Do not be afraid of 0 and 1

Artists conquer the net

Since the Internet has been generally accessible, network artists have been playful and sensual, sometimes critical and politically with this medium. Like Frankenstein, they create bizarre databodys, dressing their fans in smile "network"-Bikinis and drove dignified museum curators on the virtual black ice. Some of their early work today already pays to the world’s most significant network art. And so belonged to women like Vera Frenkel, Eva Grubinger, Kathy Rae Huffman, Olia Lialina, Julia Scher, Cornelia Zollfrank, Victoria Vesna, Ana Voog and Eva Wohlgemuth among the most prestigious artists of the Internet. Of these pioneers and their trend-setting work is the following articles.

Do not be afraid of 0 and 1

Cover picture of "Bodyscan", Eva Wellgemuth

Hardly the first network artwork on the Web stood, the women also made themselves between 0 and 1, between bits and bytes after a new form of art. Armed with computers, Internet connection and software manual, they brought programming, designed Net.Type, discussed on symposia and knitted henceforth eagerly with the rules of international network culture. It is thanks to you that net.Type today even recognized by skeptical traditionalists as art form and is presented on top of that in the most important museums of the world.

With net.Art are meant those artist works that are made extra for the internet and, on top of that, use or comment on their special possibilities, such as the interactivity in the virtual room. Often they reflect what our information society moves in times of global ornastism, digital image lug and as rapid as a fragile change of ethics and morality. With a sharp look and even more humor, net.Artists by the largely rainy world of the binary code. Unconventional and apart from festive art paths, they knit to the global network State and mirrors – more or less politically correct – the chaos in the virtual room. Not without reason the most famous web joke smiles: on the internet white no one, whether you are human or dog.

Actually, the grid was quite harmless. You can do, as a few conceptualists convinced their own art somehow compatible for the internet. As well Jenny Holzer. The renowned American, the for her "Truism" and "Belief" is known – so for those truths and belief that usually flicker as a digital neighborhood on museums – crafted in May 1995 their first website. at "Please change Belief" The art viewers as usual can be enjoyed once not only visually to the trees. Here, in the virtual room, you become a player. They are supposed to reward or improve art, lend it to their value-items – or even something like that if they did not like them. The interaction, so the dialogue game between the work and art viewer, was it probably what the artist most irritated at your trip to the Internet.

Incidentally, it is by no means that the typical net.Artist has also been a fine artist in her life before. Especially here there are many autodidacts. Logically actually, because until today is rarely taught the necessary craft on the art academies. Some come from foreign occupational fields and land rather by chance in the net.Art scene. And some are young enough to slip as an essence of internet generation with gross self-consolidity into the new matter.

For example OLIA LIALINA. Actually, today’s 29-year-old Russian was one of the most famous cinematic critics Moscow. And turned two movies themselves before taking over the business management of the regime-critical filmclub Cine Fantom. Since Russia already went to the net, he should get a homepage. Basically without prior knowledge, Olia Lialina crafted around in the trial and error process – and soon recognized the gross potential of the new medium for art.

"First, I considered how I could represent film on the net", she reminds himself. "It took a while until I understood that that does not make sense. But if you manage to transfer your very special, cinematic way of thinking into the net, then it will be really exciting." 1

And so it was: In 1996 she presented her first network artwork: "My Boyfriend Came Back FROM was" (see also WWW.teleportacia.org / was /). From the point of view of the director, but with a simple, frame-based HTML technology, Olia Liatina pays the history of a modern soldier love. Film coagulants to be stranded pictures. The dialogue divides itself to the written text stirring, is hardly any more than fragment and stakkato. Despite – or straight – because of this lustiness, the Russian illustrates less on the screen than the loving drama in the user’s fantastic brain. Clicking quite the personal curiosity following the factory, OffNet Frame around Frame – to nothing more remains except Gahnende Empty. Pictures and texts have capitulated, love too. End of the movie.

Olia LiLinas Fruhwerk shows that even with minimal programming knowledge, a network artwork of WorldRuhm can arise.

"When I started I knew absolutely nothing. If I "My Boyfriend Came Back FROM was" Made, nothing else was a simple experiment with frames and HTML language. It was not clear to me what I had done. Then I hoard the whole theories that worked with my work. Only then I started really thinking and relating."2

Meanwhile, Russian pays to the most important voices of network culture. Most of their later work are highly poly and committed themselves to the constitution of the network. She turned thoughts on the freedom of the left as well as the form of grid skills. And she opened "kind.teleportacia", The world’s first online gallery for net.Type, even sold a work – an important step for grid art.

