2020 - Pandemic Times

After following the development of art and culture in the context of the Internet since 1993 I am still fascinated: there seems to be no end to the sometimes surprising transformations in art and art criticism in this ever expanding field. The boundaries between media art and contemporary art, if they ever existed, are dissolving ever faster.


                     3D video still from Stephanie Syjuco's Spectral City (Trip down market street) (2018)

What to say about this year... It often seems like we are all just leaves drifting in the wind with no certainty where we will land. 2020 will either go into history as the lockdown year, or as the year the lockdowns began. The covid19 pandemic has turned the world upside down. So many of us have been affected badly. I find it hard to talk about work or the developments within art in this situation, yet still so much happened and continues to develop, especially it seems in the context of 'online culture'. Though art institutions have been slow to recognize the possibilities (and pittfalls) of the new networks, luckily many artists, critics and curators were not and they could easily switch off and online spaces. I feel honored to have been part of some of the events they produced. It made the pandemic and the lockdown somewhat easier to bear. Net artist Olia Lialina asked me to write a text for her exhibition HOSTED at Arebyte gallery in London. Dutch art magazine Metropolis M commissioned me to write a semi-review of INFORMATION, the legendary exhibition at the MoMA in 1970. In June I led a conversation (struggling with the Zoom interface) entitled Critical Coding with the artist-researchers Nancy Mauro-Flude and Winnie Soon for LIMA Online. Upstream Gallery in Amsterdam asked me to be the curator of their last online exhibition in September. This became Appearances, a poetic show I am quite proud of, with the artists Addie Wagenknecht, Annie Abrahams & Daniel Pinheiro, Amy Alexander, Claudia Del & Jaume Clotet, Evelina Domnitch & Dimitry Gelfand, Knowbotiq Research, Nancy Mauro-Flude, PolakVanBekkum, Stephanie Syjuco, Valentina Gal, and Winnie Soon. Also in September I joined Planet Art for GOGBOT in Enschede again, where I curated and moderated a small symposium. In between all this, and in between lockdowns, I managed to travel to Berlin this summer to see the lovely exhibition Eintritt in ein Lebewesen, curated by Tilman Baumgärtel. I want to thank all the people involved here for lifting my spirits in this tough year.

Fall 2018

After following the development of art and culture in the context of the Internet since 1993 I am still fascinated: there seems to be no end to the sometimes surprising transformations in art and art criticism in this ever expanding field. The boundaries between media art and contemporary art, if they ever existed, are dissolving. Let's enjoy this moment together.


   The hall of the ORF studio in Linz, a design by architect Gustav Peichl in 1972, where the original The World in 24 Hours by Robert Adrian took place. The first Ars Electronica festivals also took place in this building, namely in one of its live TV studios.

It is time for a long overdue update! Since mid 2017 I am working on a research project around the work of the late Robert Adrian, an artist who was one of the biggest influences in my life as an art critic and theorist. Adrian's work firmly shaped how I see art in the context of the internet. This research project still takes up most of my time and will do so for at least one more year. Part of it namely is a re-envisioning of Adrian's famous work The World in 24 Hours, a re-enactment of Adrian's vision with the original work, which should take place at the Ars Electronica festival in September 2019. This will be a collaboration with artist, curator and theorist Patrick Lichty. Next year is the 40th birthday of this huge electronic art festival, where The world in 24 Hours took place in 1982. In the past year I have been in touch with numerous of the original participants and other important actors behind the work, such as Adrian's friend and collaborator Bill Bartlett and computer ingeneer Robert Bernecky of IP Sharp, the network that hosted part of the performance. For next year's event at Ars Electronica festival the prospects are amazing! I cannot tell you more at this time since everything is now under construction, but updates on the shape and content of the event will probably be more clear next spring. Next to this I have curated an event in the Come Closer series at the Christian Boltanski expo in the Oude Kerk in Amsterdam in Februari this year. A month later I was part of the Netbased Award at the Haus für Elektronische Künste (HeK) in Basel, where Olia Lialina won first prize with a lovely and smart work, Self Portrait. The work is a beautiful integration of simplicity in appearance and complexity in form: Lialina's portrait can only be seen in full glory when opening it in three different web browsers, one of which is the anonymous browser Tor. In the meantime I wrote a text for the upcoming book publication of Rhizome's Net Art Anthology. Other things are still in the pipeline. A nice event that will happen soon (November 5th) is Cogito in Space by Daniela de Paulis, which includes a mini-symposium I will be moderating. The event takes place at the radio observatory in Dwingeloo, where De Paulis will do a performance in which she sends EEG data of the audience into space.

