By Maddy Plimmer
You could stop at 5 or 6 dealer galleries or just one! The days of 40% commission are over, because now it’s only US$10 a month to set up an online gallery with http://exhibbit.com/.
Vesa Peltonen is just one of many artists currently exhibiting work. As you click on his name and image to enter the gallery, you are briefly shown some text about the artist while the gallery loads, so we know going in that he is as dedicated to his art as he is to protecting and celebrating human rights. Once loaded, you find yourself situated within a virtual gallery. It is a long white room with tall narrow windows to provide natural light and marble floors. There is also a cushioned seat at either end, which is nice if you need to sit down or would like to contemplate the works for an extended period of time. There is the option for a tour of the gallery, but I decided to use the arrows keys and find my way around myself. Despite becoming briefly trapped in the ceiling, I did enjoy floating around the room, moving through ghost people and furniture to view the mixed media limited edition prints. It was nice to be able to get up really close and see every pixel of the work. The other people viewing the works weren’t bothering me in the beginning, largely because they were see-through and I was able to move through them, however I did later decide I wanted to be alone with the art, so I got rid of them.
I then decided that I wanted to see these works on a magenta wall, so I made that happen.
I thought this was a very handy feature. Gone are the days when one’s entire critique could consist of “I’d like them so much better if the wall was painted magenta!”
Overall, I enjoyed my visit to Vesa Peltonen’s exhibition in one of exhibbit’s many galleries. It could perhaps of benefitted from some higher resolution images of the works, but I liked that I as the viewer had control over the exhibition space. I don’t know what Vesa Peltonen thinks of magenta walls but at the end of the day, this was my viewing experience, and I tailored it to my tastes. I don’t really know how these features enhance the artworks, or allow
by Jesse Bowling
post-internet.net is a domain that facilitates a PDF. document titled INFORMATION/DATA, which is the catalogue for an exhibition called Art Post-Internet, that was exhibited at Center for Contemporary Art in Beijing during 2014.
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When downloaded and opened it supplies the “owner” with a time of download, where in the world you downloaded it from, your original copy number and your IP address. The website also contains the right to a record of every download, time downloaded, IP address, and location. This interesting to see a record of the users and how this PDF disseminates to a wider audience as you can see where it is being downloaded from, and that it is still downloaded every day by new users.
The exhibition existed physically and the idea behind the catalogue was to preserve the discussion around Art post-Internet, as the exhibition was only for a period of time. The catalogue would exist and become ahistorical for a period of time then eventually become historical. This seeks to preserve the movement to a point in time, where the exhibition was essentially more of a survey of the movement that the word Post-Internet is tagged to.
Using the Internet to document and catalogue the views/downloads/locations/IP addresses creates a point of reference for further art researchers to look back at. This is a strong tool for the idea to become circulated and not lost to a library or recycling bin. It then becomes more about virality of its circulation, in reference to viral images, memes etc. which are hyped for a few weeks before becoming irrelevant. This pdf. has staked its place within this virality of the Internet as a “monument,” a point of reference, which will not be lost within the Internet. As Internet trends move too fast to be recorded and reflected by “academics”, this holds ground through its recorded data. The data of downloaders places its dominant relevance and influence on an emerging artist or post contemporary theorist.
By Maddy Plimmer
The seemingly never-ending scrolling that is Cloaque steps away from traditional blog format, and towards exhibition. Several works commissioned or found by Cloaque from various artists, blend into one constantly growing and extending work. The content of the works largely draws from Internet culture and net art, with pop-up messages, ringing cellphones and pornographic imagery. Big names in the ‘post internet’ movement, such as Tom Hancocks, Kim Laughton and Jennifer Mehigan, have made works for the website, but the same artist never contributes more than one work. Sometimes the blogs editor posts found works, stating in the about section “many of the images that make up the collage are not owned by Cloaque. If any images of you or any images that you own are included in the composition, and you are not happy with this, please contact us regarding their immediate removal.” The focus is on the aesthetics of blog overall, and the kinds of works they want to show, not on the artists. If the blogs curator finds something in the big wide web that would work on the blog, but the artist cannot be found, the work will still be posted.
The line between publication and exhibition is blurred, as at its core Cloaque is a blog, and so at first could be interpreted as a publication of Post Internet art works. However, this blog could also be seen as an exhibition space, which displays one constantly changing collaborative artwork between those involved in the Post Internet art movement. The format of the blog allows for this constant adaptation, and each post almost acts as another ‘issue’ in a similar way to a magazine. However the way every post sits in the same space, making up a part of the whole, operates similarly to a public artwork. It is accessible by the public for the foreseeable future, and once a work is posted, it remains there unchanging, just added upon. Cloaque describes itself as “like a digital landfill. It is the result of the collection, treatment and joining together of a series of images found online, to create a column of digital compost.” It plays on the very nature of the Internet, messy collection of the largest variety of information. Impossible to find what you’re looking for without the help of a search engine. Seemingly endless.