Discover

Constant Dullaart at Carroll / Fletcher

johnknoll_jeppe

In his ‘Jennifer in Paradise Series’, Constant Dullart revisits this image by John Knoll. Endlessly shared on the internet, the original high res version is impossible to find.

Remembering Jennifer in Paradise: Constant Dullaart at Carroll / Fletcher, London

The Dutch artist Constant Dullaart investigates the infancy of the world wide web, in particular the specific virtual semantics and consumer climates that have arisen from its birth. Currently exhibiting his first solo show in the UK at Caroll / Fletcher Gallery, Dullaart navigates through and beyond post-net nostalgia (no comic sans and glitch aesthetics here), exploring the correlation between digital mediation and traditional, craft-based art forms. His focal point is global and symptomatic of the infinite, virtual space that connects every citizen of the globe with a wifi-connection.

With ‘Terms of Service’ (2012/14), he has created a website that transforms the Google search box into a mouth that recites Google’s ever-changing privacy policy, a manifestation of the absurdity of digital pedagogy and information accessing. At the same time, Dullaart shows the audience how local and young the Internet is; Steve Wozniak’s (co-founder of Apple) family photographs from 1984 (the dawn of the digital era) and abstractions from Bill Atkins’ (creator of Macpaint) first computer drawings reveal how the Internet has been subject to a corporate hegemony from the very beginning.

With his project ‘Jennifer in Paradise Series’ (2013-present) Constant Dullaart has created one of the most important pieces of virtual archeology as of yet (an area of study that will surely gain popularity in the next couple of years). Here, he redistributes and mediates a stock-like image of a topless woman reclining on a beach in Bora Bora, an image so recognizable and ingrained in our collective virtual memory that it is impossible to signify. The image was originally taken in 1988 by John Knoll, one of the original creators of Photoshop, and it was subsequently used as an example of the first digitally manipulated photograph ever. However, high-resolution versions of the image were never officially distributed, and despite the wide circulation and appropriation of the image, it is now practically impossible to find online. Meditating on this ‘extinction’, Dullaart acts as an archivist and tries to restore the image while processing it through current Photoshop filters – he even reached out to Jennifer in a public letter published on Rhizome in September last year, in an attempt to assert the need for such digitally-mediated histories to be discovered and discussed. Constant Dullaart’s solo show ‘Stringendo, Vanishing Mediators’ is an important reflection on digital history as well as the visual, semantic and political components that constitute our virtual climate. Until July 19th.

jeppe1

jeppe5

jeppe13

jeppe17

jeppe18

jeppe14

jeppe3

jeppe12

jeppe10

jeppe9

jeppe4

Recent Posts

Film Fun: Us and the box office

A long time ago, in a suburb far, far away, I was a closeted teen, reading the copy of Entertainment Weekly my dad brought home from the office, assessing the box office performance of 8 Mile and quietly predicting to myself what percentage it would drop in its second weekend. As it turns out, I wasn’t alone. For that little cinefag inside us all, Film Fun is a place where it can run free. The… [read more »]

Absolute Bearing | LD50

This Spring, LD50 gallery opened in London’s Dalston area with its first show, entitled Absolute Bearing. It features the work of British sculptor/writer Jesse Darling and artist-duo Brace Brace (consisting of Christopher Kulendran Thomas and Annika Kuhlmann). ‘Bearing’ carries a multiplicity of meanings and association, all loosely indicative of direction and movement, relative to a fixed point.. The show explores themes of extinction and loss through the prism of naval navigation, as indicated by the… [read more »]

HYPERSTITION: Truth is Science is Fiction

A film on time and narrative by Christopher Roth with Armen Avanessian Hyperstitional thinking hijacks the present-forming daring interventions into conditions of cybernetic governance that foreclose contingency. Hyperstitions are not imaginary, they are virtual fictions situated in the chaotic unfolding of the Real. Philosophical hyperstitions bring about their own reality. They hold us captive, abducting our thought into alien territories. Techno-heretical action requires an intensification of futurity as the present races speedily toward uncertainty. Hyperstition… [read more »]

NA NGUZU Remixes Michael

Feeling tired? Need to #exceed? This Michael Remix by NA NGUZU occupies the liminal space between excess and scarcity, deploying minimalist textures with a maximalist execution. The record’s out today from Escape From Nature. Artwork by Jessica Tsai

Pindul’s Rewards | Carlos Reyes and Alessandro Bava

Let’s, for a moment, argue that art and politics (as we currently practise their convergent theories, and – with a secondary disclaimer – specifically in western visual art terminologies) has its roots in Italy. We’ll point out how the artists’ manifesto was the first real example of the merging of art and politics in the form of the art object, and that it was The Founding and Manifesto of Futurism (published in Bologna in 1909)… [read more »]

It’s time…for Art Basel 2015

Our selection of #ArtBasel events not to miss! What: Performances at 186f Kepler ft. Juliana Huxtable, Marie Karlberg, Anina Troesch, Mai-Thu Perret, Emily Sundblad, John Armleder, Lhaga Koondhor Where: Müllheimerstrasse 46 4057 Basel When: Every day after 8pm What: PRICE live Where: Schwarzwaldallee project space in Basel, within the SAMPLE When: June 16, 17, 18 7pm What: Inauguration of new exhibition space Der TANK ft. an introduction by Chus Martinez Where: Campus of the Arts… [read more »]

Pure Disclosure | Siliqoon

In 2014, Siliqoon hosted four artists at a residency in Bologna where they worked side-by-side with Italian artisanal companies that facilitated the production of new works. The resulting works are displayed in the Marsèlleria permanent exhibition in Milan, as Pure Disclosure. Daniel Keller was joined by Ella Plevin with whom he collaborated on his final work. The exhibition draws its concept from the creative incubation of four artists in the context of a transparent production… [read more »]

Mood Disorder | David Horvitz

Inspired by Bas Jan Ander’s I’m Too Sad To Tell You, Mood Disorder is a “stock image” made by David Horvitz of himself to look like a typical stock image of depression (using research from his Sad, Depressed, People book and project). It was then put onto Wikipedia’s page for Mood Disorder, after which it became copyright-free and began to be used as a free stock image for depression on cheap websites all over the… [read more »]

#FOMO at ICA

In the last weekend of May, London’s Institute of Contemporary Art hosted FOMO, a three-day conference chaired by German video-artist, professor and philosopher Hito Steyerl. FOMO (fear of missing out) indicated the event’s overarching topic of anxiety – and its socio-cultural-political plentitude in the post-digital or ‘anthropocene’ era. The program featured an impressive cast of international theorists, artists, activist, and hackers, all engaging with contemporary digital existence. Theorist Judy Wajcman first presented a series of… [read more »]

Young, Colored & Angry: Issue #1

“Hey, some of us are actually young, colored, and angry, but some of us aren’t, and we all have something to say” explains Elliot Brown Jr. over coffee at a midtown Starbucks near his part-time job assisting artist Hank Willis Thomas. When Elliott decided to start a magazine along with fellow NYU Tisch student Ashley Rahimi Syed, the two friends reasoned that whatever tone they expressed themselves in, they would inevitably be dubbed ‘young, colored… [read more »]