Fall 2017

After following the development of art and culture in the context of the Internet since 1993 I am still fascinated: there seems to be no end to the sometimes surprising transformations in art and art criticism in this ever expanding field. The boundaries between media art and contemporary art, if they ever existed, are dissolving. Let's enjoy this moment together.


            Ars Electronica, Linz, performance shot of The World in 24 Hours (1982) by Robert Adrian X et al.

2017 has brought some new perspectives and more developments in the recognition of science and technology as major influences in art and culture. There is a growing interest in the history of art, science and technology on the one hand, while the interest for art involving new technologies keeps gaining momentum on the other. My work as advisor for Rhizome's Net Art Anthology has made me re-visit some works from the past. Getting Automatic Rain, a small work by JODI from 1995, restored brought some challenges around migration and emulation of software to the light. A much bigger challenge however was (and is) reviving one of the earliest network performances ever. Since the beginning of this year I am doing research into a possible re-enactment of The World in 24 Hours by Robert Adrian X. It is a vast research project involving interviews with all participants of the 12 nodes in the network from 1982 and an investigation of possible re-enactment strategies, involving a new generation of artists and various alternative network practices. For the latter I have given a presentation at the Dutch hackercamp SHA2017 and I am preparing a revised version of this presentation for Radical Networks in New York this October. I received the necessary and most welcome funding from the Stimuleringsfonds voor Creatieve Industrie. The project will continue well into 2018, as we may or may not realize a re-enactment at Ars Electronica next year. Given the huge difference in technological and cultural context between 1982 and 2018 this is not a given. Expect some writing from me about this topic the coming months. Besides this fascinating work I am also still acting as advisor, juror and moderator at various events. I compiled the symposium for GOGBOT 2017 and proved it is possible to find amazing female speakers for tech events. Professor Dynamics Amina Helmi from the university of Groningen, detector engineer Liz George from ESA and artist Daniela de Paulis gave interesting presentations, next to philosopher, 'denker des vaderlands', René ten Bos. More recently I moderated the Feedback symposium at West in The Hague, about media theorist Marshall McLuhan, together with artist and curator Baruch Gottlieb. I also recently started as an advisor for a wonderful new project by LIMA with the working title Dutch Digital Art Canon. More big news for next year will come up soon.

End of the Year 2016, Beginning of 2017

November, 2016

After following the development of art and culture in the context of the Internet since 1993 I am still fascinated: there seems to be no end to the sometimes surprising transformations in art and art criticism in this ever expanding field. The boundaries between media art and contemporary art, if they ever existed, are dissolving. Let's enjoy it together.


            First two pages of my interview with Jonas Lund in Kunstforum 243: Postdigital 2 (Nov 2016)


After a very busy summer with lots of travelling autumn seems to bring calmer times. I gave a presentation at Nieuwe Vide in Haarlem in the WIFI, Connectivity and Digital Utopia exhibition. After a long delay the Kunstforum Postdigital specials finally came out, with my essay Post-Screen and my interview with Jonas Lund in Postdigital 2. You can read the English version here. On Friday the 25th of November I am the host of the Crypto Design Challenge Award Show at Paradiso in Amsterdam. Somewhere around new year I plan to go see the first large solo exhibition by the artist duo Evelina Domnitch and Dmytri Gelfand at Le Lieu Unique in Nantes, which runs until January 8th 2017. Then I hope to see you at Transmediale in February, which promises to be a very special 30 year birthday edition! I am particularly looking forward to seeing the exhibition Alien Matter curated by Inke Arns. In between I work on new interviews, developing plans for new events and, last but not least, restarting my PhD. Hopefully, with the Dutch elections happening in March, there will be enough peace of mind for all of us to realize our hopes and dreams.


