展覧会場 2007


    ■ "FERAL TRADE "
    ■ Kate Rich (Australia)


    Again, a complex year for net art, looking at the divergent and still diverging fields of creative production within global networks. This year's criteria of "Embodied Praxis" was complicated by the arrival of the much-hyped Second Life on the main-stream media stage. But material and very human networking trumped the attenuated virtuality of SL. Making a functional parody of globalized capitalism, Feral Trade seeks to stimulate a direct distribution network that follows the connections of existing social networks. It takes advantage of the un-mediated plurality of human networks and personal connections and constructs a direct affront to the anonymous standardization of global trade. It open a small crack in the facade of globalization where autonomous collective be-ing can be activated. As a classic example of a TAZ (Temporary Autonomous Zone), I hope it takes hold to become a permanent presence that de-powers the dominant and monolithic capitalist structure. At the very least, it points out the deep lack in that structure, and this is a critical starting point for evolutionary changes in human relation.

    Honorable Mention:

    The Call:

    This work emerges out of the long-term network practice of artist Isabelle Jenniches who has worked in a wide variety of creative net-based activities. The particular piece, "The Call" is one of several process-oriented works that she has initiated that depends on the network availability of generic user-controlled web-cams. The works are constructed over a long period of time -- time spent watching the selected scenario, remotely -- life-time spent observing the world. Thousands of images are made during a methodological process of deep-looking through this mediated network eye. The extended seeing and repetitive digital operations on the thousands of gathered images acts to frame a meditative daily routine. The
    cumulative practice approaches the classical Zen expression -- "there is no web-cam, there is no PhotoShop, there is only the Void" -- and it arises through the post-Cartesian possibilities of a commonly accessible network interface. Recalling David Hockney's early Polaroid work, "The Call" is an intimate and intense personal vision of a scope rarely manifest in the click-through eye-candy world of
    the net.

    John Hopkins