In the first years now, the somewhat lush dumped in the virtual room, barely observed outside the internet society, yes, even literally embed in the world of physical art. Apart from a few courageous and innovative people, many powerful museum curators and newspaper critics, dignified art historians and galleryists first did not want to know anything about the strange stuff. Thus, the grid was free of densely market mechanisms – but it was also missing on very real estimation, lobby, structure and wide openness.

More about Olia LiAlina: The Last Museum of Net Officer has opened Runet: network culture in the Russian Internet "In Russian, I do not feel such"

So worked Eva Grubinger From the beginning with marketing strategies. Finally, there is even a real, promisable label for her, well, maybe not really fashionable, but at least loaded from the internet "Network bikini" – Incidentally, a happy work of 1995. Eva Grubinger, especially the fun with art on the internet, did it, but also the combination of virtual with the physical world. And during the real network freaks through the data sea surf, grubinger fans grab their artist-lined "Network Bikini" and snorkel in the very real, earthly wet. With so much net hype, she found, just a bit relaxed. There is yes "Mrs" The Internet, so to speak, buckles metaphorically around the bosom.3

Do not be afraid of 0 and 1

Model with "Net bikini", from Eva Grubinger, 1995

The title of work "Net bikini" is definite to take. The Easter Richer gives meticulously accurate statements on their site, how to make such a stucco. First of all, the pattern for the bikini has to be downloaded and cut out with the scissors. If one has transparent methance (she suggests the in-house curtain) cute and brave to the bikini seed, which is actually important: Town the noble stucco and take pictures. And only who Eva Grubinger sent the Corpus Delicti announced to the picture (some are visible on the site), did the coveted artist label as a reward, and it was allowed to close in his network artwork.

From the extensive, passive to screen adhesive consumers were produced in this way producers. Instead of only with the eyes, the users virtual art explored suddenly with other senses. And because Netzbikinis does not cover too much skin, Eva Grubinger shows so completely in a pair of other aspects of the Internet: for example, that it is quite simple – from the home computer and in the anonymous world of the web – its unconventional, maybe even to live immoral ideas. Exhibitionism and voyeurism is at least to the large drivers on the web. And was both unearth as perverted, the internet now shows the naked reality: it has become hopeful, a human admission.

But not everyone has so much courage, let alone enjoy the impersible self. For all those who have always liked to look very different, creates the American professor Victoria Vesna Remedy – at least on the net. Namely, every Frankenstein can play and put together his own Cyberbody. The body models of the virtual company "Bodies Incorporated" From the year 1996 are three-dimensional – and raise no entitlement to biological accuracy. The artist explains:

"There are 12 materials from which one can build a body – natural and synthetic. You can put together its virtual body made of sophisticated, female and childlike parts and watch in real time as the body is created. All two materials have a secret meaning that is a combination of old alchemist texts and modern marketing strategies."4

The head of lava, chocolate the leg, arms like a guy and breasts of withdrawal femininity – all no problem. Whether woman, child, man or Hermaphrodite, no matter; Cyberbodys are not limited. Oh, if it’s so easy here on earth. Victoria Vesna shows her work the infinite possibilities of the internet, the spab at the illegal personality and in the unrestrained cloning. Complete free of tough fitness hype and painful breast ascendant can everyone model his body completely different than God or genes – created him. The fact that the artist for stored cyberbodies also faces a cemetery is more than consistent.

In addition, that Victoria Vesna to turned the body is certainly no coincidence. Of course, the women in art and spiritual science, which are intensively thinking about gender and above the importance of the body. With "Bodies Incorporated" has all the net surfers fundamentally to slip the possibility, at least virtually to the other gender. How this work is all the way to are himself to insure a body in that world, which exists only from data and yet is actually fully body and roomless. Also that certainly one reason why a lot of thousands of users already used the free offer of the art project.

Do not be afraid of 0 and 1

Kathy Rae Huffman and Eva Wellgemuth find new friends in Siberia. Photo "Siberian Deal", 1995

Real to own the own body Kathy Rae Huffman and Eva Wellgemuth The unbalanced backpack trip through Siberia. "We always had amed that there were terrible goods there", Huffman uses the basic idea of the project "Siberian Deal". "We were checked the propaganda with whom you had fed to us, the brainwash that was underwent."5 on 23. September 1995, it started, reinforced with video and polaroid camera, with laptop, modem, microphone, a satellite navigation instrument and lots of maps. During the whole journey, the two Net feeds.Artists Your online cyber diary with digital snapships, video sequences and texts. And so people from all over the world accompanied their adventure to Taiga, vodka and kolkhose and made them by email courage. Because apart from technical problems (static broke the internet connections together), there was otherwise many oscillations to be forced.

