Inauguración Valija diplomática low cost: Embarcando / Opening Low Cost Diplomatic Bag: Boarding

Low Cost Diplomatic Bag: Boarding

Exhibition:  Low Cost Diplomatic Bag: Boarding
Opening:    13:30h/08.06.15
Schedule:     08-28.06.15

Venue: Espacio expositivo AENA.  Terminal T123
Aeropuerto Adolfo Suárez Madrid-Barajas
Avenida de la Hispanidad, s/n 28042 Madrid

This is the starting point of the exhibition “Diplomatic bag low cost” that will visit different cities around the world thanks to Aecid’s ART-EX program.

“Low cost Diplomatic” is a collective exhibition of contemporary art. It manipulates the space inside a suitcase that can fit in the cabin of a budget airline, the most widely used means of transport.

The inside of the case can be seen by launching it from each of the QR codes that you will find next to it or following the itinerary of the exhibitions. The first stop will be Spain’s Cultural Centre in Santiago de Chile, where it will be opened on 28 July 2015. All passengers in transit are invited to attend this and the rest of the exhibitions. Information on them can be accessed at

http://art-ex.es/portfolio/nilo-casares/

 

Low Cost Diplomatic Bag includes the following works:

Nueva York .us (Antonio Ortuño) _Accidental events – Trasiegos accidentados_
Montevideo .uy (Brian Mackern) _The storm of Santa Rosa – Temporal de Santa Rosa_
Londres .uk (Carla Cruz) _We are all immigrants – Todos somos inmigrantes_
Santiago de Chile .cl (Demian Schopf) Sculpture – _Escultura_
Madrid .es (Gustavo Romano) _The Time Transfers Suitcase_
Auckland .nz (Paul Cullen) _The Orange Theory_
Melbourne .au (Peter Burke) _Attaché Case_
Munich .de (Rut Massó) _BosqueBobina 2015_
Oporto .pt (Rute Rosas) _Censured journey – Travessia censurada_
Estambul .tr (Volkan Diyaroglu) _DIPLOMATIC DETOX_
París .fr (Quique Ramírez) _Outside the field – Fuera de campo_
México df .mx (Arcángel Constantini) _RelaxAcizor De Luxe_
Buenos Aires .ar (Ciro Múseres) _Diplomatic Bag Múseres – Valija Diplomática Múseres_
Estocolmo .se (Isabel Löfgren + Mats Hjelm) _Molecular monologue – Monólogo molecular_
Roma .it (Luigi Pagliarini) _high-cost lover_
São Paulo .br (RAfachEL Co: Rafael Marchetti & Rachel Rosalen) _Do Not Open!_

Curated by

Valencia .es (Nilo Casares)

Nilo Casares is a writer, curator and art critic dedicated to the promotion of public art and digital arts.

—————–
Valija diplomática low cost: Embarcando
Este es el punto de partida de la exposición _Valija diplomática low cost_ que recorrerá distintas ciudades del mundo gracias al programa ART-EX de la Agencia Española de Cooperación Internacional para el Desarrollo.

_Valija diplomática low cost_ es una muestra colectiva de arte contemporáneo que emplea como espacio de intervención una maleta tipo para viajar en la cabina de una compañía low cost, el medio de transporte más utilizado entre nosotros.

El interior de las maletas puede ser visto lanzándolo desde cada uno de los códigos QR que se encuentran a continuación o siguiendo el itinerario de las exposiciones cuya primera parada es el Centro Cultural de España en Santiago de Chile, donde será inaugurada el próximo 28 de julio de 2015, y a la que están invitados todos lo pasajeros en tránsito, al igual que al resto de las exposiciones; de las que tendrán puntual información en http://art-ex.es/portfolio/nilo-casares/.

Exposición en el Centro Cultural España en Buenos Aires (CCEBA) comisariada por Nilo Casares

Presentación del proyecto de ART-EX
Del 13 de febrero al 10 de marzo 2015
Lunes a viernes de 10.30 a 20
CCEBA Florida 943, Buenos Aires,  Argentina.

