[artinfo] Net Art and After
art-agenda at mailer.e-flux.com
Wed Oct 19 14:49:24 CEST 2016
Spike Art Quarterly
Net Art and After
"Anxiety" is set against "Banality" in a 2007
work by artist Guthrie Lonergan, where "Net Art
1.0" is opposed to a nascent post-internet.
Mapping the shift from the hacker ethos of the
90s to the social-media art of today to the
blockchain utopias of the coming nerd reich, this
issue of Spike revisits the dreams of a different
(art) world and charts the entanglements of art
and technology since the internet went public
nearly 30 years ago.
In a collaborative look back at 90s net.art
titled "The First Life of Net Art," UBERMORGEN,
JODI, Vuk åosiç, and Olia Lialina respond to four
theses about net.art by Italian curator and
critic Domenico Quaranta, offering an embedded
view of artists' first engagement with the
internet. They consider whether net.art was the
last avant-garde, recall their exhilaration at
being "the first to run in the snow," and explain
the circumstances of net.art's so-called death.
JODI gets the last word: "Ne.ARt has_the
In " A Cyber Memorial," Claire L. Evans writes
about Shu Lea Cheang's groundbreaking Brandon, a
1998 web commission by the Guggenheim.
http://brandon.guggenheim.org Memorialising a
murdered 22-year-old trans man, a nonlinear
narrative of gender, violence and technology
unfolds in pop-ups, livestreamed conferences, and
chat rooms. The 1990s are also at the center of
an interview with Konrad Becker by Felix Stalder
about the Vienna-based digital culture platform
Public Netbase, and the starting point for a
roundtable discussion with Tilman Baumgärtel,
Josephine Bosma, and Stephan Schwingeler, which
brings us into the present with a critical glance
at the Berlin Biennial and the potential of
hacker and maker culture today. In "The Second
Life of Net Art," Melissa Gronlund takes 90s net
art as a foil to critically examine post-internet
art and the problems it faces navigating the art
world's systemic bias towards the unique work.
In an expansive interview, Richard Birkett talks
to Hilary Lloyd about her theatrical use of
Unicol mounts, the turn to digital animations in
her recent work, and the erotics of projected
light. Katharine Stout writes on ideas of
flatness and juxtaposition in the work of Guan
Xiao. Looking at how technology carries the seeds
of the conflicts of the future, Ben Vickers
writes on the hard fork of the DAO and other
consequences of the "world computer" Ethereum.
Harry Burke writes on his hopes for an expanded
digital publishing that transcends the confines
of the printed book. Andrew Berardini meditates
on humankind's first encounters with technology.
And Sarah Thornton sends a postcard from Silicon
In the "Questions" rubric, Harm van den Dorpel
gives us his take on the future of the internet,
while Peter Weibel talks about how technology is
changing the museum and Julia Stoschek explains
the challenges of exhibiting digital art. Brian
Holmes gives some pointers to how 7 billion
interconnected bodies can resolve an endless
Also: Constant Dullaart explains what he admires
about the KLF, Borna Sammak, Suzanne Treister,
Alexandra Leykauf, and Pilvi Takala. Yongwoo Lee,
Director of the Shanghai Himalayas Museum, writes
on Yang Fudong's film The Light That I Feel
(2014) as this issue's "Curator's Key." Plus: for
the column "The End Is Night," Natasha Stagg
writes on the love lost between fame and
friendship at the Cafeteria in New York.
In the "Views" section, Chris Sharp responds to
the Berlin Biennial; Joanna Fiduccia writes on
the shock of seeing Five Car Stud in "Ed and
Nancy Kienholz" at the Fondazione Prada, and
there's further coverage of the most important
exhibitions in Vienna, Graz, Munich, Berlin, St.
Gallen, Zurich, Paris, Antwerp, New York, and Los
Plus an image portfolio with contributions by
Thomas Ruff, !Mediengruppe Bitnik, Kathleen
Daniel, Eva Grubinger, and Julien Ceccaldi.
The next issue of Spike will be out in December.
In the meantime, we hope you'll give us an okay
American President, even if you're an
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