“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” – Evol/Entr’acte
The fifth work in the ‘EVOL’s Punani’ series, this is a 300-copy limited edition, sealed in stylized silver-transparent envelopes, including a CD and a booklet in the shape of a leaflet, along with individual black and white photo cards. The free form sound of the first track is “cut” and extremely inconstant, accelerated using digital processing and containing clear bass clarinet and horn. These sounds are articulated in meticulous but “slipping” scores, skillfully structured by Roc Jiménez de Cisneros and Jacob Draminsky-Højmark. The pieces were created between February 2006 and August of 2007, during which time various live recordings were added. The Kazumoto Endo’s remix is also consistent, ’23 Cartas de Tamariz ‘, unravels between skips and neurotic blocks, immediately followed by eRikm’s reinterpretation of ‘ Tupolev Farmyard ‘, whose original edition was published only on a nickel galvanoplastics 14″. Not dissimilar in style and quality, the final tracks are ’9 .86960 44010 89358 … ‘ remixed by Joe Gilmore, and ‘Excelsior Punani’, an unpublished 2002 piece, ‘captured’ using a common portable digital recorder.