Exhibition Review: All I Know Is What’s On The Internet

Book Review| March 01 2019 Exhibition Review: All I Know Is What’s On The Internet All I Know Is What’s On The Internet: The Photographers’ Gallery, by Harriet Riches. London, UK, October 26, 2018–February 24, 2019. Harriet Riches Harriet Riches Harriet Riches, PhD, is a writer and academic at the Cambridge School of Visual & Performing Arts in Cambridge, UK. Search for other works by this author on: This Site PubMed Google Scholar Harriet Riches, PhD, is a writer and academic at the Cambridge School of Visual & Performing Arts in Cambridge, UK. Afterimage (2019) 46 (1): 47–52. https://doi.org/10.1525/aft.2019.461006 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Harriet Riches; Exhibition Review: All I Know Is What’s On The Internet. Afterimage 1 March 2019; 46 (1): 47–52. doi: https://doi.org/10.1525/aft.2019.461006 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search Taking its title from a quote by US President Donald Trump, All I Know Is What’s On The Internet is at first glance a small exhibition of just eleven international individual artists and collaborative partnerships, which on closer inspection grows in scale and scope—and lasting affective power. With its stated aim to interrogate the systems through which photographic images in the twenty-first century proliferate and multiply online, the exhibition poses questions about new forms of value, knowledge, and work that update for a new era some of the critical discourses around the medium’s relationship to conditions of production—of meaning, of capital, and of labor. Particularly uncomfortable—but timely—is its exposure of the uneasy relationship between contemporary forms of post-Fordist human work and automation upon which the internet largely depends with its invisible army of bots, crowd-sourced digital pieceworkers, and intelligent machines. As an exhibition, it is itself quite hard work. The... You do not currently have access to this content.