“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 – Mort Aux Vaches
In Ignatz, floating guitar sequences merge with an exotic, repetitive score, creating melancholic and sensitive environments. Simultaneously lo-fi and yet of an unusually high technical caliber, this work generates dense drones that are infused with many influences (blues, postrock, improvisation, world music, field recordings), resulting in a highly imaginative combination that is almost sacred, hieratic and solemn. It is a divine invocation that takes the form of continuous saturation, weaving vibrant scores made of several auditory forms, complete with spurious feedback and free-form reverberations. Elegant but fragile, the record spreads like a stream of consciousness in a dreamily acoustic interior monologue, grafted by vocal lullabies, hisses and drags, through consonant and dissonant harmonies artfully conducted on a narrow ridge of sonic experimentation; sometimes more rhythmic and elliptical, at other times deliberately kept abstract or brittle. The recording made by Berry Kamer at VPRO (Amsterdam), in the Dwars program, is divided into five different tracks, and, as is usual for a Mort Aux Vaches production, it is also worth mentioning the artwork; this time a crumpled pink design by Piotr.