Omar Kholeif

You Are Here: Art After the Internet is the first major publication to critically explore both the effects and affects that the internet has had on contemporary artistic practices. Responding to an era that has increasingly chosen to dub itself as "post-internet," this collective text explores the relationship of the internet to art practices from the early millennium to the present day. The book positions itself as a provocation on the current state of cultural production, relying on first-person accounts from artists, writers and curators as the primary source material. The book raises urgent questions about how we negotiate the formal, aesthetic and conceptual relationship of art and its effects after the ubiquitous rise of the internet. "You Are Here is the best anything I've read in ages ... and I'm jealous I'm not a contributor. I really loved it. It's a joy to see new green shoots of cultural tendencies emerging from barren soil." - Douglas Coupland

Art After the Internet

Artists and writers examine the bombardment of information, misinformation, emotion, deception, and secrecy in online and offline life in the post-digital age. Every day we are bombarded by information, misinformation, emotion, deception, and secrecy in our online and offline lives. How does the never-ending flow of data affect our powers of perception and decision making? This richly illustrated and boldly designed collection of essays and artworks investigates visual culture in the post-digital age. The essays, by such leading cultural thinkers as Douglas Coupland and W. J. T. Mitchell, consider topics that range from the future of money to the role of art in a post-COVID-19 world; from mental health in the digital age to online grieving; and from the mediation of visual culture to the thickening of the digital sphere. Accompanying an ambitious exhibition conceived by the Sharjah Art Foundation and volume editor and curator Omar Kholeif, the book is a work of art and a labor of love, emulating the labyrinthine corridors of the exhibition itself. Created by a group of writers, artists, designers, photographers, and publishers, Art in the Age of Anxiety calls upon us to consider what our collective future will be and how humanity will adapt to it.

Art in the Age of Anxiety

A look at how the internet and post-millenial technologies have transformed our ways of seeing and birthed a new form of culture. The way we see the world has changed drastically since NASA released the “blue marble” image of the earth taken by Apollo 17 in 1972. No longer a placid slow-moving orb, the world is now perceived as a hothouse of activity and hyper-connectivity that cannot keep up with its inhabitants. The internet has collectively bound human society, replacing the world as the network of all networks. In Goodbye, World! Looking at Art in the Digital Age, writer and curator Omar Kholeif traces the birth of a culture propagated but also consumed by this digitized network. Has the internet transformed the way we see and relate to images? How has the field of perception been altered by evolving technologies, pervasive distribution, and our interaction with screens? How have artists working in diverse contexts, from eBay auctions to augmented reality, created new ways of emoting that are determined by these technologies? Focusing on a cultural and artistic landscape that has taken shape since the year 2000, Kholeif aims to put into context a new language for seeing, feeling, and being that has emerged through post-millennial technologies, and argues for a nuanced understanding of the post-digital condition. Taking cues from John Berger's Ways of Seeing and Alvin Toffler's Future Shock, this book—part memoir, part critical analysis—should prove essential for anyone interested in the changing world of the internet.

Looking at Art in the Digital Age

Goodbye, World!

This anthology examines the expanded field of the moving image in recent art, tracing the genealogies of contemporary moving image work in performance, body art, experimental film, installation, and site-specific art from the 1960s to the present day. Contextualizing new developments made possible by advances in digital and networked technology, it locates contemporary practice within a global framework. Among the issues it examines are how new technologies, forms of apparatus, and modes of editing or framing affect innovations in artistic practice and strategy; how work is defined by local contexts, and the tensions that can arise when the local is represented globally; how we define a 'third space' for the filmic image and whether an installation area can be abstracted from geography; how performance-based work in this field explores bodies as borders or territories; the ways in which political, pedagogical, and collective forms of practice have affected the moving image; and the new platforms and modes of viewing that are evolving in response to the globally distributed condition of contemporary media. Artists surveyed include Jananne al-Ani, Francis Alÿs, Yuri Ancarani, Oreet Ashery, Ed Atkins, Judith Barry, Gretchen Bender, Dara Birnbaum, Black Audio Film Collective, Brad Butler, Olga Chernysheva, James Coleman, Minerva Cuevas, Stan Douglas, Olafur Eliasson, VALIE EXPORT, Harun Farocki, Omer Fast, Morgan Fisher, Hollis Frampton, Melanie Gilligan, Joana Hadjithomas, Gary Hill, Susan Hiller, William Kentridge, Anja Kirschner, Steve McQueen, Jumana Manna, Karen Mirza, Rabih Mroué, Otolith Group, Nam June Paik, Luther Price, Yvonne Rainer, R.V. Ramani, Pipilotti Rist, Ben Rivers, Ryan Trecartin, Trinh T. Minh-ha, Bill Viola Writers include Robert Bird, Claire Bishop, Christa Blümlinger, Jonathan Crary, T.J. Demos, Jean Fisher, Tim Griffin, Andrew Grossman, Félix Guattari, Shanay Jhaveri, Sven Lütticken, Francesco Manacorda, H.G. Masters, Andrew V. Uroskie, Ian White, Maxa Zoller, Thomas Zummer

Moving Image

Accompanying a landmark exhibition at the Whitechapel Gallery, this catalogue explores the impact of computer and networked technologies on artists from the mid-1960s to the present day.

