Post- Net: Bad Romance

7 Mar 2014 – 4 Apr 2014


London, United Kingdom


Travel Information

  • 47, 53, 177, 180, 199, 255, 453
  • Canada Water
  • Deptford Train Station/New Cross Train Station/Deptford Bridge DLR/Cutty Sark DLR

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At a stage when the jump between online and IRL is so hazy and indefinable it seems apt that artists are working around themes which flicker between the two with ease. The rise of terms such as Post-Internet have brought with it an inherent critique and scrutinised vision on how the Internet has become embedded within art practices. Once a destination in and of itself, the web has become slowly engrained into our lives such to the point where wearable tech and empathetic objects[1] are becoming the next hyper leap into an all connected, Internet drenched world. Within this system artists have become the leaders in a producer-consumer space feeding off the distributions networks, waterfall feeds of image reverie and snowballing networks. In an age where image consumption has now taken the place of eating habits as our premium vice, the effect mutates into art objects as 'Internet aware' products, on the thinning knife-edge of on/offline, where influence from an online aesthetic has trickled back into reality like some endless narcissistic loop. Now that image hierarchies have essentially been flattened artists lie in the precarious state to filter, remix and repurpose imagery, whilst also inherently working the game of networked image distribution whereby their work naturally flows into torrent of image streams. Each of the artists in the show in some ways works around these notions of the decentralised image and aesthetic horizontalism that has spread like wildfire with the proliferation of social and blog networks. Works spiral between the defined digital to a more undefined model of artwork under the influence of the Internet. The web has become the new public house - drunk on images, pub brawls left in the comments box, users staggering incoherently from an endless supply of content. Artists then have become surrounded in an economy of attention unparalleled IRL, which now more than ever seems to commodify extensively our attention as a product. If this is the case then how does the reality based product play out against its online counterparts.


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