October 31, 2013
u s e r u n f r i e n d l y by UBERMORGEN

Yesterday I had a chance to see the UBERMORGEN exhibition at Carroll / Fletcher Gallery in London. Not the best exhibition I’ve seen at this gallery, a shame for the gallery who have put on some great shows this year and UBERMORGEN who are interesting artists.

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Above: Aram Bartholl’s Wifi router curation/exhibition concept Offline Art exhibiting UBERMORGEN’s net.art.

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Above: Deep Horizon by UBERMORGEN.

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Above: AnuScan by UBERMORGEN.

The show is a retrospective of sorts of what seems to be about ten years of practice. This is suggested through the exhibition statement; “the Swiss-Austrian-American duo founded in 1999 by lizvlx and Hans Bernhard” and “The exhibition includes two new installations”, however the works aren’t presented very well to give a sense of chronological progression. The first works you encounter when you enter the gallery is the mini-exhibition of net.art on Wi-Fi routers (an exhibition within the exhibition). In these UBERMORGEN’s net.art works, the oldest in the exhibition, have been curated by Aram Bartholl as part of his curation/exhibition concept Offline Art. The idea is interesting because of the presentation but the work itself looks and feels very dated, jarring dramatically with the presentation mode and making it seem as if it’s a gimmick to give extended life to work that would otherwise be less interesting.

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Above: CCTV (A Parallel Universe) by UBERMORGEN.

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Above: Vladimir by UBERMORGEN.

By far the most interesting works in the show were (V)ote-Auction, “a platform that enabled trading of electoral votes in the presidential race between George W. Bush and Al Gore” and Do You Think That’s Funny? – Snowden Files.

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Above: (V)ote-Auction by UBERMORGEN.

The exhibition text in the gallery lacked some of the depth I wanted on the works however the free publication (as a pdf) offered by the gallery is perhaps the most useful text to read. There is also an interesting review of the exhibition on the Furtherfield website.

Posted by: Garrett @ 9:46 pm
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October 24, 2013
Copyrights

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Another work involving internet employed Chinese painters. Copyrights by Phil Thompson:

contains several paintings which have had a blur filter applied to them so as to make them unrecognisable. Google explain this decison stating that they were, ‘required to be blurred by the museums for reasons pertaining to copyrights.’

After collecting all of these images by taking screenshots and cropping out the blurred images, they were emailed to oil painting reproduction companies in China (chosen for its own issues with internet censorship and for its ongoing difficulties with Google), where they were painted to the scale of the original painting. These reproductions were shipped back to the UK and now become the art work.

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Originally seen on Valentina Tanni’s weblog.

Posted by: Garrett @ 10:25 pm
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October 20, 2013
The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl

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This girl has become a well known face on the web which in turn has become the subject matter of The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl by Parker Ito.

in his project The Most Infamous Girl in the History of the Internet, which he also calls Parked Domain Girl. A project, which serves as a reminder, that the moment anybody participates, anybody is no longer anybody. It is mass culture that is no longer mass culture since it is not made by an anonymous mass, but rather a lot of different people. The project started in 2010 and it is still running. It started when Parker Ito took over the probably most known stock photo of a woman on the Internet at the time. The photo was that of a smiling school girl who greeted all visitors, amidst various ads and links, to so-called parked domains bought by the company Demand Media – a company which had acquired thousands of domain names in order to resell them. Parker Ito asked the Chinese company orderartwork.com to reproduce the photo in oil. In turn Parker Ito would paint and manipulate the oil reproductions which he again asked orderartwork to reproduce while simultaneously making the resulting images tour the internet, inviting others to join in. The default image quickly became a meme, produced by a variety of people from the copists who try to stay as close to the original as possible to amateurs on the Internet who most often try to do the opposite. The girl got “parked” on more and more sites – by Parker and many others. In the process various of her qualities were enhanced. While Parker painted her over, others undressed her. Some made her younger, others older. And while she gradually changed into many different things, it started to look as if this was what she was about all along. To some she looks innocent, a nice girl – to others beautiful, an object of desire. In the end, her innocence also became the object of desire that more and more people wanted to touch and retouch. The more people who joined in, the more she became the artist-as-network’s. The more she got parked, the more Parker’s she became. No wonder the girl’s brother, who took the photo and uploaded it to iStockphoto, felt strange about it. No wonder he wrote Parker Ito an email, explaining that though he ceded the rights to the photo for 60 cents to iStockphoto, he had not predicted the direction it would all take. The girl on the brother’s photo looks both like a kid and like a teenager. She is caught between two things, which are rather similar – close to one. As the project developed she has became more and more what Parker Ito is becoming.

The text here about this work is interesting.

Originally seen on We Find Wildness.

Posted by: Garrett @ 10:41 pm
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