Karen Archey

‘From Minimalism into Algorithm’ @ The Kitchen L.A.B., Sep 23

22 September 2015

Karen Archey, Jace Clayton, Tere O’Connor, and Cheyney Thompson discuss the direction of contemporary art in “From Minimalism into Algorithm”, hosted by NYC’s The Kitchen L.A.B. on September 23.

The Kitchen L.A.B. (whose acronym stands for “language,” “art,” “bodies”) has established a practice of inviting artists from various fields to discuss the language of art and respond to it in both conversation and artwork.

For their latest event, organized collaboratively by The Kitchen and participating artists, the discussion examines the seriality of Minimalism and its connection to the seriality of modern generations in the wake of digital technology.

See the event page for details. **

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Art Post-Internet catalogue out now

16 October 2014

A PDF catalogue accompanying the Art Post-Internet exhibition that took place in Beijing’s Ullens Center for Contemporary Art last spring was launched October 14 under the name Art Post-Internet: INFORMATION/DATA.

Like the exhibition that precedes it, the catalogue comes as the creation of Karen Archey and Robin Peckham, done in collaboration with the Berlin design team PWR Studio. Diving even deeper into the “online intellectual milieu in which it was first conceived”, Art Post-Internet: INFORMATION/DATA uses extended exhibition essays by Archey and Peckham to expand upon its original themes.

And, like the exhibition, the catalogue presents a diversity of opinions and oral histories from artists working in the ‘post-internet’ realm, including those of artists Cory Arcangel and Bunny Rogers, critic Ben Davis, and museum professionals like Ben Vickers and Omar Kholeif.

Download the Art Post-Internet: INFORMATION/DATA catalogue here. **

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IBN – BLUE CLOUD  / 1991 @ The Composing Rooms, Aug 23

22 August 2014

The Composing Rooms returns with IBN – BLUE CLOUD / 1991, a composite talk, screening and book launch on August 23 at 7pm.

While a video recording of BLUE CLOUD – a ’91 live broadcast performance by Dirk Paesmans of clouds floating listlessly through the sky accompanied by a bulletin board system – screens in the background, a simultaneous panel discussion will take place on the concept of net art.

Speakers include Karen Archey, curator of the Art Post-Internet group exhibition at UCCA, Paesmans of the JODI two-man video and WWW art collective, Berlin-based artist Niko Princen, as well as the technology writer + artist Renee Carmichael.

Concurrent with the screening and panel discussion is the launch of BlueCloud – Live Transmission, a hard-back 160-page book created by Paesmans and published by THISISAMAGAZINE, and consisting of a collection of screen images of cryptic WWW language set against the backdrop of swirling blue clouds taken from the BLUE CLOUD broadcast.

See The Composing Rooms event page for details. **

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Opening Times – Digital Art Commissions

16 June 2014

Opening Times – a digital art commissioning body whose primary means of encounter and body of work exists online – was launched on June 2, 2014.

The not-for-profit platform launched with a handful of concurrent projects that give evidence to Opening Times’ comprehensive range, including a new commission by artist Ruth Proctor, a research project by writer and artist Nicholas O’Brien and a selection of work from resident artist Nicolas Sassoon, as well as an online reading resource edited by Art Post-Internet curator and writer Karen Archey

See the Opening Times website for details about their current collection. **

Welcome to Opening Times – Digital Art Commissions from Opening Times on Vimeo.

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Concerning Art Post-Internet

3 March 2014

The lede of the press release for UCCA’s upcoming Art Post-Internet exhibition in Beijing promises to offer “a critical examination of an inter-generational group of European and American artists for whom ubiquitous digital transmission is the norm.” And sure enough, the line-up of artists and collectives featured in Art Post-Internet flits across the Western art landscape, highlighting the works of many art world forces, including the likes of Marisa Olson and Bernadette Corporation among the other 40+ featured artists.

And while the bill is impeccable, the conceptual cohesion of the exhibition appears ambitious at best, and dubious at worst. The apparent ambiguity of the term ‘post-internet’ presents the first point of contention, with various interpretations floating about the virtual and physical world and shifting rapidly, already threatened to extinction by the hyper-acceleration of the very culture it proposes to represent. Understood to mean not a culture past, beyond, or after the internet, the term “post-internet” – as Olson proposed in 2008 –instead references one so deeply embedded in and propelled by the internet that the notion of a world or culture without or outside it becomes increasingly unimaginable, impossible.

