring to the darker area projected by a body on a surface – vibrate a nearly alien sensibility, eclipsing traditional music forms in low and granular frequencies. The track, derived from a 16-track composition of 2006, is the second commissioned by the GRM (Groupe de Recherches Musicales) – an ensemble founded by Pierre Schaeffer in 1958, which now also devotes its time to the sociological and aesthetic analysis of experimental musical. Also ‘Ahead’, commissioned by Vibrö (a collective of artists, designers and journalists, with a specific interest in sound art), sports – since its original performance at the Planetarium of Poitiers – rarefied textures, here more spatially inclined, while in ‘Dans Le Lointain’ (always for the GRM), the reconstructions are made from old recordings, manipulating and skilfully “interpreting” short-wave radio signals.