we're into ~sincerity

Paula Nacif, mycomputerisclueless.mov, 2013.

(Source: artpopaura)

Gabriella Hileman, hologram machine for the modern cyber femme, 2013.

ALPHA GIRLS, False Impression, 2014.

“Mimesis and replication doesn’t eradicate authorship, rather they simply place new demands on authors who must take these new conditions into account as part and parcel of the landscape when conceiving of a work of art: if you don’t want it copied, don’t put it online.”

—   LeBeaouf, Shia. “#stopcreating” in The New Inquiry, 2014.

Geneviève Belleveau, from the series #selfieaffirmation, 2013.

Eva Papamargariti, RANDOMACCESSDATA, 2014. More on this work, here.

“In the era of the Hot Babe, under the emancipatory sign of the Hot Babe, all art will be obsolete or generalized into nonexistence: ‘That’s hot, that’s hot, that’s hot.’ The humans of the future reject your messy and in-grown subjectivities, or, […] you reject them, you cannot bear their terrible perfection.”

Sybil Prentice [@nightcoregirl], Selfiechan, 2013.
Erica Lapadat-Janzen, Sluts Slice Series, 2013.
Faith Holland, VVVVVV, 2011-2013.

Faith Holland, VVVVVV, 2011-2013.

“Few artists outwardly refer to the internet’s affectations in their work but its traces are widely evident. The cultural concerns of this movement are unanimously rooted within this intangible network rather than local politics and squarely offline interpersonal relationships. It has always been this way for our generation. And since the fragmentation of style in our art is so severe it may seem that there is an unlimited variety of movements at work, but much –if not all of it– is contextually related. They are entangled not by the internet per se but by the effects of online social representation.”

Miyö Van Stenis, BITCHES_B-LIKE, 2013. For Cloaque.