End of 2015, beginning of 2016


 Image from The Possibility of an Army by Constant Dullaart (2015)   &  The Weise 7 Book (2012)

The year 2016 approaches fast and it is time to post another update. 2015 has been quite intense and busy. In the pictures above you see work of the two winners of the Prix Net Art 2015, Constant Dullaart and Weise 7, for which I was one of the jurors together with curators Domenico Quaranta and Chrissie Iles. You can read the jury report here. Earlier in the year I was also on the jury of the Blink Youngblood Award, a prize for best work in the selection of graduation works by art students. The other jury members Gerben Willers and Vanessa Evers and me decided on the work of Nono Groenen, a graduate of Artez Enschede. In the summer I went to the CCC hacker camp, where the plan was born to have an art village in the next Dutch hacker camp SHA in 2017. Keep an eye out for the call for participation for this village, which should appear sometime next year. As for the next few months: it looks like I will take part in a mini-conference on value creation during the Entropical exhibition by Debra Solomon and Jaromil Rojo at Zone2Source in February. Other activities are on the way but still need to be confirmed. I will keep you posted!

Summer and Fall 2015


         From Google Images series by Artyom Kocharyan, graduate Piet Zwart Media Design 2015


It is graduation time at the moment I am writing this, and it is great to see that despite the crisis and funding cuts so many young people still have the guts to become artists. I have seen a few very promising ones over the past days! Next up is the summer break. You will (if all goes well) find me at the Chaos Community Camp, a hacker camp in the countryside near Berlin, in August. As always there will be workshops, talks and meeting old and new friends. Right after that, on Sunday August 23rd, I will be moderating artist talks at the SMBA exhibition Algorithmic Rubbish: Daring to Defy Misfortune. I will be talking with Constant Dullaart, Femke Herregraven and artist collective Template. In the meantime I have been asked to be on the jury of the Prix Net Art 2015, a generous art award initiated by the New York based art initiative Rhizome, Chronus Art Center and Tsinghua Art and Science Media Laboratory. You can nominate artists for this prize until August 17th! The winner will be announced in November.

Spring 2015



                      Image created through Artomat, an online art generator by Electroboutique

The coming months are filled with writing and a few appearances in panels and talks. I am working on an essay for the German magazine Kunstforum for their Post-Digital theme. For that same magazine I am preparing an interview with Jonas Lund. On May 22nd and 23rd you can find me in MAMA in Rotterdam for a two day event around art and the Internet. I will be in a panel discussing what Post-Internet art and its potential for addressing the merging of digital and analog culture with Florian Cramer and Geert Lovink the first day. The discussion will be moderated by Michelle Kasprzak, curator at V2. That same afternoon I will moderate a discussion between Jonas Lund, Rafaël Rozendaal and Joel Holmberg. A week later, May 29th, I will conduct an onstage interview with Electroboutique at the Twente Biennale.

The year 2020

After following the development of art and culture in the context of the Internet since 1993 I am still fascinated: there seems to be no end to the sometimes surprising transformations in art and art criticism in this ever expanding field. The boundaries between media art and contemporary art, if they ever existed, are dissolving.