El programa ART-EX, a través de una convocatoria abierta, permite a artistas y curadores la realización de proyectos creativos utilizando la extensa red de Centros Culturales, Embajadas y Consulados de España en el extranjero.
Propuestas originales e innovadoras, pensadas para ser realizadas en varios países, simultáneamente o en momentos distintos. Proyectos micro por dotación – bajo una filosofía DIY (do it yourself) – con un objetivo macro a escala internacional.
ART-EX permite la proyección internacional de creadores españoles y la colaboración con artistas de distintas nacionalidades, el intercambio cultural y la visibilidad de otras realidades.
Valija diplomática “low cost” es una Red de distribución descentralizada de paquetes (aka valijas) de arte que emplea como espacio de creación una maleta tipo para viajar en la cabina de una compañía “low cost”.
El curador español Nilo Casares ha convocado a creadores de Auckland, Buenos Aires, Estambul, Estocolmo, Londres, Madrid, Melbourne, México, Montevideo, Múnich, Nueva York, Oporto, París, Roma, Santiago de Chile y São Paulo para participar en una muestra objetual en donde la valija es el elemento de continuidad entre las otras obras.
Los artistas invitados han intervenido libremente las valijas aunque han debido respetar las estrictas normas de tamaño, peso y contenidos permitidos que pautan las compañías aéreas.
El CCEBA presenta en vidriera la maleta-obra creada por el artista argentino Ciro Múseres que como el resto de equipajes artísticos viajará a Madrid, su primera escala expositiva, para continuar después trayecto hacia cada uno de los países que serán destino de la exposición.

Bajo comisariado de:
Valencia .es (Nilo Casares) http://comisario.net
Nilo Casares es escritor y comisario crítico de arte volcado en la difusión y promoción del arte público y las artes digitales.

http://art-ex.es/portfolio/nilo-casares/

Presentación del proyecto de ART-EX Del 13 de febrero al 10 de marzo 2015 CCEBA - Florida 943 Artista: Ciro Múseres Comisario: Nilo Casares

Presentación del proyecto de ART-EX Del 13 de febrero al 10 de marzo 2015 CCEBA - Florida 943 Artista: Ciro Múseres Comisario: Nilo Casares

valija-diplomatica-museres-arte-Detalle

CCEBA-02

Valija diplomática Múseres – proceso

Valija diplomática low cost es una Red de distribución descentralizada de paquetes (aka valijas) de arte que emplea como espacio de intervención una maleta tipo para viajar en la cabina de una compañía low cost, medio de transporte más utilizado por la mayoría de nosotros, condiciones idóneas para una exposición de presupuesto modesto y del todo DIY.

La maleta se toma como espacio físico de intervención y utiliza como contenedor de transporte fácil y sencillo, con unas medidas suficientes para ser intervenido de cualquier forma que lo considere el artista, para terminar como maletas manipuladas o, más bien, ‘rellenas’, y susceptibles de ser desplegadas en una sala de exposiciones o por las distintas dependencias abiertas al público de una embajada, consulado o centro cultural español.

Es una muestra objetual en donde la maleta es el elemento de continuidad entre todas las obras con Madrid como su primer lugar de celebración, para continuar por cada uno de los lugares de remisión de las obras.

Bajo comisariado de:
Valencia .es (Nilo Casares) http://comisario.net
Nilo Casares es escritor y comisario crítico de arte volcado en la difusión y promoción del arte público y las artes digitales.

http://art-ex.es/portfolio/nilo-casares/

Valija diplomática Múseres – proceso.

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Valija Diplomáica - en desarollo

Presentación del proyecto de ART-EX Del 13 de febrero al 10 de marzo 2015 CCEBA - Florida 943 Artista: Ciro Múseres Comisario: Nilo Casares

 

Referencia en el Libro: “Radiografía del Net Art latino. Vitalidad creativa en riesgo de extinción”

Radiografía del Net Art latino. Vitalidad creativa en riesgo de extinción

Titulo: Radiografía del Net Art Latino. Vitalidad creativa en riesgo de extinción

Autores: Marina Zerbarini, Alejandro Schianchi, Ignacion Nieto, Diego Dalla Benetta, Liliana Koselevich

Editorial: Dunken – País: Argentina – Año: 2014 – ISBN: 978-987-02-7181-9

http://books.google.com.ar/books/about/Radiograf%C3%ADa_del_Net_Art_latino_Vitalida.html?id=CnplBAAAQBAJ&redir_esc=y