But actually it went the artists yes to explore the country and his people, and so they got into a quite dubious trick from the colonial era. "We did not want to get to know Kunstler and people from the cultural environment, but come together with a coarse layer. And when traveling it was always the case that you come in contact with the exchange of guest gifts", So Eva Wellgemuth6. Although they had not brought glass beads to the exchange, but quite comparable Westler Tand. There were cams, lipsticks, shoes and even a walkman: Believe the art site, he changed the owner against a banal can of beef. There is nothing about the care of the good old myth of the poor Russians, who greedily graps for everything from the West. You can think of it: The project involves the cream in East and West.

An at least equally doubtful type of goods procurement is in the project "Body missing". What the Canadian Vera Freenkel moved to this work is the strange silence over Hitler’s Kunstraub politics. In 1994, as a frenkel first started the project as a video installation and only developed into an internet version in the year, hardly knew something about Hitler’s so-called in the openness "Special order Linz".

Here, in his birthplace, the valor dictator – who wanted to study art himself, was rejected by the Academy in Vienna – a gigantic museum with a collection, gross and more preferable than those of the Louvre or Vatican. But he needed art. A systematic procurement plan was worked out and hazenly precious works from all over Europe. The Gestapo confiscated Judian family owned or forced politically unpleasant burgers to Alibi sales. Whenever an enemy city in the war fell, their collections were pruddled as prey art and transported to the Easter-Rich secret infringement. More than 6000 works in this way came in a salt mine.

A lot of material so to make critical grid art. The Sitemap of "Body missing" Claims that the artist did not render the pure mapping of the facts by far. Rather, in the network, she installed a complicated shift on the websites with contemporary evidence photos and documents from the Nazi period, invented biographies, real persons and fragmentary repayments – and put the whole thing in the mood of a piano bar. Their music as well as small video and sound sequences use in addition to the theoretical also the technical potential of the Internet. Here, in the midst of the transit bar, surrounded by the flattering tones of the piano and intoxicated by the drink, troubleshooting with strangers meet, flushes and narrate: from their lives and from the memory of Fruher, from the escape in the war and also of just those Ominosen lists documenting the Linz Thiebsgut Adolf Hitler. Frenkel Let real and fictional contemporary eyes occur. They chat and present letters about their story. They discuss art collecting and warstrophes, over the alleged disappearance and the actual loss of a work. With hyperlinks, the figures are networked with their memories, but also with the other people in the bar. Historical meets the today and confuses in the fleeing transition.

A diary holds the obedience in all his lustiness. And it’s just these defects in history, these "Bodies Missing", The full thing is. Site for site creates a highly complicated and lubrication history in a strange mixture of realitat and fiction. It is a story that deals with a half century after the end of the war with destiny, expulsion, prey art and the flowing phantosiegilde, which arises from publicly silent ordinance. Here, Vera Frenkel picks up the ethical format of the Internet, that is, that domanes, in which one can never be sure what is true or wrong. The network art project drives a background of the strange ratio of thought, cheeks and art.

Cornelia Sollfrank

A veritable owl mirror with the Internet truth drove the German network activist and artist Cornelia Sollfrank. Namely the Hamburg Kunsthalle in February 1997 to open her third house, the Gallery of the Present, a Net.Art competition Executed, the curators were first pleased about the active participation. They soon received 280 registrations – most of women. Kunsthalle and press was spacious on the unusual female dominance.

What no one suspected: More than two-thirds of the applications came from artists who do not exist. All WEAPY WORK A PRODUCT OF CORNELIA SOLLFRICK Naughty Fantasy. The cyber feminist had invented virtual attention and equipped with fictional names, addresses, telephone numbers and even functioning email addresses from the same seven different countries. Their applications mailed them from servers from around the world. Nobody suspected suspicion. The simulated artists got the official O.k. and were allowed to start. (See also programmed probe)

At its place and with the help of appropriate software Cornelia Scheduli’s computer copied randomly and purely to the random principle mass html material from the network. Equal to 127 alleged "Grid"-Projects automatically generated the machine from the data material and sent them one. The jurors desperate at the pointless data flood, the factory for work really did not really have a recognizable concept or other art content. Puzzled with the shoulders – and awarded the three prices rather to manual applicants with a more understandable project. As the artist in the declaration step, one was embarrassed and had to see that net art is just a little different than everything you knew so so far. It is too burrowing that it lacks the curators of the Hamburg Kunsthalle on the necessary humor: at least unfortunately since then they have since and with coarse consequence the just burned fingers of the still and again surprisingly different art from the Internet.

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