                       JODI - ICTI.me (2020) (Screenshot), part of We-Link, Ten Easy Pieces 

We live in strange and uncertain times. This year started off in a positive way, with the Datami exhibition curated by Freddy Paul Grunert at Bozar in Brussels. The Datami exhibition came out of a collaboration between artists and scientists at the JRC EU science center in Ispra, Lombardy, Italy. I gave a talk at the finissage of the exhibition and was to join a brainstorm for the follow-up when the Covid19 virus appeared in Italy and a tragedy of which we can still see no end unfolded. My heart goes out to everyone caught in the middle, and my friends and colleagues there in particular. While it is hard to grasp what is happening and how to proceed from here we have to move forward and not lose hope. It is imperative that we do not give up on life, and this means also to not give up on art and philosophy as some of the most valuable things we can use to make sense of the world. Because of this I felt honored to be invited to we-link: Ten Easy Pieces exhibition organized by the visionary curator Zhang Ga, even if in a humble way, providing historical context to the show. The international, decentralized exhibition, involving many art institutions I deeply respect and value, among them iMal (Brussels), V2_ (Rotterdam), Rhizome (New York), MU (Eindhoven), HeK (Basel), Arts at CERN (Geneva), has an amazingly energetic feel. Meanwhile I am trying to finish a chapter for a media art encyclopedia for Bloomsbury and wrote a short article (I will post a link when it is online) about INFORMATION for Metropolis M.

Summer 2019

After following the development of art and culture in the context of the Internet since 1993 I am still fascinated: there seems to be no end to the sometimes surprising transformations in art and art criticism in this ever expanding field. The boundaries between media art and contemporary art, if they ever existed, are dissolving. Let's enjoy this moment together.


 Early photo of the Open Space artist initiative in Victoria, Canada, an important hub in the history of telecommunication art.

Though I have not updated this site in a while I have still been busy. First and foremost the research project around the late Robert Adrian's The World in 24 Hours is culminating in a panel presentation and exhibition at this year's Ars Electronica Festival. On Thursday September 5th in the afternoon there will be a special focus conference on the deep history of media art, with special attention for networked projects. I will be interviewing the legendary Bill Bartlett, organizer of Interplay, the first online conference for artists in 1979, live on stage. Bill Bartlett worked from the artist initiative Open Space in Victoria, Canada. Materials from the Open Space archive relevant to The World in 24 Hours will be presented in Ars Electronica's 40 Years Lounge, an exhibition dedicated to especially networked art in light of the Ars Electronica Festival's 40 years anniversary. I am thrilled this is all coming together and thank the Stimuleringsfonds voor Creatieve Industrie for having made my research possible! Other things I have been working on have come to their conclusion. The Dutch Digital Art Canon, for which I was an advisor, for example was launched in March this year during the annual Transformation Digital Art symposium at LIMA in Amsterdam. Unfortunately I could not be there because I was in New York giving a presentation in light of Rhizome's Net Art Anthology project. My presentation resulted in The World in 24 Hours becoming part of the Net Art Anthology. The text I wrote for the impressive Net Art Anthology catalog/book also refers to Adrian's seminal work. You can order this packed book from the Rhizome website. Besides also writing I have also given a lecture in V2_'s media art for beginners course, where I discovered a new hunger to learn about all things media art and net art related. Students came from across the country! It was great to see such enthusiasm, and I thank Alex Falk and Arie Altena from V2_ for organizing this, and artist Jan Robert Leegte for his great artist presentation during the event.

Interview with Jonas Lund - I was never digital to begin with

November, 2016

 The Swedish artist Jonas Lund combines media art deconstruction strategies with contemporary art practices. This results in works that are often participatory, conceptual, or performance-based. In his work Lund easily moves between online and offline systems, and between technological and socio-cultural constructs, all the while working the analogies that bind them. He first got international recognition in 2013 with his first solo exhibition the Fear of Missing Out (FOMO), at the Rotterdam art initiative MAMA. For this show Lund created an elaborate analytical software system that told him how to construct each piece in the exhibition, with title and all, based on work by the top-selling artists of the time.


