reviews

View of “Harm van den Dorpel,” 2015. Left: Very Beta Still (scrum), 2015. Right: Chrysalis (mint) Mark II, 2015.

Harm van den Dorpel

Neumeister Bar-Am

View of “Harm van den Dorpel,” 2015. Left: Very Beta Still (scrum), 2015. Right: Chrysalis (mint) Mark II, 2015.

“Ambiguity points to the mystery of all revealing”—the title of Harm van den Dorpel’s recent solo show—is taken from Martin Heidegger’s 1954 essay “The Question Concerning Technology.” Deprived of its context, the line itself becomes ambiguous, an empty shell to be filled with any random meaning—and exemplifies the artist’s practice of collage for the digital age. A programmer-cum-artist, Van den Dorpel, born in 1981, is generally associated with the so-called post-Internet generation. The rationale behind this label seems to be that there’s been a shift in sensibility between the Net artists, who specifically worked for and with the Internet, and a younger generation of artists who grew up online and focus on the appropriation of data and content. But the distinction is a dubious one. Taking images and texts from the Internet, the way Pop artists took images from

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the May 2015 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.