Two Point Oh- Current LPP Online Exhibition curated by Jackie Im and Aaron Harbour

Curated by Jackie Im and Aaron Harbour

Artists: Constant Dullaart, Ian Dolton-Thornton, Ryan Trecartin, Sabrina Ratté, Pronunciation Book, Kalup Linzy, Sara Ludy, David Horvitz, Chris E. Vargas and Greg Youmans, and Jeremy Deller.

January 17, 2012- February 29, 2012

The internet has been a site for art since before the current pervasiveness of home and portable computing. In the 1990’s and early 2000’s artists produced Net Art, often by creating a web page in which a work or a group of works was sited. While these artists were indeed venturing into new territory, their works were and continue to be challenged by specific limitations: how does one present, maintain and drive traffic/viewers to a URL? Should the work become archived? Preserved on a disc or database do interactive elements become null and void? Through a combination of institutional exhibition and acquisition, as well as what could be called a short-sighted view of the ubiquity of the internet equating a universality of access, many early net art works vegetate, islands in a vast sea of websites – accessed via art world specific portals, rarely visited, stationary and un-linked to.

“Post-internet art,” a phrase coined by artist and curator Marissa Olson and developed by writer Gene McHugh, refers to works in which the internet is not so much a novelty, but rather a banality – a site in which we traverse everyday. The artists in Two Point Oh make use of internet technology that is situated in the everyday – Google Image Search, YouTube, Wikipedia, Vimeo and blogs as potentially material and site for their practices. These works are in plain sight and/or use tools that are readily accessible, and that act comes with risk: loss of ownership and control of distribution, the mundane limitations of the host website’s interface, commodification of their ‘page views,’ and competition in the form of every other entry on such a space. Yet these works also are rewarded the opportunity to address an audience on their own terms, both temporally and spatially.

Critic and media theorist Boris Groys describes the seemingly infinite reproducibility of the digital as a half-truth. The invisible data – i.e. the HTML code of a given website or the binary codes of digital media – is reproducible, yet its visualization via a multiplicity of venues (laptops, projections, smartphones, etc.) is unique to the manner of its presentation. Groys describes the data as analogous to a score and the presentation as a performance of it, and in translation necessarily a betrayal or a misuse.

With the works in Two Point Oh, this sense is amplified through the multiplicity of contexts in which these works can be accessed. Some are encountered via RSS readers outside of their site, others find themselves posted onto Facebook walls. Pronunciation Book, included in this exhibition but not directly attributable to a particular artist or as an art project per se, might be visited for the service it provides. By choosing to gather these works into an exhibition, we have somewhat estranged them from this heterogeneity of context, but it is a mild form of affixing the viewer’s experience to a desired narrative or pattern. There still remains the likelihood of viewing the works piecemeal. We do not subscribe that exhibition be viewed in the same manner one would encounter it in a museum or gallery. Rather the works in Two Point Oh may be approached as other online media or information – a jumping off point or an open tab among others.

To view the Exhibition: HERE

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