Image posted to Facebook by Pen Robit.
An artist finishes a piece, snaps a selfie in front of the work, and uploads the picture to Facebook. Although there is no curator or gallery mediating the art, many of the artist's friends are quickly liking and commenting on the work. It's a typical postinternet art practice that I've seen countless times, only now I'm in Cambodia, a country where a mere 26.7% of the population claims they've used the internet. The work is a self-portrait oil painting, and the artist borrowed his friend's smartphone for the picture.
Postinternet art is an umbrella term for a range of artistic responses to the widespread adoption of the web—specifically social media and networked smartphones—in and around the contemporary art world. It explores and exploits how these technologies have affected the ways art and culture is shared and made. Online conversations and web surfing become the raw materials, Photoshop and screen grabs the tools, and YouTube and Instagram the platforms.
In his seminal blog "Post Internet," Gene McHugh described the condition of postinternet as "when the Internet is less a novelty and more a banality." The lack of any sense of banality around internet access here in Cambodia, where I've spent the past several weeks researching and interviewing contemporary artists, has forced me to question two major underlying assumptions about postinternet art: A. Everyone is online, all the time. and B. Everyone has access to the computational power of something like a MacBook Pro, which are both statistically egregious assumptions. Roughly 58% of the world is offline, and many of those online are only accessing the web through basic feature phones.