London

Lynn Hershman Leeson, Seduction of a Cyborg, 1994, digital video, color, sound, 6 minutes 48 seconds. From “Electronic Superhighway (2016–1966).”

Lynn Hershman Leeson, Seduction of a Cyborg, 1994, digital video, color, sound, 6 minutes 48 seconds. From “Electronic Superhighway (2016–1966).”

London

“Electronic Superhighway (2016–1966)”

Whitechapel Gallery
77 - 82 Whitechapel High Street
January 29–May 15, 2016

Curated by Omar Kholeif with Séamus McCormack

Why do we still talk about the Internet in terms of driving a car? Networks, data, circuits: These are all non-spaces, incommensurable with the physical experience of distances or roads or freeways, yet we insist on using the most literal spatial terms—remember the Infobahn?—to describe them. I’m banking on “Electronic Superhighway” to rise above its Nam June Paik–derived title and kick into reverse gear, posing a new model for understanding the past fifty years of art, telecommunications, and information. The show begins with the digital present and works backward to the founding of the singular organization Experiments in Art and Technology in 1966, spanning more than seventy artists who have variously grappled with the aporias of the computational age.