THE INTERNET . EXPRESS
Presentation of theinternet.express by Jonas Lund
About the exhibition
Panke.gallery is proud to present The Internet . Express, a new work by Jonas Lund. We have produced this net-art sculpture with the kind support of the transmediale festival. The piece comes in the form of a Browser Game and lets us, the users, drive on the information-super-highway. The only impediment is a constant barrage of advertisements which slow one down eventually causing one to lose the game. The experience reflects, on many levels, what the internet has become today. The advertisements have not only turned it into a meaningless shopping mall, they also jeopardize our security, leading us to crash. The physical design calls to mind a hybrid arcade console and cash machine. And that is what the Internet seems to be now. But strangely our cognitive dissonance won't let us stop playing - look at all the fun we have just by trying to cope
This event was part of the Wedding Kultur Festival.
Artist
Jonas Lund 1984, born in Sweden, based in Berlin and Amsterdam. Jonas Lund is a Swedish that creates paintings, sculpture, photography, websites and performances that critically reflects on contemporary networked systems and power structures of control. He earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at Whitechapel Art Gallery, London (2016), Steve Turner, Los Angeles (2016, 2015, 2014), Växjö Konsthall Sweden (2016), Boetzelaer|Nispen, Amsterdam (2014), Showroom MAMA, Rotterdam (2013), New Museum, New York (2012), and has had work included in numerous group exhibitions including at Carrol/Fletcher, London, ZKM, Karlsruhe, Van Abbemuseum, Eindhoven, Witte De With, Rotterdam, De Hallen, Haarlem and the Moving Museum, Istanbul. His work has been written about in Artforum, Kunstforum, Metropolis M, Artslant, Rhizome, Huffington Post, Furtherfield, Wired and more.
Press
The Internet . Express was placed in the lobby of Haus der Kulturen der Welt (HKW Berlin) for the time of Transmediale 2018 face value. Below you find a quote on the art work from an article by Jens-Christian Rabe about the festival.
“Noch stärker als die vielen Masken Chelsea Mannings war deshalb am Ende das Kunstwerk zur Stunde womöglich doch ein unscheinbarer weißer Automat, der im Untergeschoss an einer Treppenwand gegenüber dem Konferenz-Café stand. Mit einem eingebauten kleinen weißen Joystick konnte man auf dem Bildschirm des Automaten eine pixelige kleine Cursor-Hand über eine mehrspurige graue Autobahn bewegen. Die Geschwindigkeit des Cursors nimmt dabei zügig zu. Aufgabe ist dann, den entgegenkommenden Logos der fünf großen Digitalkonzerne auszuweichen. Was schnell unmöglich ist.” Süddeutsche Zeitung
