Exhibitions examining how the internet has altered the creation, display, and reception of art are at present frantically populating museums and cultural institutions. FRONT International’s Digital Infinities exercise, however, carefully refrains from pronouncements suggesting that digital networks are revolutionary or transformational. Nor does it attempt to summarize its histories or fetishize its creative influencers. Instead, this exercise functions pragmatically as an auxiliary platform for a range of work by contemporary artists Chris Dorland, Jeff Gibson, Alix Pearlstein, Pieter Schoolwerth and Alexandra Lerman, Peter Scott, Kitnick & Thurman, Lin Ke, Jonathan Horowitz, and Siebren Versteeg.
Circulating artworks unbound by the limits of space and time, several of the contributions to Digital Infinities root their aesthetics in an inherent critique of a late capitalist landscape shaped by consumerism, invention, and inventory. Other projects revel in the fantastical and emancipatory powers of the indefinitely expanding process of social interconnectedness. There are also some works that engage the politics of alienation and distraction, and others that focus on the entanglement of personal narratives and cultural identity. Connected directly to the hub of FRONT’s digital presence—its website—these offerings can never be complete or encompassing as they migrate across networks.