“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 – Zeromoon
Envelopes “stretched” beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Myo, the moniker of Cory O’Brien, is not new to using multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques. The sounds in “Memory Gospel” are finely calibrated, however, and shy away from excessively harsh connotations in favor of more celestial atmospheres, altering the harmonic parts and the tones, while placing artificial constructions in the background that could be confused with analog regurgitations. Remaining raw and vivid, the eight tracks of this work are strongly coherent, staying clear of overused stylistic strategies, modulated melancholic airs and schizoid interludes. Audio reverberations, an imaginative déjà vu of our less abused sound perceptions, joints where we suddenly recognize a sound, a vibration in the air that for a moment reminds us of something else.