“En nuestra investigación nos propusimos el análisis y relevamiento de Obras de net art realizada por artistas Latinoamericanos en la última década del pasado siglo y la primera de este. Se trató de establecer que esas obras realizadas con ejes específicos como el espacio on-line la participación del espectador, el juego con los lenguajes de programación, la multimedia o la acción política, se consideran, por su cantidad y calidad, una especificidad propia del medio Internet que debe ser urgentemente sistematizada, catalogada e incorporada a la historia de las más importantes prácticas artísticas latinoamericanas.El vigor, originalidad y creatividad observada en algunas dan cuenta de la riqueza de la producción, el dialogo que estas obras han establecido con otras internacionales y la relación misma de artistas que sin dejar de pertenecer a sus pueblos de origen alcanzaron notoriedad internacional.Una práctica que por su inesperada aparición y corta duración corre el riesgo de no quedar incorporada en la memoria y en la historia dinámica de la producción con nuevos medios y su influencia en los medios de comunicación de masas”.

—–

Alessandro Ludovico; Alejandro Schianchi, Andres Burbano; Brian Mackern; Carlos Rosas; Ciro Museres;Claire Taylor; Clemente Padin; Compartiendo Capital; Christian Oyarzún Roa; Eduardo Navas; Efraín Foglia; Eugenio Tisselli Vélez; Fabio Fon; Graciela Taquini; Ignacio Nieto; Jorge Zuzulich; Juan Devis; Juan José Días Infante; Laura Baigorri; Leonardo Solaas; Lila Pagola; Lucrezia Cippitelli; María Alejandra Massa; Mariela Yeregui; Nilo Casares; Otavio Donasci; Paula Perissinotto; Raúl Moarquech Ferrera-Balanquet; Regina Pinto; Ricardo Miranda Zuñiga; Roberto Echen; Silvia Gurfein; Suzete Venturelli, Yucef Merhi.

_MON3Y AS AN 3RRROR | MON3Y.US By Rob Myers

dolar722

http://www.furtherfield.org/features/mon3y-3rrror-mon3yus

The end of boom and bust ended with the credit crunch. Following the global financial crisis of 2008, the Eurozone crisis has produced technocracy and poverty rather than democracy and wealth. Reactions to these failures of monetary policy are informed by technology as never before, from austerity being imposed thanks to an Excel spreadsheet bug to the rise of the anti-statist cryptographic currency of Bitcoin.

Against this backdrop of monetary failure and technological critique, _MON3Y AS AN 3RRROR | MON3Y.US is an ambitious online survey of net art depictions and critiques of money and its institutions curated by the pseudonymous curator “Vasily Zaitsev”. As well as the work from 70 or so artists invited to participate an open call for work increased the number of pieces in the show in total to around 200. I only consider the invited artists here, but the work in the open call section is well worth looking at as well.

The show web site has a simple HTML interface, starting with a single image and a pull-down menu of other works. Disable your pop-up blocker and you’re ready to start.

Miron Tee’s “Shame” is the image that fronts the show, an image of a dollar modified to show George Washington peering out nervously from behind the oval frame in the center.

Dominik Podsiadly’s “Joy to ide” starts the pull-down menu with a flowing grid of Euro signs on a blue background to the sound of “Ode To Joy” playing backwards. It’s an all-over, closed temporal loop of the kind that animated GIFs exemplify and encourage, the Euro falling forever.

Nuria Güell’s “How to expropriate money from the banks” is a more direct action based work of culture jamming explaining presented in a well laid out document in the style of HSBC’s First Direct brand.

Paolo Cirio’s “Loophole for All” makes offshore tax havens, those loopholes in taxation regimes that allow corporations and the super-rich to avoid repaying society, available to everyone through a web site interface.

Rafaël Rozendaal’s “Stagnation Means Decline” is a screenful of geometric pixel-art dollar bill stacks that fill the screen with their edges only to be obscured by new columns like an economic game of Life.

Filipe Matos’s “Crash” is an undulating animated monochrome concrete poetry American flag with the stars made from the letters of “me” and the stripes as “you”.

Adam Ferriss’s “paper$hredder” is a Vimeo video clip of American dollar bills speeding by faster and faster until they dissolve into a blur.

Aaron Koblin + Takashi Kawashima’s “Ten Thousand Cents” is a composite image of a hundred dollar bill crowdsourced by paying people a cent to paint each piece through Amazon’s Mechanical Turk service.

Maximilian Roganov’s “When the Mao was small, he worked for CIA” is a looped animated GIF colour 3D scan of a dollar bill, polygonally glitched or possibly crumpled over time.

