Postinternet

Postinternet denotes an idea in arts and criticism that refers to society and modes of interaction following the widespread adoption of the internet. The term emerged from discussions about Internet Art by Marisa Olson, Gene McHugh, and Artie Vierkant,[1] however the movement has not been thoroughly defined. Guthrie Lonergan and Cory Arcangel have mentioned it as a term for being "internet aware", which some believe to be more accurate.[2] Generally it is described as art that is about the internet's effects on aesthetics, culture and society.[3][4]

Critics of the term claim that it falsely implies that there is a kind of art made after the internet has ceased to exist (and artists such as Rafael Rozendaal have criticized the ambiguity of "post-" in this instance).

History and context

The idea of art post internet was born in the wake of Internet Art, which gained significant traction in the early- to mid-2000s. Much like Internet Art, the postinternet art movement has roots in Dada, Fluxus, and exploration of net culture in general. Unlike Internet Art, postinternet art is less heavily influenced, at least in form, by telematic art, being more concerned in commenting on communications technology (the internet) than in being medium-native to the internet.[5]

Works created within the postinternet paradigm often shares the aesthetics of the Internet Art, net.art[6] and DataDada Art.[7] It differs in that it does not use the internet only as a tool to produce art, but addresses the internet as a force that has altered social structures in both digital and physical spaces.[8] Postinternet art is not necessarily art produced on the internet, but art that reflects the internet and the internet's effects on culture and society.

Postinternet art has gained some attention because of Petra Cortright's work, BRIDAL SHOWER[9][10] and notably also Katja Novitskova's work, Post Internet Survival Guide[11]. Postinternet art by Harm van den Dorpel has been covered on the Creators Project.[12] In 2014, Shia LaBeouf took part in a collaborative art project that "was partly a response to how post-internet artists were using social media to promote their work and how that promotion became the work."[13]

Criticism and philosophy

Postinternet art has been criticized as being art about the internet, rather than art of the internet, in the manner of Net Art. In doing so, postinternet art loses many of the structural benefits of Net Art, namely that postinternet art exists through the institution of physical galleries. While Net Art sought to redefine a space for its work, postinternet art is more rooted in an older, traditional notion of the role of art.[14] The crisis of postinternet art is often characterized as a question of how the inherently intangible and democratized work resulting from internet content-creation paradigms can be monetized, and in this sense postinternet art is sometimes negatively described as the image of network-native art repackaged for the gallery or for sale.[15]

On the contrary, it has also been proposed that postinternet is more like a condition for art making and critical thinking. Since the internet is no longer an option but a necessity in our society, one must also be critically aware of the internets impact on society when making art.[16] This is also clearly stated by Marisa Olson in an interview with "we make money not art"- blogger Regine Debatty;

"There doesn't seem to be a need to distinguish, any more, whether technology was used in making the work - after all, everything is a technology, and everyone uses technology to do everything. What is even more interesting is the way in which people are starting to make what I've called "post-internet" art in my own work (such as my Monitor Tracings), or what Guthrie Lonergan recently called "Internet Aware Art". I think it's important to address the impacts of the internet on culture at large, and this can be done well on networks but can and should also exist offline. Of course, it's an exciting challenge to explain to someone how this is still internet art.... If that really matters".[17]

Furthermore it has been proposed by Stefan Heidenreich in discussions with students at The Royal Danish Academy of Fine Arts during his lecture, Networks and Objects: On Postinternet, Speculative Realism, Media- or Network Theory and related artistic practises, that the strength of the postinternet term comes from it being undefinable or at least very difficult to define.[18]

Notable artists

Notable works

Post Internet Survival Guide 2010, documentation image. Katja Novitskova
Post Internet Survival Guide 2010, documentation image. Katja Novitskova

- Post Internet Survival Guide is a project initiated by Katja Novitskova. It is realised as a book, an installation "Formats" and a series of events and exhibitions.[19] The first book launch and exhibition took place in Berlin at Gentile Apri gallery as a project with Future Gallery, curated by me and Mike Ruiz.[20] The second presentation took place in London, at BYOB (Bring Your Own Beamer) London, curated by Kernel.

"TruEYE surView" show with Yngve Holen and Anne de Vries took placed from June 16 until August 21, 2011, exhibition at gallery W139, Amsterdam.[21]

Grosse Fatigue, video still. Camille Henrot. 2013.
Grosse Fatigue, video still. Camille Henrot. 2013.

- Grosse Fatigue. Video (color, sound), 13 min. © Camille Henrot.

Courtesy the artist, Silex Films and kamel mennour, Paris.

"In the beginning there was no earth, no water – nothing. There was a single hill called Nunne Chaha.

In the beginning everything was dead.

In the beginning there was nothing; nothing at all. No light, no life, no movement no breath.

In the beginning there was an immense unit of energy.

In the beginning there was nothing but shadow and only darkness and water and the great god Bumba.

In the beginning were quantum fluctuations."