                                   Jonas Lund - Selfportrait

Software and network are basic properties of Jonas Lund’s praxis, both materially and conceptually. Some examples: in 2011 Lund made Blue Crush, a typical net art work in which blue pop up windows take over and crash the browser, and In Search of Lost Time, a Twitter version of the book by Proust, in which the book is broken down in 140 character sections tweeted over the course of 6,5 years. In 2012 he made The Paintshop.biz, a combination of interactive website, paintshop and website, in which people could design, print and sell their own paintings. The same year Lund also wrote an algorithm for a performance on Facebook called 1,164,041 Or How I Failed In Getting The Guinness World Book Of Record Of Most Comments On A Facebook Post. In the pivotal year 2013 Lund went from creating works like Paint Your Own Pizza (for Eyebeam), a work that was very similar to The Paintshop.biz, to almost completely dedicating himself to handling the art world as a system after his graduation. Lund commented on the art market already in 2011 with the spam inspired work Collection Enlargement and with several other works since. With his first solo show Jonas Lund however moved from the commentator position to that of the hacker, engineer, or systems architect.

Summer and Fall 2016 - News

Dear visitor: the content of this website is not ordered according to date of production. I add older texts and interviews from my archive in between newer writings from time to time. I have been a bit slack with updating the last few years, so if there is anything you are looking for and cannot find contact me. You can find my contact details on my info page.


                                  Dennis de Bel and Roel Roscam Abbing - Feline Filesharing (2014)

At the end of summer it is time for another news update. There is a major revival of interest for all things art and Internet related. I was unexpectedly in a discussion panel about net art at the Spike Magazine headquarters in Berlin. A transcript of the discussion is to appear in the next issue of Spike. It was surprising to find myself in a packed room and with many great artists in the audience, some of whom stepped in to make it a very lively debate. After this I went to Sri Lanka to take part in the young Colomboscope festival. I was impressed by the exhibition curator Susanne Jaschko put together, with many local artists making work which sometimes caused fierce debate in local blogs. Next up is the GOGBOT festival (8-11 Sept), for which I act as co-curator this year. I have curated a small tribute to Dutch generative art pioneer Remko Scha at Tetem, including a concert by composer and poet Samuel Vriezen. Next to this there will be the first installation by Cold Void (collaboration of filmmaker Luuk Bouwman and net artist Rafaël Rozendaal) and a symposium about the Post-Singularity theme with Florian Cramer, Vanessa Evers, Vesna Manojlovic, and Jochem van der Spek. More things in the pipeline are a lecture I give on October 22nd at the upcoming Wifi, Connectivity and Digital Utopianism exhibiton at the Nieuwe Vide (9 Sept-23 Oct) in Haarlem, which among others includes the work of Dennis de Bel and Roel Roscam Abbing. Plus Kunstforum's Post-Digital edition is finally, after much delay, appearing this November. There will be two Kunstforum editions dedicated to the theme of Post-Digital, for which I wrote an essay and made an interview with artist Jonas Lund. There are vague plans to visit the NEoN festival, curated by Sarah Cook, in Dundee in November. After this hopefully there will be time to get back to some necessary writing.

Spring and Summer 2016

Dear visitor: the content of this website is not ordered according to date of production. I add older texts and interviews from my archive in between newer writings from time to time. I have been a bit slack with updating the last few years, so if there is anything you are looking for and cannot find contact me. You can find my contact details on my info page.


Chelsea Manning blanket by DIS collective in Whistleblower & Vigilanten - Figuren des digitalen Widerstands at HMKV in Dortmund, until 14 August.

Spring is finally here and it is time for an update. The interesting exhibitions to visit just keep coming. The picture above is from a very odd but exciting exhibition at the HMKV that is very worthwhile the visit. Friday the 20th of May an exhibition of Jon Rafman opens at the Stedelijk in Amsterdam. I will give a short talk, a 'column', at the opening. Aside from this I am mainly working on a small tribute exhibition to the late Remko Scha, which will open mid July in TETEM, Enschede. It will part of the GOGBOT festival that starts two months later mid September. For this I also organize the symposium. But first I will go to a new festival in Sri Lanka called Cinnamon Colomboscope, in late August, early September, curated by Susanne Jaschko. More news will follow, since other things are still in the pipeline.

