Replacing the white cube with an off-white browser frame, Harm van den Dorpel's Club Internet provides an ingenious, minimally-invasive strategy for the online presentation of a gallery-style group show. Eschewing the thumbnail and commentary of surfing clubs and art blogs, van den Dorpel offers instead a thin toolbar top-border that allows the reader to cycle through full pages by the 24 artists assembled for Club Internet's inaugural show, "First Selection," running until June 14. The exhibit itself has a zeitgeisty greatest-hits quality; some of the work on display by the likes of Paul Slocum, Guthrie Lonergan, Jodi and Oliver Laric will be already familiar to Rhizome readers. But the selection serves as an excellent showcase for Club Internet's full-screen format, as many of the works require the entire browser frame, and in some cases, their native domain name displayed for full effect, and none go deeper than a single page each. The disorientingly distended jpegs of Constant Dullart's blown up balloon and blown up explosion, or the similarly large-scale, low-res flash animation of Damon Zucconi's Form Over Communication (Do not go gentle into that good night), for example, would be difficult to translate to a bite-sized blog post--likewise Michael Guidetti's glorious full-page text-and-image jumbles. Similarly, works like Thomas Traum's walking and neon, Petra Cortright's . . ._.~ <[-/=^=-]>~._. . ., and van den Dorpel's own Sleepwalker I live up to their quasi-cinematic potential when allowed to flourish in full frame. -- Ed Halter
Image is an excerpt from Harm Van Den Dorpel's Sleepwalker I, 2007.