Richard Grayson
Bob Dickinson
Chris Clarke
Morgan Quaintance
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Richard Grayson on the ends of post-internet art
If we are already witnessing the end of post-internet art, it is worth analysing why the trend became so popular so quickly among collectors and curators. Could it be that the movement's focus on the lifestyle aspects of digital networks played up to the wealthy and powerful baby-boomer generation's own foundational myths?
'These images are not primarily intended to be screened in a public space with the Prada-hipsters of the international contemporary art world swishing by, but to be "shared" with friends or peer-to-peer communities.'
Bob Dickinson on eco art
As our geological epoch is increasingly defined by the effects that humans are having on the planet, how have artists such as Evangelia Basdekis, Mary Mattingly and Bonnie Ora Sherk offered alternatives to our apparently doomed ecological trajectory?
'The recent films and installations by Ursula Biemann examine in detail the extent to which governments and corporations are exploiting the environment and the way human lives have to adapt as a result.'
Dissatisfaction with unchecked capitalism has left much of the population looking for an alternative – and now, despite the establishment's best efforts, such alternatives are gaining momentum.
'Far from being apathetic, younger voters have hitherto been refusing to engage with the political system because it does not represent them. Now they are flocking to Corbyn's cause not because they are naive but because he offers a real alternative.'
While the Tory top brass are demonising the migrants at Calais, other people are working – through social media – to help raise awareness of the issues and to support those most in need. Is this a tipping point to which grassroots campaigns can make the difference?
'People-powered websites like 38 Degrees and JustGiving, and those who pour their time, money and expertise into their campaigns, put to shame the fat-cat bankers, hedge funders, property speculators, corporate barons, expatriate "oiligarchs" and all the other potential so-called philanthropists David Cameron courts so assiduously.'
Artist protest group Gulf Labor receives confirmation that a migrant worker has been killed while working on the Louvre Abu Dhabi; Ai Weiwei has his passport returned by China, but getting a UK visa still proves a problem; Tania Bruguera has her Cuban passport returned, but has no intention of fleeing the country; staff at the National Gallery go on indefinite strike against privatisation plans; an exhibition of new commissions that may never be seen by the public opens in the Fukushima Exclusion Zone; the latest news on galleries, events, appointments, prizes and more.
From the Back Catalogue
Art au Lait! Stuart Morgan traces the brief history of Milch, the gallery that planned to reach the parts that other galleries don't reach
Submissions: Send news items to artnotes@artmonthly.co.uk
M HKA, Antwerp
Chris Clarke
Whitechapel Gallery, London
Martin Herbert
The Bluecoat, Liverpool
Tim Dixon
University of Greenwich Galleries, London
Martin Holman
The Dock, Carrick-on-Shannon
Joanne Laws
Newlyn Art Gallery
Martin Holman
Irish Museum of Modern Art, Dublin
Chris Clarke
Museo Nacional Centro de Arte Reina Sofía, Madrid
Larne Abse Gogarty
South London Gallery, London
Louisa Elderton
Artangel BBC Television Centre, London
Alex Fletcher
ICA, London
Christopher Townsend
Camden Arts Centre, London
Alice Butler
Spike Island, Bristol
Lizzie Lloyd
Hayward Gallery, London
Colin Perry
Harris Museum and Art Gallery, Preston
Cliff Lauson
Sprüth Magers • Chisenhale • Lisson Gallery • Studio Voltaire
Keren Goldberg
Morgan Quaintance on segregation in South Africa and beyond
'Cape Town's multicultural past and possible future could, if fostered and supported, be the model for integrated metropolitan living that exposes the archaic segregationist logic enacted by gentrification worldwide.'
Henry Lydiate on the fraught terrain of freedom of expression
'These five new guides aim to illuminate, explaining that freedom of expression is not an absolute human right; it has always been a qualified right.'
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