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

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.

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.

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.

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.

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.

The exhibition The Greater Cloud at the NIMk (Nederlands Instituut voor Mediakunst) in Amsterdam is compiled by five different curators.

NIMk's house curator Petra Heck selected works for the main room. Here are some photos from that room.