Dave Greber’s “Self Portrait With Dog” video is aptly titled, apparently taking place as the custom graphic on a Visa Mastercard.

Agente Doble | UAFC’s “Watermark will not appear on purchased artwork” is a million dollar blank artwork if you email them and purchase it, otherwise it’s just a url on a blank web page.

JUST DO IT’s “Fifty Euros Inside/Fifty Euros Outside” are animated GIF loops of fifty Euro notes pulsating as if to sound waves on an oscilloscope.

Mitch Posada’s “$$$” is a Flash video of Silicon Graphics-era-style VR models of skeletons exploding and morphing into their constituent polygons while texture mapped with Deutschmarks.

Emilio Vavarella’s “Money Complex” is a tube map-style world map with banknote-collage continents and a key for numeric labels that can be zoomed in on by moving the mouse to reveal their often incongruous labels. It’s one of the more complex works in the show art historically and conceptually.

Lorna Mills & Yoshi Sodeoka’s “Money2” is a Vimeo video loop collage of roughly extracted elements from videos of commodity fetishism, fire and death.

Fabien Zocco’s “Cloud” is a generative composition of black dollar signs scattered up over a yellow background over time like a plume of smoke.

Jasper Elings’s “Territory” is an animated GIF loop of a dollar bill flag blowing in the roughly simulated wind on a white background. It’s not the only such piece in the show.

Robert B. Lisek’s “FuckinGooglExperiment” is online statistical analysis code that tries to correlate the change in Google’s stock price with changes in their PR strategy. It also uses the excellent Fluxus livecoding environment.

Alfredo Salazar Caro | TMVRTX’s “How to make money on internet remix” is a tightly tiled video loop of a rotating stack of dollar bills in a lava-lite-like flow of colour psychedelia.

Anthony Antonellis’s “How to make money on the internet” is simply that rendered block of spinning virtual hundred dollar bills, plucked from the era of RenderWare and VRML.

Gustavo Romano’s “Pieza Privada #1” is another piece of net art for sale at a specific price, with a carefully described contract and application form.

Tom Galle’s “One Million Dollars For iPhone” is an app available on the iTunes Store that allows you to count a virtual million dollar wad on your iPhone.

Geraldine Juarez’s “Love Not Money” tracks the associations of various words with “death”, “love” and “money”. I had to Google this one: it’s a Processing visualisation of a personal stock market tracking the artist’s conceptual assets over six weeks. I love it.

Nick Kegeyan’s “C.R.E.A.M. (Cash Romney Eat A Lot of Money)” is simple, direct and effective video burst of an American news interview subject morphing into a cloud of falling texture mapped dollar bills.

Dafna Ganani’s “Apple Dollar Explosion” is another descriptively titled piece, a Maya-looking apple texture mapped with a dollar bill spinning against a grey background then exploding into its constituent polygons.

Haydi Roket’s “$” takes a dollar bill portrait and literally deconstructs it by pixelating it in increasingly primitive ways, first as 4-bit grey patterns, then in monochrome ANSI characters, alternating to inverse video and changing the contrast to give a flickering effect.

Jennifer Chan’s “Infinite Debt” is a video of a twenty Euro not being dipped in batter and fried mixed in with a collage of clipart images and video on the cynical economics of contemporary art and consumerism.

Frère Reinert’s “Money as a waste of time” is a deliberate excercise in futility; a blurred, zoomed in silent video of the MacOS X SBOD on a white backdrop.

Cesar Escudero’s “Captura de pantalla 2013-03-08 a las 21.46.23” is a Mac OS X desktop image of a gas masked protester who appears to be reaching for a folder named “$$$$$$$”.

Jefta Hoekendijk’s “Money Is Data” is an animated GIF loop of a glitchily texture mapped virtual fifty Euro note in artificial colours.

V5MT’s “¥€$ or N0T” is a rap video or Designers republic album cover-style animation of monumental metal morphing currency symbols made from struts and spheres like newton’s cradles or molecular diagrams.

Addie Wagenknecht’s “How To Make $$$$$” is a grid of money counterfeiting video tutorials, which are apparently a genre. Playing all at the same time they become an all-over aesthetic rather than incitement to a crime.

Gusti Fink’s “infinite loop of money drowning in water oil” is a slow, monumental simulation of a platinum visa card sliding into dark liquid that the camera pans over as if it were a sinking ship.

