#39 Spring 2014

Alexander R. Galloway introduces Spike’s network-themed issue with an essay about the asymmetric nature of networks and the hyper-regulated space of the Internet. Curator and activist Ben Vickers discusses the difference between networks and institutions, new community-based social models, and the London post-Internet scene; and New York–based artist Bjarne Melgaard talks about being an artist who writes, the death drive in homosexual culture, and his contribution to the Whitney Biennial. Boris Groys writes a profile of artist and ZKM director Peter Weibel, and Daniel Baumann analyses the Russian performance group and media phenomenon Pussy Riot. In addition, the issue features articles on the relationships and interconnections within the Italian art world, the paradigmatic anti-gallery American Fine Arts, Co., the Vienna Secession as an artist-run institution, Spike Jonze’s film Her, and how the website Contemporary Art Daily has supposedly changed our view of art.

Curator's Key
Lars Bang Larsen on Papkasseteatre (1995) by Christian Schmidt-Rasmussen
Colin de Land was a kind of anti-gallerist; his gallery American Fine Arts, Co. was a kind of artwork. By Axel Wieder
The Vienna Secession is run by artists. By Martin Fritz
The media theorist Alexander R. Galloway on the asymmetric nature of networks and the Internet as the most highly regulated mass medium to date.
Jennifer Krasinski meets the artist in New York and talks to him about the death drive in homosexual culture and his contribution to the Whitney Biennial.
The contradictions of technological progress, communication systems, and the world of technical media are the preoccupations of the Austrian artist. A profile by Boris Groys
Daniel Baumann on the Russian performance group and the difference between the local significance and global marketing of activism.
John Menick thinks back to the exhibition »GNS: Global Navigation System«.
Site report
Barbara Casavecchia on relationships and entanglements within Italy’s art scene
Oliver Basciano on Contemporary Art Daily and how it is changing our view of art
Dorothée Dupuis makes a case for an old concept: sisterhood
or the things we like: by Timo Feldhaus, Adam Kleinman, Jason Dodge, Nora Dünser, Kirsa Geiser