“Dracula Daily is an email newsletter by Matt Kirkland that sends you a chapter of the Bram Stoker novel Dracula, written as a series of dated diary entries, news clippings, letters, etc., in realtime on the actual date of each entry between May 3rd and November 10th, the dates between which the novel takes place. The newsletter launched in May 2021 and became increasingly popular during its 2022 run, particularly on Tumblr, where it caused memes and posts about Dracula to trend.” – more info here
“Under the pseudonym Intel Crab, University of Alabama sophomore Justin Peden has become an unlikely source of information about the unfolding Ukraine-Russia war. From his dorm room, the 20-year-old sifts through satellite images, TikTok videos, and security feeds, sharing findings like troop movements and aircraft models with more than 220,000 followers on Twitter. Peden said that his posts have reached 20 million people and his follower count has increased by over 50,000 people over the past month, according to his Twitter analytics.
Today, Peden is one of the most prominent open-source intelligence (OSINT) figures on Twitter”.
Eva Ostrowska (b.1989) is a French visual artist whose mixed media work offers critiques of social dynamics and romantic relationships using a raw and unapologetic combination of humour, sarcasm, and irony. Ostrowska provides a commentary on love and relationships in the digital era, the dissonance of which is made even more impactful through the use of ancient mediums such as weaving and knitting to depict modern digital realities like the text message.
For the past several years, artist Joshua Citarella has targeted his research-based practice on the political behaviors of the young and very online. Jacob Hurwitz-Goodman has similarly used his documentary practice to investigate emergent political modes like Seasteading. Together in When Guys Turn 20, they explore how users across the political spectrum deploy memetic tactics on social media, as well as how the rhetoric and reality of Silicon Valley diverge.
Cycling through a variety of locales and roles (teacher, Twitch streamer, prisoner, Sith Lord), Citarella narrates online political methods and mechanisms of propaganda. From MMORPGs as a proof-case for socialism to the tricks of meme extremists to the problems of Big Tech, When Guys Turn 20 offers a behind-the-servers glimpse into various expressions of platform capitalism.
If you happen to be in Milan before July 12th, go and take a look at this little project I’m working on…
“Nothing to see here is an exhibition in two parts and a discussion on art and visual culture in the era of the Internet at the Milan branch of the Istituto Svizzero, from 30 May through to 12 July 2013.
The initiative, curated by Valentina Tanni and Domenico Quaranta, is articulated as a moment of reflection on the status of images in contemporary society. The global diffusion of computers and the Internet, that supplied a vast number of users with the access to tools to produce and distribute images, has triggered a real explosion of creativity at every level. A multiform and undefined visual universe is the result – made of irregular, amateur cultural products, anonymous and collective creations, memes and viral videos – that often seem to evoke and repropose languages and practices that are linked to the avant-gardes, both historical and recent. Nothing to see here wishes to offer an overview of this irregular and vital movement, that takes place outside the institutional circuits and is slowly giving shape to a new culture, that radically questions professionalism in the art practice and forces us to rethink the creative activity and its role in society.”
More info here
Claire Trotignon, Laughing out loud, 2011
3d printed memes!
“In the information society, the world is the frame. Art, in these conditions, has the potential of being “received” by millions of people at the same time, without a hierarchy of reception.”
– Joseph Kosuth, 1968.
She Has a Hot Ass. How conceptual art influenced the World Wide Web. On Citizen Brooklyn
Aled Lewis, Post post-modern ironic art for a cynical world. 297 x 420 mm (11.7 x 16.5 in) 5 colour screen print on Sirio 350gsm. Signed, numbered edition of 50. Lovingly hand-made in London, England for the “Memes” group show
Douglas Coupland, I MISS MY PRE-INTERNET BRAIN (from Slogans for the Early Twenty-First Century), 2012
Thank you, Internet. No, really.
I’d say yes.
“The internet has intensified connections between people across the planet. In this episode we take a look at the impact of this new interconnectivity on the art world. Traditional funding models are dissolving, new forms of expressing ownership have arisen to accomodate for remix culture, and artists are finding ways to connect physical art experiences and traditions to the internet. In the digital era, the experience of art from the perspective of the artist and the art audience is shifting rapidly, and bringing more people into the creative process. “