Marco Cadioli’s “You are here” shows globe and landscape maps constructed of dollar bills, with a pin or map icon to show your place in the economy.

Keigo Hara’s “Making Of Fake Bills” is more halftoned (or possibly shape grammared) dollar bills.

Jan Robert Leegte’s “Currency Graph” shows European flag yellow bars over a European flag blue gradient background. It’s a mutated and abstracted evocation of news information graphics aesthetics in CSS and JavaScript.

Ellectra Radikal’s “Disolved €uro” is a flickering autotraced, find edged and glitched animated zoom into a hundred Euro note that renders it spatial and architectural.

Paul Hertz’s “5,000,000$” it the purest glitch art piece in the show, rows of corrupted and miscoloured banknote imagery that looks like nothing so much as classic street art.

Aoto Oouchi’s “It’s all good” is an uncanny New Aesthetic 3d rendering of liquid or possibly mirrored texture mapped banknotes pouring from a wall.

Kim Laughton’s “Landscape” is a rendered and collaged landscape of banknotes, resembling nineteenth century engravings of dramatic landscapes thanks to the inconography and texture of its source material.

Andrey Keske’s “Tell Me What You Want” is a search engine-style text box prompt that shows the economic coercion inherent in neoliberal use of technology by only allowing you to finish one word beginning with “M”.

A Bill Miller’s “3xpl0d3m0n3y” combines a grainy analogue glitch aesthetic explosion of a dollar bill into waveform stripes into a black space of drifting Matrix-green dollar signs.

Martin Kohout’s “Watching $100 Note Unveiling Video” has a ChatRoulette look, with the unseen unveiling causing a small smile to break out on the depicted viewer’s otherwise affectless face.

Marc Stumpel’s “pH0r 7|-|3 L0\/3 0Ph /\/\0|\|3’/” is a glitched and colourised monochrome television popular music performance from the age of mass media. Again I had to Google it but the song is ‘For the love of money’ by The O’Jays.

Benjamin Berg’s “$(0x24)” (the hexadecimal number that represents the dollar sign in ASCII) is a colourful and stripy glitch animation that resembles test cards, 8 and 16 bit graphics, and even woodcut as it breaks down.

LaTurbo Avedon’s “$$$$$$$$$$$$$$$$$$$$$” is an ambient modern html5 animtion of the avatar-artist reclining on money texture-mapped couches floating up and down a Google image search page for the word “millions”.

Nicolas Sassoon’s “BILL” is a flickering green screen terminal or slow scan TV-style rendering of a 500 Euro note that plays with the visual language of digital images: the letters and stars are highly pixellated but the backdrop to them is a smooth gradient.

Curt Cloninger’s “i want KANDY” loops images of a dancing sniper camouflaged figure montaged with dollar bills and fruit over a more slowly changing background collage of the american flag, a dollar bill, and fruit making a post MTV-styleguide image of the military-economic-entertainment complex.

Systaime’s “ʞooqǝɔɐɟ Dollars” video portrays a world where curvily rendered dollar bills rain over an amateur video of tourists at a beach with a sky of quickly cycling Facebook pages.

Erica Lapadat-Janzen’s “Money Troubles” is a PhotoShop Pop Dada montage of exploitatively normative female beauty and monetary and drug excess that subverts the imagery of the fashion pages.

Milos Rajkovic’s “Mind Wheel” is a wonderfully Gilliamesque collaged animation depicting a mental wage labourer.

Émilie Brout & Maxime Marion’s “Cutting Grass” depicts the pointless and trivial labour that video games such as “The Legend Of Zelda force players to engage in for unrealistic rewards such as gold coins and rubies so they can get on with their quest.

Rozita Fogelman’s “From Oakland w/Love” is a point-and-click kaleidoscopic archtitectural portrait of gentrified Bay Area architecture.

Georges Jacotey’s “am I enough political now” is a Chatroulettish video selfie of an augmented reality Euro flag and symbol drawing and dancing session.
Δεριζαματζορ Προμπλεμ Ιναυστραλια’s “Major Problem” is a rendering of a stack of dollar bills as seen through heat haze or under water, rippling and undulating against a white background.

Lars Hulst’s “0 €uro” is a rendering of a zero Euro note.

