. community —

.*. SELF-LOVE .*.

  • Location:
    Copenhagen Place, 86 Copenhagen Place, Poplar, London, E14 7DE, GB

Non-consensually exhibiting excellent 
immaterial + irl works by:
Kaja Cxzy Andersen http://www.cxzy.biz/ 
CANT COPE WONT COPE Autodespair www.youtube.com/cantcopewo​ntcope 
Andreas Banderas http://andreasbanderas.com​/ 
Jubal Brown http://www.youtube.com/jub​albrown
Hannah Tindle http://hannahtindle.tumblr​.com/ 
Riyo Nemeth http://www.riyonemeth.com/
Nicholas O’Brien http://doubleunderscore.ne​t/Irish
Daniel Waldman http://www.youtube.com/use​r/GouffidIslandWebsite 
Kacie Kim (unicorngirl) http://www.youtube.com/kac​iesays 
Kirstin Smallwood (Krad Choeger) http://krad.tv/
Krystal South http://www.krystalsouth.co​m/
Timur Si-Qin http://timursiqin.com/ 
Michael Manning http://www.mirrrroring.net​/ 
Amalia Ulman http://amaliaulman.eu/ 
Wes Friedrich http://www.wesfriedrich.co​m/ 
Micah Naguit http://xmicahh.tumblr.com/ 
Curated by Jennifer Chan
♡ ♡ ♡
BYOB !*All you can eat cupcakes* vegan and non vegan* as long as they last!
Informal Public Crit Wednesday July 20, 7pm 
SELF-LOVE is a wholeheartedly selfish endeavour to exhibit emerging web-based art without ever contacting selected artists. The featured artworks employ the immediate and intimate properties of online media to engender empathy and affect.
Achieving self-love involves doing something to resolve the part of oneself that persistently cares about a concern–in order to achieve a feeling of happiness. The one-night exhibition approaches the social dimension of the internet as a public domain for sharing transient projections of the self. It is, however, not the first exhibition of its sort. SELF-LOVE extends prior attempts at non-consensual exhibition in No Permission: Absolute Heartbreak (2010). (4evaconnected.org) 
This approach acknowledges shifting definitions of curating in a time when the common user may share and decontextualize art on media distribution platforms such as YouTube and tumblr. Conflating curatorial and artistic practice, deliberate installation and recreation of artworks explores unfixed ways of representing an image or object in a social-exhibition context.
In dialogue with a previous Copenhagen Place exhibition, SELF-HELP, Chan looks at highlighting the psychological presence of the artist. An emotionally gratuitous use of technology is an ethical obligation to care for the self. This manifests in a profoundly banal and expletive use of the camera, or absurdly symbolic uses of found media. 
While narcissism is frequently attributed to interactive and introspective qualities of using “new media”, performance for the webcam places the artist in a scene of exposure to share and enact a self-concerned matter. Meanwhile, visual-verbal puns inspire the creation of found object installations to convey emotional investment in electronic objects as instruments of mediated communication. Regardless of form, the displayed works exhibit vague but unapologetic affinities for socializing online and creating artwork for a networked audience.