Olia Lialina - 20 Years of My Boyfriend Came Back From The War

In March I went to see My Boyfriend Came Back From The War at MU Gallery, Eindhoven. I wrote a review, which I then left on the shelf for too long, because I got distracted. It is worth publishing though, because writing it forced me to think about the very turbulent nineties and their aftermath again. It made me mull over how art on the Internet has evolved and specifically on how individual works live on and gain new meanings many years later. In some ways seeing this exhibition was like meeting an old friend and, though still feeling the love, having to find your place in its new life.     


                        Olia Lialina at MU, photo courtesy MU Gallery

Winter 2016 - The start of a new year - news


Jaromil Rojo and Debra Solomon, Entropical, Zone2source, Amsterdam, 2015. Photo courtesy Florian Weigl.

These are interesting times: the year starts off with many exhibitions focussing on the crossover field of art, science and technology. The often criticized gap between the contemporary art field and that of media art (or AST, Art, Science and Technology) seems to be closing. The question is what this will mean for the acknowledgment of earlier work in the latter field. There is a lot of catching up to do! Luckily there are many occasions to talk about classic and new works this year. February is packed with events where we could meet and discuss. First up is Transmediale from 2 till 7 February. On February 5th I will be joining the Telekommunisten in their Panic Room session. There will be many other interesting sessions to follow, like for example that on the Tactical Media Archive. A few days after Transmediale TEC ART opens in the 'institute for avantgarde recreation' WORM, Rotterdam. Part of the opening is a public presentation and debate about what art and life would be like in a Post-Singularity world. The next morning, on Thursday 11 February at 11.00, I will be in an hour long discussion with cultural sociologist Pascal Gielen in the Reflections series at Art Rotterdam. The Sunday after that, on Valentine's Day, I have been invited to speak about the value of art in a mini-symposium at Zone2source, for the exhibition of Entropical by Jaromil Rojo and Debra Solomon. Other speakers include Merijn Oudenampsen and Koert van Mensvoort. Last but not least the topic of conservation is to be addressed at Transformation Digital Art organized by LIMA on 18 and 19 February. I will present a brief introduction to art in networks on the Thursday evening in a session with also Rafaël Rozendaal and Eric Kluitenberg.

Excerpt Nettitudes: Context and Cultural Identity: Brian Mackern


I often get requests for digital versions of my book. Unfortunately I cannot put the entire book online, but I can publish excerpts. Here is an part of chapter two, which is called Levels, Spheres and Patterns. In this chapter I discuss the many 'layers' at which the Internet is used in art. The following excerpt deals with the conceptual layer, which I call context. I discuss a book by Urugayan artist Brain Mackern, who decided to close off a crumbling archival project of Latin American net art by documenting it in book form: The netart_latino database.


The Future is Unknown – I am the Future

January, 2015

In January 2013 I was a writer in residence at Quartier21 in Vienna, in the preparation for the Faceless exhibition, curated by Bogomir Doringer, that would be shown there later in the year. Faceless focusses on the trend of hiding the face in art and fashion. This short essay was written for the catalog, which is yet to appear. The text reflects on how identity is shaped through a historical reflection of the self in a social context, as experienced through tools and media. The work of four artists (or artist groups) serves as illustrations.


Life in Cultural Smog – On the Value of Junk, Leaks, Spills, and Noise

Spring 2014 I was invited to talk on a panel organized in Hito Steyerl's exhibition at the Van Abbemuseum in Eindhoven. Theme of the panel was 'circulationism', a term Steyerl uses for the online distribution of images. I was asked to speak about alternative networks, or rather, about the possibility for the creation of alternative networks after the revelations made by Snowden showed the Internet is heavily surveilled by the NSA. In my talk I try to show alternative networks already exist, and will be very hard to erase or control completely by authorities.


“The location of power - and the site of resistance - rest in an ambiguous zone without borders.” Critical Art Ensemble, The Electronic Disturbance,1994.

