When you think of Internet-based art, your mind might jump to the cutting edge. Although the hyper-modern aspects of multimedia art are displayed in the Whitechapel Gallery's first show of the year, the emphasis is firmly on the medium's rich and rebellious history.
'Electronic Superhighway' takes its name from one of its contributors - South Korean video artist Nam June Paik, who coined the term in 1977. In Paik's Internet Dream – a major video-wall installation of 52 monitors displaying electronically-processed images – blurred, garish colours have a hypnotic effect, showing his early awareness of society's move towards information saturation.
This abundance of data, ironically, could occur in such an ambitious, extensive exhibition. The dizzying array of computer screens, installations and radio static that greets gallery-goers is deliberately overwhelming. To prevent complete over-stimulation, 'Electronic Superhighway' is dispersed over two floors and three different gallery spaces, working backwards chronologically from the present day.
On the ground floor, web art is represented by Amalia Ulman's Excellences Perfections Instagram, a four-month documentary series which examines the influence of social media on attitudes towards the female form. The theme of online identity (or lack thereof) is continued by Douglas Coupland's famously obscured Deep Face - a comment on Facebook's involuntary facial recognition technology.
As visitors make their way up stairs, they journey back to the 1990s. At the top of the staircase, Aristakh Chernyshev's custom LED panel eternally loops the word 'Loading' around in a frustrating circle. This signifies that although visitors are moving upwards, they are regressing into a time when information was not demanded or expected instantaneously.
The second gallery space concentrates on the explosion of the Internet, which brought with it an explosion of browser-based works. Ann Hircsh's Twelve (2013) and Martine Neddam's Mouchette.org (1996) present interactive narratives about vulnerable teenage girl-users. In the latter, fluffy pink pens sit alongside vulgar images on a tablet, with no writing paper in sight.
In the final space, the tone shifts again. Here, the exhibition's pervading sense of foreboding is mingled with some light optimism - the works look forward to a bright-screened future. The 60s and 70s feature boundary-testing artists who pushed early technology to its creative limits. Highlights include the intricate, plotter-based algorithmic work by Manfred Mohr, and the early digital-media design of Frieder Nake.
'Electronic Superhighway' ends at the beginning, with memorabilia from Experiments in Art and Technology (E.A.T) - a series of events that took place in 1960s New York, which showcased artists like John Cage and Robert Rauschenberg. And what better way to end an exhibition about screen-based works, than with a good old-fashioned cabinet of physical artefacts.
The show takes its name from one of its contributors, South Korean artist Nam June Paik (his Internet Dream, 1994, pictured here), who coined the term in 1977. © ZKM Center for Art and Media Karlsruhe / Nam June Paik Estate.
Spread over two floors and three different gallery spaces, the exhibition starts at the present day (pictured) and works backwards to the birth of computer art in 1966. Courtesy of the artist.
In the first gallery, modern day is represented by enlarged Instagram images by Amalia Ulman.
Themes of online identity – or lack thereof – are also presented on this floor. Courtesy of the artist.
Pictured left: Walk-Through-Raster Vancouver Version, by Frieder Nake, 1972. Right: Deep Face, by Douglas Coupland, 2015.
Asymmetric Love, by Addie Wagenknecht, 2013. Courtesy of Bitforms Gallery, New York. © Addie Wagenknecht
Loading, by Aristarkh Chernyshev, 2007, informs visitors that they are about to step back in time.
The final space is characterised by earlier, more optimistic works that push the boundaries of artistic technology. Courtesy of the artist.
INFORMATION
’Electronic Superhighways (2016 - 1966)’ runs until 15 May 2016. For more information, visit the Whitechapel Gallery website
ADDRESS
77-82 Whitechapel High St
London E1 7QX
-
Casa Sanlorenzo debuts in Venice as a new hub for contemporary artThe luxury yachting leader unveils a stunning new space in a palazzo restored by Piero Lissoni – where art, innovation, and sustainability come together
-
Once vacant, London's grand department stores are getting a new lease on lifeThanks to imaginative redevelopment, these historic landmarks are being rebonr as residences, offices, gyms and restaurants. Here's what's behind the trend
-
Get lost in Megan Rooney’s abstract, emotional paintingsThe artist finds worlds in yellow and blue at Thaddaeus Ropac London
-
Get lost in Megan Rooney’s abstract, emotional paintings
The artist finds worlds in yellow and blue at Thaddaeus Ropac London
-
Out of office: the Wallpaper* editors’ picks of the weekIt was a jam-packed week for the Wallpaper* staff, entailing furniture, tech and music launches and lots of good food – from afternoon tea to omakase
-
London calling! Artists celebrate the city at Saatchi YatesLondon has long been an inspiration for both superstar artists and newer talent. Saatchi Yates gathers some of the best
-
Alexandra Metcalf creates an unsettling Victorian world in LondonAlexandra Metcalf turns The Perimeter into a alternate world in exhibition, 'Gaaaaaaasp'
-
Lubaina Himid and Magda Stawarska’s new show at Kettle’s Yard will uncover the missing narratives in everyday life storiesThe artists and partners in life are collaborating on an immersive takeover of Kettle’s Yard, Cambridge, in an exhibition that delves into a lost literary legacy
-
Sexual health since 1987: archival LGBTQIA+ posters on show at Studio VoltaireA look back at how grassroots movements emphasised the need for effective sexual health for the LGBTQIA+ community with a host of playful and informative posters, now part of a London exhibition
-
Ten things to see at London Gallery WeekendAs 125 galleries across London take part from 6-8 June 2025, here are ten things not to miss, from David Hockney’s ‘Love’ series to Kayode Ojo’s look at the superficiality of taste
-
Out of office: what the Wallpaper* editors have been up to this weekThis week saw the Wallpaper* team jet-setting to Jordan and New York; those of us left in London had to make do with being transported via the power of music at rooftop bars, live sets and hologram performances
