PERFORMING THE MATERIAL… WHEN IMAGES ALREADY EXIST

M. Radtke / М. Радтке

Abstract


Digital technologies, ubiquitous computing and Web 2.0 have made it possible for users to create, archive, consume and share photos and images at any time and any place. The exuberant flow of information, the circulation of images, the performance of one's self in the net, and in general the surfeit of images and the changes in seeing, reading and thinking of and with images constitute one subject of Post-Internet Art. Through a close reading of several works of the artists Aleksandra Domanović, Oliver Laric and Jon Rafman, the following text will examine how Internet phenomena such as memes, niche interests and network structures that permit a plurality of perspectives, constant change, and associative couplings are being represented in post-digital art practice. All three artists take found images out of their circulation and inscribe them with new meaning. Treating these images as raw material, the presented works might be seen as an ongoing investigation into the processes and creative potential of re-staging or re-showing content. They decode the raw material, produce alternative narratives, and offer different pathways through reality. In the way images and texts are assembled, their works could be regarded as a vehicle for destabilization and discovery.


Keywords


Internet; repetition; appropriation; Web 2.0; circulation; networked image; Post-Internet; post-production; remix; sampling

References


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Clemens, J. Photography After Photography After Photography. Texte zur Kunst #99, September 2015.

https://de.statista.com/statistik/daten/studie/312268/umfrage/taeglich-auf-facebook-hochgeladene- und-geteilte-fotos/; https://de.statista.com/statistik/daten/studie/312273/umfrage/taeglich-auf- instagram-hochgeladene-und-geteilte-fotos/;

https://de.statista.com/statistik/daten/studie/207321/umfrage/upload-von-videomaterial-bei-youtube-pro-minute-zeitreihe/

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Scepanski, K. on Rafman, 2016, http://www.westfaelischer-kunstverein.de/fileadmin/user upload/download/ausstellungen/2016/2016 rafman web 2 .pdf

Lanctot, M. At the Dawn of a New Age, You Are Standing in an Open Field, Looking Far into the Past, Unsure of What To Do Next. Jon Rafman, exh. cat. Musee d'art contemporain Montreal, ed. Lanctot,M. in collaboration with Sandra Rafman. Montreal: MAC Montreal/ABC Art Books Canada, 2015.

Moss, C. Interview with Aleksandra Domanovic, July 31, 2008, http://rhizome.org/editorial/2008/iul/31/interview-with-aleksandra-domanovic/

Osborne, P. The Distributed Image. Texte zur Kunst #99, September 2015.

Quaranta, D. Oliver Laric. Collect the WWWorld. The Artist as Archivist in the Internet Age. Ed. Quaranta, D. Brescia: LINK Editions, 2011, 118.

Sanchez, G.H. 500 Words. Jon Rafman. March 7, 2014, http://artforum.com/words/id=47380

Schillinger, J. The Prosumer Version. Art from the masses. Flash Art #280, October 2011, http://www.flashartonline.com/article/the-prosumer-version/

Si-Qin, T. True Lies. Texte zur Kunst #99, September 2015.

Sontag, S. On Photography (1977), New York: Dell Publishing, 1978,

Speculations on Anonymous Materials. exh. cat. Fridericianum, Kassel, edited by Susanne Pfeffer. Kassel: Fridericianum, 2013.

Steyerl, H. In Defense of the Poor Image. e-flux journal #10, 11/2009, http://www.e- flux.com/iournal/in-defense-of-the-poor-image/

Steyerl, H. Too Much World: Is the Internet Dead? The Internet Does Not Exist. Ed. Aranda, J., Kuan Wood, B., Vidokle, A. Berlin: Sternberg Press, 2015.

Vierkant, A. The Image Object Post-Internet. 2010, http://jstchillin.org/artie/pdf/The Image Object Post-Internet us.pdf

Weiberg, B. Post-Internet as Post-Apparatus. Studia Cultura, no. 23, 2015.