Nick Briz’s “a return to secularism” is a video documentary of twenty dollar bills being printed with the words “a return to secularism” flashing over it, framed by a repeated loop of the words “in God we trust” being crossed out on a dollar bill where they were added in the 1950s.

Jon Cates’s “MØN3¥-Δ$-3ɌɌɌØɌ” is a Classic Mac monochrome bitmap or fax aesthetic PDF essay for the show and an exposure of the print on demand economics of that essay in the same style.

León David Cobo’s “Conversation With Machine” has a 1990s broadcast graphic feel, showing the soundwaves of the feedback of a conversation with Siri asking it for money in Euro blue and yellow.

Guayayo Coco’s “Money | GLıɫcʜ ᴬᴺᴰ GLıɫɫɛʀ” is a video of a journey through a VRML-style virtual environment of discrete polygonal objects texture mapped with dollar bills, corporate logos and more abstract patterns with a radio channel-surfing soundtrack.

Vince Mckelvie’s “MONEY” is a reactive interactive deconstruction of a hundred dollar bill into a grid that reacts to the viewers’ mouse movement, revealing pulsating colours behind. It’s a good example of how suitable html5 is for this kind of thing.

Ciro Múseres’s “YOU HAVE WON” is a classic net.art style HTML bomb of overlaid text and links with content from financial web sites such as Barclays, Halifax and Santander that continuously adds and removes layers in different shades red, black, blue and green text to make new compositions.

Adam Braffman’s “Money Loading” is an animated GIF of the frame of a 100 dollar bill with a “Loading…” speech bubble in the centre. It makes the show’s themes of absent and delayed wealth more obviously explicit.

Rollin Leonard’s “Portrait of a NetArtist” is an two-frame animated GIF of the artist naked in the bath with bundles of fake hundred dollar bills with which they are lighting their cigar.

Thomas Cheneseau’s “100€ sequence” is a grid of glitched sections of a hundred Euro note that moires with colour as you scroll it. There’s a link to the facebook album that constitutes the actual work, and it works much better as a clickable album than as a static single image.

Yemima Fink’s “This is not money” is an abstract postmodernist collage of graphical quotations from the counterfeit-resisting elements of banknotes that is both witty and a very effective defamiliarisation of the iconography of banknotes and the power that they represent.

Mathieu St-Pierre’s “Untitiled” is a glitched jpeg of a dollar bill that in its straightforward application of glitch aesthetics makes the most direct link between them and the economic “glitch” of 2008.

Kamilia Kard’s “Amazon VIP girls” is the lone tumblr in the show, with an aesthetic that is either post-internet or pre-Google depending on how old you are applied to the supposedly perfect clothing models used by web sites.

José Irion Neto’s “Untitled” is a glitched banknote that turns JPEG artefacts into Klimt patterns.

There are definite historical trends and formal themes within the included work. Polygonal, texture-mapped, 90s-style VR-style objects that spin or explode. Net art and functional web sites that track or create financial and legal entities and transactions. Looped animations of textures, rendered flags, or video detournements. The imagery of accumulation, consumption, and destruction, always ironically. Imagery and symbols presented in simple loops fast or slow for contemplation. Graphs and maps of real and imagined economic signifiers.

In terms of genre, _MON3Y AS AN 3RRROR | MON3Y.US includes classic VR and video art, more modern GIF loops, textual and institutional net.art, glitch art, even some New Aesthetic. The language of computer graphics, texture mapping and polygons, allows the imagery of banknotes to be defamiliarised and deconstructed. Less often, personal experience and iconography displace the cultural imagery of wealth, consumption and debt.

This historical, formal and genre coverage of the variety of artworks included in the show comprehensively illustrates the chosen theme of “money and error”. This creates its own genre and lineage for the included artworks, which gain by comparison to their newly identified peers. They also contribute to the social and economic critique of the show. It’s a very successful balancing act, which the simple interface and presentational strategy of the show’s curation are key to achieving.

_MON3Y AS AN 3RRROR | MON3Y.US is an almost overwhelmingly successful in its comprehensive review of net art’s critical depiction of and engagement with money. By taking a technologically simple but historically, conceptually and logistically ambitious approach to net.curation for net.art it demonstrates the effectiveness and lasting value of net art’s contributions in this area and the power of online thematic curation to draw together and contextualise this value without giving in to the often perceived need for offline institutional underwriting.

Rob Myers