A bit late to be mentioning ‘Post-internet’ art but thought I’d touch on it again.
Artist: Katja Novitskova.
“…in the same way that postmodern artists absorbed and adapted the strategies of modernism—fracturing the picture plane, abstraction, etc.—for a new aesthetic era, post-Internet artists have moved beyond making work dependent on the novelty of the Web to using its tools to tackle other subjects. And while earlier Net artists often made works that existed exclusively online, the post-Internet generation (many of whom have been plugged into the Web since they could walk) frequently uses digital strategies to create objects that exist in the real world.” 
Artists: Harm van den Dorpel + David Bradley.
There is a kind of day-glo clumsiness about some of the pieces that I like, the aesthetic reminds me of the short lived New Rave music genre of about ten years ago.
Artist: Tim Steer.
“…the most counterintuitive aspect of the post-Internet label is that it extends to work in the traditional formats of painting and sculpture. In fact, one of the features that distinguishes post-Interent art from the “Net Art” of the late ’90s and early 2000s is its ability to crossover between online and offline formats. While Net Art refers to art that uses the Internet as its medium and cannot be experienced any other way, post-Internet art makes the leap from the screen into brick-and-mortar galleries”.
Artists: Petra Cortright + Katja Novitskova.
Artist: Artie Vierkant.
“Image Objects are a series of works which exist somewhere between physical sculptures and altered documentation images. Each piece begins its life as a digital file, of which countless variations exist. These are then rendered as UV prints on dibond and precision-cut to the form of the piece to create photographic prints with the depth and presence of a sculpture.
Each time the pieces are documented officially (i.e., by the artist or by a gallery), the documentation photos are altered to create a new form which does not accurately represent the physical object, and generate new derivative works that build upon the initial objects. The viewer’s experience becomes split between the physical encounter in a gallery setting and the countless variations of the objects circulated in prints, publications, and on the Internet. The documentation becomes a separate work in itself, incorporating elements of collage, techniques commonly used in professional image retouching, aestheticized digital watermarks, and more.” 
Tutor: Jonathan Kearney
A Skype talk with Jonathan. We mostly discussed the forthcoming interim show next month and the practicalities of me bringing over a screen to London. We also discussed monitors and how to hang and display pieces.
We also discussed some of the recent 3D imagery I had produced based on some of W.B Yeats writings.
Although the course is focussed on the practice process and concepts I said that it was important to me to have some finished complete work that is presented in a gallery setting.
Not sure Jonathan was too pushed about the voice over on the video I made called ‘Slouching towards Bethlehem’ :-). It’s meant to be Beckettian voice instructing a series of 3D orbits how to behave, similar in spirit to this lesser known Samuel Beckett play Catastrophe where John Geilgud as a powerless mute mannequin is prepared for performance by a director and his assistant.
He did suggest that I slowed it down in places. I wondered if the voiceover would make sense to anyone, he suggested that an artist like Mark Leckey’s audio may not make sense to anyone either, but just to do it.
Note to Self:
- I have a print of some of the imagery, but would prefer to get some 3D prints done, so there is a proper physical 3D manifestation of the imagery, but there may be too many errors in the .stl files.
“The album is an exploration into the gendered body.”
There is something quite unsettling about this video, a future Bosch painting depicting some kind of simulated white out Armageddon/Garden of unearthly Delights.
Note to Self:
- The main protaganist/white figure also reminds me of the figure in Ridley Scott’s Prometheus movie.
I did an Arduino workshop with Adam Gibney (aka Adamski O’Gibahney) last year, so decided to check out one of his solo shows. It was a very quick but enjoyable visit to the tiny Artbox gallery a few streets away. Its a sleek, minimal space, perfect for Adam’s monochrome pieces.
‘Euclid, I miss you’ the title of his show is centred on the concepts of geometry, mathematics and certainty.
“But this map of what surrounds the present, like all maps, is only a surface; its features are but abstract signs and symbols of things that in themselves are concrete bits of sensible experience.”
William James, Some Problems of Philosophy, Harvard University Press. 1979
“Symbolic descriptions of reality, even the axiomatic, have proven to be only temporary and tentative. The line, a breadthless length…”
Euclid, Definition 2
“…now protrudes into the platonic. The solid formal structures that held truth now exist precariously within the newfound multitudes of reality. The rigorous quest for certainty seems to only expand the terrain of uncertainty. Here and there, an arbitrary line connects points, which have no part, here.”
Euclid, Definition 1
The show featured x3 audio boxes that an aerial sporadically extended from and which triggered a robotic vocal utterance. There was also nice use of what looked like self made lights, in front of linear prints that seemed to grow out of the wall itself, and then cascaded down onto the floor. A camera atop a screen filmed you as you approached and glitched your bottom half. Finally a mutated 3D printed coffee cup rested on a light table.
There was a sense of continuity between the four sets of pieces, all complimenting each other.
Note to Self:
- Complete any 3D prints put on hold.
“Doppelganger” is German for “double walker”, a shadow self that is thought to accompany every person.
“Of all the prostheses that mark the history of the body, the double is doubtless the oldest. But the double is precisely not a prosthesis: it is an imaginary figure, which just like the soul, the shadow, the mirror image, haunts the subject like his other, which makes it so that the subject is simultaneously itself and never resembles itself again…”
Jean Baudrillard: “Simulacra and Simulation (1981)”
Alternatively in psychotherapy terms.
“The shadow only becomes hostile when he is ignored or misunderstood.”
Carl Jung: ‘Man & His Symbols’.
Samuel Beckett is well known for such famous plays as ‘Waiting for Godot’ and ‘Krapp’s last tape’, but some of his lesser known pieces or short theatrical sketches are just as powerful.
Catastrophe isn’t well known, but it always struck me as one of his most powerful pieces for stage. It’s his most political and also supposedly his most optimistic.
Its a short work consisting of one scene, in which a director and his assistant discuss a mute figure they are preparing for a performance: he is a dehumanised character, like a tailor’s dummy, at the mercy of their direction; his only gesture of independence is to raise his head at the end of the play – an act of resistance in the face of oppression. Its dedicated to then (1982) imprisoned Czech playwright Vaclav Havel.
“There’s our Catastrophe, in the bag!”
Harold Pinter: ‘Catastrophe’.
Note to Self:
- Man as Mannequin/Object.
- Person unfurled.
A sod of clay reveals itself as object.
I want to see the Lat. I want to see the Long. LatLong.
Unfurl for me.
Video vignette. Track used is Grey by Brixton based electronic musician Gaika.
Round and round and round you go.