Wetzler, R. Oliver Laric. Surround Audience. New Museum Triennial, exh. cat. New Museum, New York. Ed.Cornell, L., Christoffersen, H. Bruges 2015.

TRANSLIT

Balsom, E. After Mass Culture. Breitz, C. Ponderosa, exh. cat. Kunstmuseum Stuttgart. Bielefeld: Kerber Verlag, 2016.

Clemens, J. Photography After Photography After Photography. Texte zur Kunst #99, September 2015.

https://de.statista.com/statistik/daten/studie/312268/umfrage/taeglich-auf-facebook-hochgeladene- und-geteilte-fotos/; https://de.statista.com/statistik/daten/studie/312273/umfrage/taeglich-auf- instagram-hochgeladene-und-geteilte-fotos/;

https://de.statista.com/statistik/daten/studie/207321/umfrage/upload-von-videomaterial-bei-youtube-pro-minute-zeitreihe/

Images, exh. cat. Fridericianum, Kassel, ed. Susanne. Kassel: Fridericianum, 2016.

Jones C. All and Everything. The Mutable, Fluid and Tangential Webs of Aleksandra Domanovic, Ars Viva 2014/15. Aleksandra Domanovic, Yngve Holen, James Richards, exh. cat. Hamburger Kunsthalle, Bonner Kunstverein, Kunstverein Graz. Ostfildern: Hatje Cantz, 2014.

Joselit, D. After Art. Princeton: Princeton University Press, 2013.

Kholeif, O. What Is an Internet Aesthetic? Camera Austria #133, 2016.

Scepanski, K. on Rafman, 2016, http://www.westfaelischer-kunstverein.de/fileadmin/user upload/download/ausstellungen/2016/2016 rafman web 2 .pdf

Lanctot, M. At the Dawn of a New Age, You Are Standing in an Open Field, Looking Far into the Past, Unsure of What To Do Next. Jon Rafman, exh. cat. Musee d'art contemporain Montreal, ed. Lanctot,M. in collaboration with Sandra Rafman. Montreal: MAC Montreal/ABC Art Books Canada, 2015.

Moss, C. Interview with Aleksandra Domanovic, July 31, 2008, http://rhizome.org/editorial/2008/iul/31/interview-with-aleksandra-domanovic/

Osborne, P. The Distributed Image. Texte zur Kunst #99, September 2015.

Quaranta, D. Oliver Laric. Collect the WWWorld. The Artist as Archivist in the Internet Age. Ed. Quaranta, D. Brescia: LINK Editions, 2011, 118.

Sanchez, G.H. 500 Words. Jon Rafman. March 7, 2014, http://artforum.com/words/id=47380

Schillinger, J. The Prosumer Version. Art from the masses. Flash Art #280, October 2011, http://www.flashartonline.com/article/the-prosumer-version/

Si-Qin, T. True Lies. Texte zur Kunst #99, September 2015.

Sontag, S. On Photography (1977), New York: Dell Publishing, 1978,

Speculations on Anonymous Materials. exh. cat. Fridericianum, Kassel, edited by Susanne Pfeffer. Kassel: Fridericianum, 2013.

Steyerl, H. In Defense of the Poor Image. e-flux journal #10, 11/2009, http://www.e- flux.com/iournal/in-defense-of-the-poor-image/

Steyerl, H. Too Much World: Is the Internet Dead? The Internet Does Not Exist. Ed. Aranda, J., Kuan Wood, B., Vidokle, A. Berlin: Sternberg Press, 2015.

Vierkant, A. The Image Object Post-Internet. 2010, http://jstchillin.org/artie/pdf/The Image Object Post-Internet us.pdf

Weiberg, B. Post-Internet as Post-Apparatus. Studia Cultura, no. 23, 2015.

Wetzler, R. Oliver Laric. Surround Audience. New Museum Triennial, exh. cat. New Museum, New York. Ed.Cornell, L., Christoffersen, H. B


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