Will Work for Food - A studio visit to Karl Heinz Jeron

In the summer of 2008 I went to Berlin, where I visited the studio of artist Karl Heinz Jeron. From 1996 until 2003 Jeron had collaborated with Joachim Blank as Blank & Jeron. On their website sero.org Blank & Jeron presented early web projects such as Dump Your Trash from 1998, which invited the audience to submit web site addresses into an online form. The submitted website would be 'recycled' as if carved into a slab of stone. There was the option to actually order the website carved in stone. The influential text Introduction to Net.Art by Alexei Shulgin was immortalized this way. After having been among the main initiators of the Berlin digital city project Digitale Stadt Blank and Jeron separated ways on friendly terms. Blank now makes more sculptural works, while Jeron has, next to or overlapping with his online projects, moved into 'relational', performance, and conceptual art. This is a photo of one of his drawing robots in action. The robots are part of a work called 'Will Work for Food'. In this work the audience could request to be sent one of the drawing robots, and in return the audience would have to send the artist food in return. The robots played music while they worked. They could be made to sing either Happy Birthday or The Internationale.

Florian Cramer surprised by the Piet Zwart class of 2008

 The class of 2008 students of the media design course of the Piet Zwart Institute decided to thank course director Florian Cramer in a special way. They made a giant portait of his face from the back covers of the black and white books. Cramer was overwhelmed. In the background one of his students, Gordan Savicic, applauds. Other graduates that year were Danja Vasiliev, Linda Hilfling, Ricardo Lafuente, Annemieke van der Hoek, Ivan Monroy Lopez, Maria Karagianni, and Michael van Schaik.

Zine Fiends: Zinecamp at WORM May 2014

In the weekend of May 24-25 2014 a gathering of zine makers and zine lovers happened at WORM, the 'institute for avantgarde recreation' in Rotterdam. I dropped in to make a simple photo report.


                      Overview of the Zinecamp space.

OMD: Orchestral Manoeuvres in the Dark bij Arti et Amicitiae in Amsterdam

Hij werkt beter des avonds dan overdag, de expositie Orchestral Manoeuvres in the Dark (OMD) in Arti et Amicitiea te Amsterdam. Het overdadige daglicht in de grote zaal verdringt alle duisternis, waardoor de meer donkere tonen van de expositie aan kracht inboeten. Toch blijft deze vierde expositie van curator, kunstenaar, DJ, en flamboyante persoonlijkheid Martin C. de Waal overeind. De expositie brengt een ode aan eigenzinnigheid en individualiteit in deze tijd van crisis waarin nationalisme en conservatisme soms welig lijken te tieren.



Post-Digital is Post-Screen - Towards a New Visual Art

October, 2013

This essay was written for the Post-Digital research conference in the Kunsthal Aarhus, which was a collaboration between Aarhus University and the Transmediale festival in Berlin.



Beyond net.art - escaping network nihilism in media art criticism

May, 2002

In 2002 I was invited to speak at the Reality Check for Cyber Utopias conference in Zagreb, organized by MAMA, the Croatian media lab. I decided to talk about the way art is approached in many media art contexts, something I elaborate on almost ten years later in my book Nettitudes. I make a plea for a different view of both net art and media art, and defend the legitimacy of all contemporary art practices that involve the Internet.

Outdoor installation at the Technorganic festival organized by Cary Peppermint and Leila Christine Nadir in 2005.

Caricatures of Knowbotic Research: jodi

October, 2002


In 2002 the Dutch Belgian artist duo Jodi (Joan Heemskerk and Dirk Paesmans) had their first big solo exhibition at Plug-In gallery in Basel. In preparation of the text I met up with the artists, and it became clear they wanted me to write a light text. They came up with the title themselves: Caricatures of Knowbotic Research. Knowbotic Research is a German-Swiss electronic art group, known for their extensive collabortions with media art labs and technologically complex works.  


