Angelo Plessas started in 2000 to create web sites as artworks. This book contains most of the illustrations that he created during the period of 2001-2003. Some of these works are not yet published on the web. Angelo Plessas’ works includes web sites for worldwide famous artists and and art centers such as Andreas Angelidakis, Vanessa Beecroft, Miltos Manetas, Armin Linke, Xavier Veilhan, Carsten Holler.

After Brad Troemel (ABT) is an artist book conceived for the JstChillin exhibition Read/Write at 319 Scholes in Brooklyn in 2011. The book—originally published in a limited edition of 20—took as its conceptual core the characterization of artist Brad Troemel as a genius and a mastermind analyzed through the lens of conspiracy theory and amateur internet sleuthing. According to artist and writer Artie Vierkant, who wrote the introduction to this edition, ABT is not “about Brad Troemel, nor any of the myriad names or identities that are mentioned in its pages. ABT is about the construction of identity in a mediated ...

A unique look into online memetic subcultures where Gen Z teens explore radical politics like eco-extremism, neoreaction, anarcho-primitivism, transhumanism, anarcho-capitalism, the alt-right, the post-left, egoism and cyber-nihilism.

One of the greatest comment threads ever.

Opening with a monologue that guides us through its entirety, Charlotte Prodger’s BRIDGIT, 2016, is a visual essay, a meandering of sorts. Shot entirely on Prodger’s iPhone, the work turns inside out the highly subjective and increasingly ubiquitous form of the personal narrative created through handheld devices and social media. The immediacy and intimacy of iPhone footage makes it an expressive extension of the artist’s movement through space. Her spoken narrative—in which her voice periodically switches with that of another female—takes us through specific moments related and unrelated to the more-or-less static images her gaze rests on. By sharing reflections ...

I recently spoke with one of my longtime favorite accounts: @The_Political_Compass. We chat about her background, the evolution of radical online subcultures and the ever-expanding Overton window.

Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master ...

David Kim and Yazan Khalili discuss Yazan’s video, Hiding Our Faces Like a Dancing Wind, currently on view in the exhibition Being: New Photography 2018 at MoMA through August 19, 2018. “How do we disappear in the digital age? This is a project that works with the facial recognition technologies in smart devices and its historical background in the colonial practices.” You can find an additional conversation on the impossible legality of an artwork between David Kim, Yazan Khalili, Elizabeth A. Povinelli, Jonathan Beller, and Vivian Ziherl in e-flux journal #90.

Where is the present when the computer pulses at the wrist every day, when we’re globally inter-connected in real time but don’t take in our selves for a single moment, just bits and pieces, just snatching a few intensities, when neurons plus communication already makes a consciousness? Is it nothing but a hallucination, in permanent crisis? Does it stand still, get wider, poorer? How does the past change when systems record every second, saving them for the right moment or for all eternity, when contacts, mails, and calendar and movement data evaporate like spam in the cloud? Is it forgotten, does ...

This book has been produced to accompany the ICA exhibition Double Agent, an exhibition of collaborative projects in which the artists use other people as a medium. All of the works raise questions of performance and authorship, and in particular the issues of ethics and representation that ensue when the artist is no longer the central agent in his or her own work, but operates through a range of individuals, communities, and surrogates. One of the starting points for the exhibition was the recent and conspicuous rise of interest in performance and performative gestures among contemporary artists. But today’s generation of artists, unlike their precursors ...

We are in the middle of a time in which classical notions of flexibility and freedom actually work to alienate our relations to one another. But in fact the ability to shift, to deviate, to morph should constitute the strongest claim that we are much more than what traditional categories tell us we must only be. It is precisely when elaborate techniques of labor extraction become indistinguishable from sensations of pleasure and self-realization that queerness returns to insist on the freedom to move and the freedom to be what one is and what one wants to be—not as a matter ...

The processes of the factory have entered the museum in ways that Warhol and Duchamp could never have dreamed: the amount of art production now by far exceeds what can be processed or understood, and this often creates a degree of mistrust and an absence of common points of reference with which to not only discuss, but also to gain anything from the sheer volume of artworks placed on display today. The time to engage and digest work is often replaced by additional work—it just keeps coming down the line… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle Concerning Matters to be Left ...