I wrote a short essay for the exhibition Better Call Mark, on view since June 9 at Galeria Fran Reus, Palma de Mallorca. Featuring works by Albrecht / Wilke, Arno Beck, Johannes Bendzulla, Pierre Clement, Olga Fedorova, Marian Garrido, Joan Heemskerk, Eva & Franco Mattes, Mario Santamaria, Bartomeu Sastre, Mathew Zefeldt, Better Call Mark focuses on the dissolution between the purely physical and online. My take on it is available online as pdf, and in this post, right after the break.
Mark is, of course, Zuch. The image above is a screenshot from Joan Heemskerk’s contribution to the show: the website and installation Aquay (2022)
In this recent interview I had for the online magazine Generazione Critica I discuss about the internet as a space of freedom vs confinement, net based galleries and shows, the success and failures of net based art. Available both in English and Italian.
“Like many other realities, in this time of lock-in and fear of human contact, the world of art has been forced to migrate online. Some have been content with putting things on their social media or live streaming on Instagram, Facebook and Youtube, or to further utilise their mailing list as a communication tool; the more adventurous organized online exhibitions, fairs and virtual viewing rooms. All of a sudden, the network has changed, from a place of communication and support to physical space, to the only possible space for the manifestation of art. Given the current circumstances, it was predictable that the artistic practices that had long ago chosen the network as their primary space of existence would find renewed interest. There is nothing wrong with that, a reinterpretation of the net art tradition might prove to be one of the positive aspects of this unfortunate period, and teach to the “non-native” arts something about this space. But describing net art as perfect for this moment of forced imprisonment on the screen and on the net is very dangerous, because it risks falsifying completely its nature and jeopardizing its understanding. For net art, being on the web has always been the consequence of a choice of freedom, not an imposed condition. We choose to make art on the net to explore new conditions, to be part of a community, to establish a direct dialogue with the spectator and with the public space of which we are part. That’s how it was in the Nineties, and continues to be today, but with differences. Think about Land art: it was, and in some ways still is, a refusal of the white cube and its implications, the search for huge spaces, the desire to leave a formal mark on the natural world and to create new spaces for relationships. But if, due to some cataclysm, the whole world of art was forced to leave the museums and galleries, and retreat to the Nevada desert, would they continue in the same way? Would we all become Land artists?”