This Thursday, the Rhizome community will come together in the New Museum Sky Room to re-imagine its future. A future less bound by the nitpicking criticism of the past, the hand-wringing, the self-doubt. This is our promise to you: a profound sense of human connection, an art that can bridge the cultural gaps in an interconnected world, an app for every social problem, a better wave, a more sustainable and democratic glass of champagne. Are you brave enough to come with us on this journey?
Courtesy grouphab.it and Harm van den Dorpel.
An extended and altered version of this text will be published in... You Are Here: Looking at After the Internet (Cornerhouse Books 2014), edited by Omar Kholeif.
Earlier this month, Rhizome presented a panel discussion at the ICA in London titled "Post-Net Aesthetics." Following in the wake of prior panels (titled "Net Aesthetics 2.0") which were organized by Rhizome in 2006 and 2008, this edition was precipitated by the recent discussion of postinternet practices by a number of art institutions and magazines, including Frieze. We invited a longtime Rhizome collaborator, critic and curator Karen Archey, to chair and organize the panel, and what emerged was a wide-ranging and extremely generative conversation in which participants began to articulate some of the shifts they'd seen in artistic practice in recent years, while critiquing those shifts and their framing as "postinternet."
Mute, Vol 1, No. 22 ("The Art Issue"), including CD-ROM of JODI, Untitled Game (1996-2001).
Rhizome's erstwhile Conservation Fellow, Lisa Adang, has published the results of her material analysis of JODI's Untitled Game (1996-2001), and her findings are both more concrete and more nuanced than much of the extant scholarship.
By way of background, Adang points out that JODI began working with game "modding" around the same time as they began working with the web.
Although they may be best known for their web browser-based works, in this early period, JODI also experimented with the alteration of game code using two hugely popular computer game sources: Wolfenstein 3D (1993) and Quake 1 (1996), both developed by John D. Carmack, John Romero and the team at Id Software based in Richardson, Texas. Wolfenstein is widely recognized as the first fully rendered three-dimensional polygon game environment, a technique that allows objects and walls to appear to wrap around the player's perspective, realistically block the player’s sightline, and recede into a vanishing point that shifts with the main character/player's perspective. Characters within the game are also comprised of polygons, and sprite images occur on instances such as the firing of a weapon, scaling to suggest proximity and perspective.
Petra Cortright. RGB,D-LAY, 2011. Webcam video file. Edition of 5. 1 AP. Courtesy of the artist and Steve Turner Contemporary, Los Angeles.
Last night, Rhizome was the beneficiary of the Paddles On! auction at Phillips auction house. Curated by Lindsay Howard and co-organized by Phillips and Tumblr, the auction brought together works under the banner of "digital art." While the sale of artworks that engage with digital technology is nothing new, there was something remarkable about the scene last night. Magda Sawon tweeted that it was "like parents forgot to lock the house & the kidz had a great party!" (She also added, "One day it may be their house or they burn it," but that's just typical gallerist-auction house repartee, we're sure.) Every lot was sold, and perfectly-coiffed bidders competed not only over digital prints, sculptures, and Petra Cortright's digital painting, but also over Jamie Zigelbaum's interactive installation and Rafaël Rozendaal's website. Rhizome was the grateful beneficiary of this frenzied activity; we received 20% of the proceeds, with the other 80% going to the artists, and when the last gavel fell, nearly $18,000 had been raised on our behalf, which will help us continue to expand our efforts to commission, contextualize, and conserve technologically-engaged artwork.
Image from the exhibition Concealed Carry, 2012 at Oliver Francis Gallery
Described as a black market eBay, the Silk Road was a website where anything—and we do mean anything—could be purchased with bitcoin and other tools allowing anonymous transactions. Products on offer on the site included drugs, weapons, fake IDs, and hacking services. This underground economy was accessed via the encrypted Tor network, which routes data through circuitous, encrypted routes to make users' activities difficult to trace.
As of Wednesday, the Silk Road is no more, and its founder Ross William Ulbricht (previously known as Dread Pirate Roberts) has been arrested, which will have an effect on an ongoing series of works by artist Brad Troemel. For the 2011 exhibition The Social Life of Things at Showroom MAMA in Rotterdam, Brad Troemel (with Ben Schumacher, Artie Vierkant and Jon Vingiano) acquired a number of services and objects from the marketplace that were presented in an installation. The installation included such objects as a fake ID that has Troemel's real details and picture on it (juxtaposed with his real driver's licence), bump keys for lock-picking, and seeds to grow plants that can be processed into psychedelic drugs. These objects were intended to be further used by visitors, continuing to circulate in the world after their movement through the Silk Road market network: