Index of Titles Filed Under 'Post-Internet'

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PublisherLink Editions2019
The #mm Net Art art released in the Czech Republic. Its English version (customized for the international reader) was preceded by the Czech edition #mm net art This explains the special care taken of Czech Internet art, which is otherwise little covered abroad. Although primarily concerned with gathering key texts by distinguished international authors, the anthology also contains original studies by Czech experts and chapters or footnotes dealing with the Czech context.
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PublisherLink Editions2018
Digital technology has interfered in all the spheres, private, public and professional, of our society and shaped them. Artists have always used the techniques or technologies of their time to express themselves. To each appropriated innovation thus corresponds a range of works. Yet, it takes time for the art world to integrate new practices and new media. Impatient, the most fervent advocates of digital art have structured themselves into international communities by organizing dedicated events. Their practices have now matured and the public is culturally ready to welcome their creations as it already does in festivals. At the same time, ...
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PublisherLink Editions2016
Cloning Aura. Art in the Age of Copycats is an essay that explores the close relation between practices of appropriation and the questioning of authorship, from the avantgardes to Post-Internet, going through Postmodernism, 70s-80s subcultural movements, net.art and the Surfing Club generation. Written in Italian, the essay is made of thousands of text quotations mined from hundreds of papers, glued together in a sort of “crazy quilt” that nonetheless holds a linear narrative. The writing technique employed is usually referred to as patch-writing, here used to speak about appropriation through an act of appropriation, and to make a statement about the information ...
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PublisherLink Editions2017
The first art movement to use collage to collapse together images and ideas, Dada also pioneered concepts, ideas, approaches and modi operandi that were later transfused into contemporary digital tools, becoming commonplace in the digital environment. To celebrate DADA 100, from 5 February 2016 to 5 February 201 7 the online platform and collaborative project Dadaclub.online shared high quality digital copies of original Dada artworks and magazine covers, inviting artists from all over the world to use them in their work. This book documents the project, presenting 148 remixes produced and shared by participants. Dada is nothing, enjoy Dada!
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Privacy, copyright, classified documents and state secrets, but also spontaneous network phenomena like flash mobs and hashtag revolutions, reveal one thing – we lost control over the digital world. We experience a digital tailspin, or as Michael Seemann calls it in this essay: a loss of control or Kontrollverlust. Data we never knew existed is finding paths that were not intended and reveals information that we would never have thought of on our own.  Traditional institutions and concepts of freedom are threatened by this digital tailspin. But that doesn’t mean we are lost. A new game emerges, where a different set of rules ...
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Publishere-flux2016
The freeport method of art storage presents its critics with a problem. Is it something new? Or something old? What could be less surprising than an international aristocracy hiding treasures in a cave someplace? The CEO of the Geneva Freeport might have overcharged his Russian Oligarch, Dmitry Rybolovlev, by one billion dollars for thirty-five paintings, according to Sam Knight’s recent, riveting account. Rybolovlev had himself acquired a large slice of the collective ownership of the means of production in 1992, when he was twenty-nine, in the form of Uralkali, a mining company developed by the State Planning Committee of the USSR ...
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Publishere-flux2016
All things have borders that make them what they are. Some borders are spatial, like the edge of a painting, and some are chronological, like the end of a play. In this issue, Vivian Ziherl and Maria Iñigo Clavo both attempt to translate modernity from a historical, chronological teleology into a spatial geography. Ziherl does this by drawing our attention to the persistence, within contemporary space, of that supposedly historical borderline, the frontier, while Clavo provides a taxonomy of the various prefixes, like post-, pre-, and anti-, that have been appended to the “modern” in order to conceal its violent ...
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Publishere-flux2016
Businesspeople talk about art like artists talk about money: gratuitously, without compensation. Hired to talk about money, an entrepreneur will speak in terms of art. Put an artist on a panel and you will often get disquisitions on exchange, capital, and commerce. Both constituencies are compelled by what lies outside their professional responsibility, and the response to this compulsion vibrates between veneration and contempt. For every Übermensch crypto-expressionist billionaire patron, there is one who sneers at the foolish valuelessness of art history and its scribes. For every dedicated anticapitalist artist, there is one who happily understands themselves to be making ...
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Publishere-flux2018
Masaccio painted his fresco of the Expulsion of Adam and Eve from Eden (c. 1424–28) just about 600 years before 2030, which is the current cutoff point for humans to curb global temperature rise, or risk quicker extinction. In Masaccio’s rendering, the expelled pair walk together from the green valley crying with open-mouthed agony. Caught in this moment during their walk of shame, their lips, especially Eve’s, surround gaping dark ovals: Where are their teeth?
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By inserting the work of contemporary artists into global channels, E-State Realisms identifies the absence of critical contemporary art in the viral domain. Here artists are dealing critically with and not about the digital/IRL landscape. They are active players in the systems they critique. The neoliberal deregulation of capital as a state of exception exemplifies how corporations are currently privileged at the expense of citizens. Similar to offshore tax avoidance, the neoliberal art market stages artwork as a temporary home for accumulated wealth. This conflation places the voice of critique in a murky position. In order for Art to theoretically ...
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Publisher0x0a2014
Thousands of online dating profiles from the web were parsed, matched according to four questions and sorted in alphabetical order. Who am I? Where do I come from? What is my purpose in Life and what happens when I die? For centuries people have tried to come up with answers regarding the fundamental questions of life. Then the internet was invented and these questions have finally been answered – by users. The book The Fundamental Questions captures them in an inspiring record of epic proportions where every individual verse becomes a mantra of a mind-expanding collective thought. It reminds us, that one single ...
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More than ever, creative people find their attention pulled in many directions by digital and networked technologies. Staying up-to-date and responsive to so many forms of online communication often feels mandatory in order to keep working. But, it can be both exhausting and dispiriting to build a creative practice while “extremely online.” With this compilation of essays produced in collaboration with Are.na, the platform for connecting ideas, we asked artists to share their approaches to using the internet more mindfully and creatively.

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