Excerpt from “Grosse fatigue”[22]

Dronestagram, documentation image. James Bridle. 2012.
Dronestagram, documentation image. James Bridle. 2012.

- Dronestagram has received much ongoing attention online, gathering thousands of followers across each network in its first week. It has been featured by English-language and foreign media including the Verge,[23] New Statesman,[24] Wired,[25] Vice,[26] the Guardian[27] (online and in print), the Atlantic,[28]  the Daily Mail,[29] Russia Television (RT)[30] and many others.

Dronestagram was awarded an Honorary Mention at the Prix Ars Electronica 2013.[31]

In 2014, Dronestagram won the Media Prize at the Japan Media Arts Festival.[32] As of March 2014, it has more than 10,000 followers on Instagram, and many more across other social media networks.[33]

Forums and magazines

See also

References

  1. ↑ What's Postinternet Got to do with Net Art?, Rhizome, Michael Connor, November 1st, 2013.
  2. ↑ Aleksandra Domanović and Oliver Laric in conversation with Caitlin Jones, page 114 , MASS EFFECT, Art And The Internet In The Twenty First Century
  3. ↑ What Is Post-Internet Art? Understanding the Revolutionary New Art Movement, Artspace, Ian Wallace March 18, 2014.
  4. ↑ The term “post-internet” refers not to a time 'after' the internet, but rather to an internet state of mind..., is written on a press release for Art Post-Internet, an exhibition organized by the Ullens Center for Contemporary Art
  5. ↑ "Rhizome - Mission Creep: K-Hole and Trend Forecasting as Creative Practice". rhizome.org.
  6. ↑ "Finally, a Semi-Definitive Definition of Post-Internet Art". Art F City.
  7. ↑ "DataDada". datadada.net.
  8. ↑ "Rafaël Rozendaal - Post internet art". newrafael.com.
  9. ↑ BRIDAL SHOWER. 9 November 2013. Retrieved 5 May 2016 – via YouTube.
  10. ↑ "Post-internet Art with Petra Cortright". Totally Stockholm.
  11. ↑ "POST INTERNET SURVIVAL GUIDE 2010". Retrieved 5 May 2016.
  12. ↑ "Navigating the Complexity of Harm van den Dorpel’s Post-Internet Art". Creators Project.
  13. ↑ Batty, David. "Shia LaBeouf art show collaborators speak out about his alleged rape". the Guardian. Retrieved 2015-04-22.
  14. ↑ "Post-Internet Art Waits Its Turn". The New York Times. 29 September 2014. Retrieved 22 March 2016.
  15. ↑ "Rhizome - Mission Creep: K-Hole and Trend Forecasting as Creative Practice". rhizome.org.
  16. ↑ "Post-Internet Art: You'll Know It When You See It - ELEPHANT". ELEPHANT. Retrieved 22 March 2016.
  17. ↑ Regine Debatty, "interview with Marisa Olson", we make money not art, March 28, 2008, http://we-make-money-not-art,com/archives/2008/03/how-does-one-become-marisa.php.
  18. ↑ "Freeportism as Style and Ideology: Post-Internet and Speculative Realism, Part I". Retrieved 5 May 2016.
  19. ↑ "POST INTERNET SURVIVAL GUIDE - FORMATS, 2010". Retrieved 5 May 2016.
  20. ↑ "gentiliapri.com -&nbspThis website is for sale! -&nbspgentiliapri Resources and Information.". Retrieved 5 May 2016.
  21. ↑ "TruEYE surView, 2011". Retrieved 5 May 2016.
  22. ↑ "Camille Henrot". Retrieved 5 May 2016.
  23. ↑ Joshua Kopstein (11 November 2012). "'Dronestagram' filters satellite photos of US drone strikes for your social feeds". The Verge. Vox Media. Retrieved 5 May 2016.
  24. ↑ "Dronestagram: the locations behind America's secret drone war". Retrieved 5 May 2016.
  25. ↑ "Instagram project gives drone's-eye-view of strike targets". Wired UK. Retrieved 5 May 2016.
  26. ↑ "What Drones See". VICE. Retrieved 5 May 2016.
  27. ↑ "Dronestagram – the website exposing the US's secret drone war". the Guardian. Retrieved 5 May 2016.
  28. ↑ Rebecca J. Rosen. "The Places Where America's Drones Are Striking, Now on Instagram". The Atlantic. Retrieved 5 May 2016.
  29. ↑ "Dronestagram aims to make the locations of remote-controlled airstrikes 'just a little bit more visible'". Mail Online. 12 November 2012. Retrieved 5 May 2016.
  30. ↑ Dronestagram: Changing the way the world sees drone strikes. 13 November 2012. Retrieved 5 May 2016 – via YouTube.
  31. ↑ "Ars Electronica - Prix Ars Electronica". Retrieved 5 May 2016.
  32. ↑ "第19回文化庁メディア芸術祭". 第19回文化庁メディア芸術祭. Retrieved 5 May 2016.
  33. ↑ "Dronestagram : James Bridle". Retrieved 5 May 2016.

External links

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