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Art Post-Internet 后网络艺术


  • Ullence Center for Contemporary Art Beijing China (map)
Post Internet Art.jpg

Just as twentieth-century modernism was in large part determined by the relationship between craft and the emergent technologies of manufacturing, mass media, and lens-based imagery, the most pressing condition underlying contemporary culture today—from artistic practice and social theory to quotidian language—may well be the omnipresence of the internet.

The term “post-internet” refers not to a time “after” the internet, but rather to an internet state of mind, to think in the fashion of the network. In the context of artistic practice, post-internet describes an art object created with a consciousness of the networks within which it exists—from conception and production to dissemination and reception. Though the terminology used to describe these phenomena is still nascent in development and not yet in widespread use, “Art Post-Internet” presents a broad survey of art that is controversially defined as “post-internet,” which is to say, consciously created in a milieu where the centrality of the network is assumed. From the changing nature of the image to the circulation of cultural objects, from the politics of participation to new understandings of materiality, the interventions presented under this rubric attempt nothing short of the redefinition of art for the age of the internet.

“Art Post-Internet” is curated by Karen Archey and Robin Peckham. Participating artists and collectives include Aids-3D, Kari Altmann, Cory Arcangel, Alisa Baremboym, Bernadette Corporation, Dara Birnbaum, Juliette Bonneviot, Nicolas Ceccaldi, Tyler Coburn, Petra Cortright, Simon Denny, Aleksandra Domanović, Harm van den Dorpel, Ed Fornieles, Calla Henkel and Max Pitegoff, GCC, Josh Kline, Oliver Laric, LuckyPDF, Tobias Madison and Emanuel Rossetti, Marlie Mul, Katja Novitskova, Marisa Olson, Jaakko Pallasvuo, Aude Pariset, Seth Price, Jon Rafman, Jon Rafman and Rosa Aiello, Rachel Reupke, Bunny Rogers, Hannah Sawtell, Ben Schumacher, Timur Si-Qin, Hito Steyerl, Artie Vierkant, Lance Wakeling, Andrew Norman Wilson, and Jordan Wolfson. The exhibition is presented in cooperation with the Goethe-Institut China.

正如二十世纪现代主义在很大程度上是传统手工艺被新兴制造业、 大众媒体和影像技术所革新换代的必然产物,当代文化在今天最突出的潜藏危机可能是互联网的无孔不入——从艺术实践、社会理论到日常语言。人们描述这一现象的专用语汇仍处于萌芽状态、尚未被普及,本次展览即是对颇受争议的“后网络艺术”的一次广泛调查,或者说,客观地呈现这些以网络核心性为背景的自觉创作。从图像的质变到文物流通、从政治参与到对物性的新认识,该范畴提供了更多的介入可能,试图对互联网时代的艺术进行再定义。
 
“后网络”一词并非对应于某个时间概念,而是一种与互联网共生的意识形态,一种网络思维的方式。在艺术实践中,“后网络” 的创作意识到了其所存在的网络体系——从观念、 生产到传播和接受。因此,本展中的多数作品用广告、平面设计、股票图、公司品牌、展示营销和商务软件等方式,作为视觉修辞。展览的各个专题分别探讨有关互联网政策、大规模秘密监视和数据采矿、网络的实体化、“后人类”概念、信息离散的激化和开放源代码运动,关注泛互联网时代的变迁,以及信息离散、艺术品档案化、人类语言和艺术史考查。
 
在今天,文本信息往往在图像的社会流通中充当次要角色;艺术世界中的数字群落亦是如此,很多“后网络”的实践尚未被充分探讨、介绍和分析,本展旨在提供实质性的评论和对谈基础,打破不平衡的状态。在这个基础框架中,才可能语境化或界定“后网络艺术”,而非仅仅视其为某种流行美学。展览将“后网络艺术”置入理论和艺术史的学科背景,期冀在这些新事物归于平淡之前为其确立坐标。

展览由凯伦•阿契和岳鸿飞策划。参展艺术家及小组包括:Aids-3D、卡莉·阿尔特曼、科里·阿肯吉尔、艾莉莎·拜仁伯艾姆、贝尔纳黛特公司、达拉·比恩鲍姆、朱丽特·博纳维奥、尼古拉斯·塞卡尔迪、泰勒·科伯恩、佩特拉·柯特赖特、西蒙·丹尼、亚莉桑德拉·杜曼诺维、哈姆·范·登·多佩尔、艾德·弗尼勒斯、卡拉·汉高和马克思·彼高夫、GCC、乔什·克莱恩、奥利弗·拉瑞克、LuckyPDF、托比亚斯·麦迪逊和伊曼纽尔·罗瑟提、马利·穆尔、卡佳·诺维茨科娃、玛利莎·奥尔森、加科·帕拉索、欧德·帕利赛、塞思·普莱斯、乔恩·拉夫曼、乔恩·拉夫曼和罗莎·阿耶勒、雷切尔·瑞克、巴尼·罗格斯、汉娜·萨维特尔、本·舒马赫、铁木尔·斯琴、黑特·史德耶尔、阿蒂·维尔康特、兰斯·沃克林、安德鲁·瑙曼·威尔逊、乔丹·沃弗逊