“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.
The digital representation of reality is technically and conceptually a fake, and this “fake” is more and more what we’re used to. The process of reducing in pixels (causing a loss of details), approximating colors (causing a loss of tones) and sounds (causing a loss of frequencies) are definitively creating a distorted (yet enormous) memory archive of the last decade(s). From this perspective, truth is always a negotiation between what our eyes see and what the machine records and stores. So why not intervene in one of the oldest way of representing reality (amateur portraiture), pushing it to the extreme in the “pop” and “automatic” categories?? With Artificial Smile by Stefan Stubbe and Andreas Schmelas every memory is a nice one. Their modified camera is able to turn every portrait into a merry visage, substituting perfect smiling lips for less joyous versions, taken from a consistent database. The result is a seamless “happily ever after” social community artificially shot through a camera with a golden reflecting body. But, unfortunately, that’s only technology, not a fairy tale.