“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 – Gruenrekorder
The Mekong river is among the longest in Asia. It starts in Tibet and runs through Thailand, China’s Yunnan province, Burma, Laos, Vietnam and finally Cambodia. Both in Lao and Thai languages the name Maè Nam Khong refers etymologically to the ancestral “mother”, the origin of every feeling and thing. Eva Pöpplein and Janko Hanushevsky undertook an adventurous pilgrimage along the river, developing field recordings before reworking the sounds in post-production. Janko Hanushevsky added many parts on an unconventionally played electric bass, making use of drumsticks, golf balls, knitting needles and bottle tops. When listening, what really matters here is the changeable passage of the sounds, the metamorphosis of the environments, the way intense suggestions are raised: according to this approach the structured parts, field-recordings and added materials are treated in the same way, as raw contributions to be combined into a new form. We find ourselves enveloped in dark drones, tangential post-blues, auditive emergencies, jingles, bleeps, thuds and muffled reverberations. The imaginative “journey” is very redolent of “Heart of Darkness” by Joseph Conrad, the inspirational text behind “Apocalypse Now” – a narration crowded with environmental resonances, voices and elegiac winces.