From Experiments in Art and Technology to Art After the Internet

Electronic Superhighway

Sarah Perks

Fear Eats the Soul' takes as its starting point the exhibition, Imitation of Life: 'Race and Melodrama in the 21st Century', a major exhibition at HOME that looks at how racial politics are performed in an evolving post-digital twenty-first century. This book is a tapestry of thoughts, concerns and emotions devised in response to the exhibition and its themes, with contributions from writers, academics and artists, and co-edited by the curators. Exhibition: HOME, Manchester, United Kingdom (30.04.-03.07.2016).

Fear Eats the Soul

The first comprehensive monograph on the Colombian artist currently living in Miami. This first comprehensive survey of Uribe's work chronicles his brilliant use of the unexpected (shoes, screws, coloured pencils, hangers) he magically turns into birds of the air, creatures of the jungle and humans, hurt or happy. The book will trace nearly thirty years of his work, from his earliest oil paintings, through his significant 1990s embrace of everyday 3-dimenstional objects, to his evolution towards a more pictorial style. Federico Uribe (born in Colombia in 1962) studied art at the University of Los Andes in Bogota and in 1988 moved to New York, bringing his global vision that encapsulates his years of work in Cuba, Colombia, Mexico, Russia and England.

Federico Uribe

Engaging with sexuality, self-representation and language, Eddie Peake's latest installation is a participatory spectacle that posits the body as a sculptural and sexual object.Accompanying the artist's exhibition at the Curve, Barbican, London (9 October 2015 - 10 January 2016), this volume examines the playful web of performance, sculpture, video and painting that Peake has specifically created for the space.Incorporating a raised walkway as a stage for performers to carry out a looped choreography of dance movements, the installation also features numerous video works and sculptures that together convey a narrative of voyeuristic desire.Alongside installation views, related work and an interview with the artist by Alona Pardo, an essay by Omar Kholeif explores the broad set of allusions embedded within Peake's work, from the classical nude to popular culture and underground music.Published by Ridinghouse and Barbican Art Gallery, London.

Eddie Peake: The Forever Loop

Lauren Cornell

Julia Bryan-Wilson

The first complete monograph on an artist whose work investigates surveillance and government secrecy in the digital age Trevor Paglen's art gives visual geography to hidden forces, relentlessly pursuing what he calls the 'unseeable and undocumentable' in contemporary society. Blending photography, installation, investigative journalism, and science, Paglen explores the clandestine activity of government and intelligence agencies, using high-grade equipment to document their movements and reveal their hidden inner workings. This book presents over three decades of Paglen's groundbreaking work, making visible the structures and technologies that impact our lives.

Trevor Paglen

Douglas Coupland

This cutting-edge book is the essential guide to what's next in contemporary art, and to the visionaries who are making it happen.

The Artists who Will Change the World

Andreas Brogger

In recent years, the relations between vision, memory and media have become of burgeoning interest in art, cultural studies, and the sciences. Vision, Memory and Media is a cross-disciplinary exploration that takes into account recent scientific research concerning memory studies, and couples this with broad and accessible cultural discussion about vision and media in a web 2.0 era. The texts are accompanied with interviews and illuminating images of art works by contemporary artists whose practice explores the interplay of vision, memory and media. Published to coincide with the exhibition, Persistence of Vision (FACT/Nicolaj Copenhagen Contemporary Art Center), this reader includes texts and contributions by Marco Bertamini and Rebecca Lawson, Visual Perception Lab, University of Liverpool, memory and media ecology expert, Professor Andrew Hoskins, optical media specialist and philosopher, Dr. Ali Hossaini, American cultural critic, Norman Klein, as well as writing by curators Andreas Brøgger of Nicolaj CCAC and Karen Newman of FACT, and writer, Omar Kholeif, Royal College of Art/FACT. Also includes contributions by artists Jamie Allen, AVPD, Julius Von Bismarck, Julien Maire, Melik Ohanian, Sascha Pohflepp, Lindsay Seers, Gebhard Sengmuller, and Mizuki Watanabe.

Vision, Memory and Media

Celebrating Sharjah Biennial 14, this volume shows how artists respond to shifts of culture in an era of great social, political, and global change. The Sharjah Biennial showcases a global perspective on contemporary art. In this book, artists respond to shifts in artmaking as material culture adapts to environmental destruction and climate change. It also explores how social, political, and technological change has altered the ways we exist in the world. Featuring the work of over thirty contemporary and modern artists, the book addresses perceptions of how history is told and re-told. It poses questions and provocations about the state of our existence through stories, poems, and essays. Copublished by the Sharjah Art Foundation and DelMonico Books

Sharjah Biennial 14: Leaving the Echo Chamber

Making New Time

Ali Smith

Francesco Bonami

Roland Barthes

Carl Sandburg

Edward Steichen

Anke Reitz

Markus Pilgram

Portrait of a Young Planet

Me, Family

Renowned contemporary artists and writers address the intersection of art, global politics, and emerging technologies. Time, Forward! questions the notion and function of time and how it relates to the way we create and interact with art in the 21st century. Featuring newly commissioned works by an international group of artists, this book illuminates a broad range of responses to an exponentially accelerating world. This volume features a speculation on the future of the senses by Haroon Mirza, an unorthodox history of modernity by Walid Raad, and stills from a science fiction film by Rosa Barba. Provocative essays from scholars, critics, poets, and filmmakers probe issues as diverse as the role of sleep in a 24/7 capitalist society and artistic privacy and appropriation in cyberspace. Some of these artists ask us to press the pause button, others take us back in time, and still others push us forward into the realm of science fiction--only to reveal these fictions to be a form of everyday present reality. Published with the V-A-C Foundation

Omar Kholeif

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