Harm van den Dorpel, 'Assemblage (everything vs. anything)' (2013). UV print on hand-cut PETG, 120 x 100 x 110 cm. Courtesy the artist, UCCA and Wilkinson Gallery, London.
Harm van den Dorpel, ‘Assemblage (everything vs. anything)’ (2013). UV print on hand-cut PETG, 120 x 100 x 110 cm. Courtesy the artist, UCCA and Wilkinson Gallery, London.

All this begs the question: if we are to understand post-internet art simply to mean art created within the modern milieu, in which we inevitably live our lives on the internet, then what meaning or constructive quality can the term ‘post-internet’ bring to the table? The spectrum of art works represented in Art Post-Internet seems to answer this question without distinctly asking it, as the monolithic exhibition yokes together works as diverse as the idiosyncratic, lo-res videos of Petra Cortright, the installations of Aleksandra Domanović as provoked by the ‘Turbo Sculptures’ of former Yugoslavia, the simulacrum-like paintings of Juliette Bonneviot, and the stock-image inspired explorations of Timur Si-Qin all under the same umbrella.

One of the most significant names to grace the exhibition is that of Munich-born author and filmmaker, Hito Steyerl, whose recent videos act as a melancholic meditation on the notion and absence of visibility and how it is transformed through technological developments. In 2012’s ‘Zero Probability’ with Rabih Mroué, Steyerl explores the impossible, a person disappearing into thin air, and posits it within digital culture, asking: “How do people disappear in an age of total over-visibility?… Are people hidden by too many images? Do they go hide amongst other images? Do they become images?”

Another influential contributor to Art Post-Internet is Kari Altmann, whose use of the language and structures of consumption further conflates the notion of virtual vs. real. Tackling the emotive aspects of internet life –whether in her exploration of its “emergent spirituality” or in her dealings with the notion of affective labor –Altmann’s work cuts to the heart of the matter: how does the internet change how and what we feel? The fact that the majority of her work exists only virtually, converted –or as Altmann says “exported” –into physical form purely for the purpose of exhibitions hints to the changing landscape of the art world. As Altmann says, “[e]verything is live.”

Kari Altmann, Tribal Council ('R-U-In?S' Retrospective, Native Arrangement) (2013). Image courtesy of the artist.
Kari Altmann, Tribal Council (‘R-U-In?S‘ Retrospective, Native Arrangement) (2013). Image courtesy of the artist.

The unruly and frantic videos of Kari Altmann seem worlds away from the melancholy ambience of Bunny Rogers’ work, whose innate poeticism travels seamlessly through various mediums –from musings on childhood, nostalgia and exploitation in her YouTube-assisted installation ‘If I Die Young’, to the shivering still-life installation of ‘O Columbine (Wo ist mein bruder)’.

Bunny Rogers, 'Self-Portrait (cat urn)', 2013. Image courtesy the artist.
Bunny Rogers, ‘Self-Portrait (cat urn)’, 2013. Ceramic, cat ashes, 19.3 x 11.5 x 11.5 cm. Image courtesy the artist.

It’s not until one hits upon the work of another integral contributor to the exhibition that the lofty classification of Art Post-Internet starts to congeal and find form. Harm van den Dorpel flits between mediums with his pieces, jumping from more classical physical media such as sculpture and collage to his necessarily virtual websites and online animation. But it is the trajectory of his ‘Dissociations that outlines the umbrella under which the works of Art Post-Internet fall: the notion that it is not the style nor the content of the works at play here, nor even their chosen medium or mediums, but rather the interconnectivity between ideas and forms, the very practice of creativity and the process by which it is realised.

Harm van den Dorpel, 'Untitled' from the In Exile series (2013). Digital print on paper and glass, 105x105cm. Image courtesy the artist.
Harm van den Dorpel, ‘Untitled’ from the In Exile series (2013). Digital print on paper and glass, 105x105cm. Image courtesy the artist.

When UCCA stresses the ‘inter-generationality’ of its artists, it is a helpful hint to the nature of the exhibition itself, peppered with ‘post-internet’ artists building their respective oeuvres standing on the shoulders of Net art influencers like Vuk Ćosić, Alexei Shulgin and Olia Lialina. In this respect, Art Post-Internet proves from the onset its awareness of the complexity of its subject, crafting an exhibition that aims not to present it as a coherent and cohesive discipline but rather as a dynamic process of cultural evolution. **

The Art Post-Internet group exhibition is running at Beijing’s Ullens Center for Contemporary Art (UCCA), March 1 to May 11, 2013.

Header image: Kari Altmann, ‘R-U-In?S‘ Hybrid Screener (Retrospective Kiosk Sampling for Beijing), 2014. Video still. Image courtesy of the artist.

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