“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 – Pogus
Pogus has released the new project by Enzo Minarelli, a sound poet, theorist (see his 1987 manifesto on Polypoetry) and experimenter very attracted to the concept of word drifts. Minarelli has created an archive, the 3ViTre, a verbo-voco-visual collection formally related to a tradition that began in the early eighties. Most of the recordings in Fame are the product of editing and manipulating Minarelli’s voice, though certain special effects have been added by software or taken from archives during the production process. This is an artist at ease in his poetic environment. It is a world in flux, but one only apparently chaotic: the twenty distinct elements of this album reveal a remarkable degree of control over atmosphere and timing. The poet’s penchant for mixing different languages and media has ingrained professionalism in his work, generating a profusion of ideas and experiences that give life to new and original relationships between voice and sound. In other contexts Minarelli has suggested that the term “performance” may be too limited when applied to poetry: he believes the word itself (from Latin per formam) can only be related only to fine art and that simply being on a stage while reciting poetry is not sufficient for qualification as “theatre-poetry”. The poet’s goal is to contextualize a more precise relational space. For Minarelli the relationship between art and technology is essential, believing the latter to be capable of liberating words, releasing all their “semantic-spectacular” potential, all their linguistic and oral cathartic ambiguity.