Catalogue cover of install.exe, ed. Tilman Baumgärtel 

The space of net art

October, 2001


In 2001 I was asked to give a talk at NCC48, a rather curious 48 hour nonstop congress in a cave in Graz, Austria. I decided to present my very own thoughts on net art, after I felt many words had been put in my mouth by others. The hype and noise around net art had produced an almost impossible climate to discuss this new art context seriously. Needless to say my words hardly impressed anyone. Today it turns out I was right: more 'users' creates more mainstream art behavior; artists have started to explore the broader virtual field of the network (which is translated in 'new' theories from post-Internet to New Aesthetic);  and art institutions are very, very slowly exploring their new expanded field of influence. For your information: the open letter by Jon Ippolito I am referring to here criticized the possibility for art institutions to be able to get a .museum domain (instead of a .org or .com suffix), posted on the nettime mailing list in December 2000.

Today I would have to add some words to the last paragraph though, to be clear. I am NOT saying the Internet is a conceptual space, but I am saying that to think about art and the internet it is necessary to let go of simplistic and outdated notions of the Internet as a purely technological, singular medium. Quote: "So the 'web of possibilities', which is in the expanded virtual space of the combination of technology and humans is the true basis of net art. One could say the ability to see beyond the purely technical environment produces a new kind of abstraction in art."

Picture of the entrance to Dom im Berg, the cave in which the NCC48 congress was held

The Best of 386DX

October, 2001

This review of Alexei Shulgin's music and data CD was originally written for Rhizome in 2001. For those unfamiliar with the 'band' or the name, a 386DX is an old type computerchip, the Intel 80386 developed in 1985.

The Interior of Net Art

January, 2002


The question of how to exhibit net art came up strongly in 1997. It became clear that some works were actually interesting for a traditional, offline art audience. In the beginning it seemed that exhibiting net art in a physical space was an anomaly, something contradictive to the nature and background of the attitude from which net art sprung. The online communities a lot of net art came out of refused to think of solutions for physical exhibitions, like they also found it very difficult (with some exceptions) to find a way to deal with question how to sell a net art work.


When I was approached by one of the net communities' most notorious members Frederic Madre to write a text for a tongue in cheeck woman's magazine I decided therefore to write a piece that was half satire half serious about how to deal with net art. In some sense one could say the text is metaphorical. By ridiculing the style of the average woman's magazine I compare the desire to own any art work (and also to exhibit it) to certain bourgois tendencies to use art in a semi-decorative way. We could ask ourselves whether our desire to own and present an art piece is ultimately more then a wish to exhibit our own cultural awareness in a fashionable way, like the American artist Cary Peppermint jokes in this text. The intangibility of most new media art and the impossibility to set limits to certain works force us having to face what exactly it is we want from art. Many do want something of art that seems missing: something to surround oneself with. Let's dive into the interior design of net art.


Interview with Cary Peppermint

April, 2001


This short interview is part of a small set of interviews I did for a semi-ironic text about net art in the home called 'The Interior of Net Art,' which is also on this site. The goal of the interview is to find out how artists working with the Internet think their work could be exhibited in physical space, and also whether they think it could be sold. These questions have been hovering around net art from the mid-nineties. The artists and art examples in 'The Interior of Net Art' show a great variety of apporaches and opinions.

The grammar and spelling errors in this interview are not accidental, but part of Peppermint's writing style at the time.



Short interview with Peter Luining

May, 2000

Peter Luining lives and works in Amsterdam. His net art is rather 'stylish', in the sense that compared to most net art it does not that clearly reflect on net culture and information. His work is more easthetic. A few years ago [1998] he was called 'the next generation Superbad', because of his particular use of imagery in combination with sound. Peter Luining was asked to curate an exhibition for a Dutch gallery called Planet Art, on the alternative artfair Kunstvlaai. He has gathered an interesting collection there. This interview concentrates mostly on his own work though.

Identiteit en Kunst in Computernetwerken

April, 2012


Lezing gegeven in Januari 2000 in SubK te Utrecht, ter gelegenheid van een avond over 'digipersonae'. 


De kunstenaar achter antiorp, Gheorghe Dan. 


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