On October 26th 2012 Museum of Contemporary Art in Roskilde released its new exhibition website for internet art: Net.Specific - and now the first exhibition Communication Paths is online: http://netspecific.net/en

With the exhibition website Net.Specific, the Museum of Contemporary Art seeks to expand its exhibition space to include the Internet. This is achieved both by involving net art as an art form and by using the Internet as an exhibition space. The museum hopes to take full advantage of the possibilities that contemporary art can yield by making a museum-based online exhibition space available for Internet-specific art.

The name Net.Specific refers to net art which uses the Internet as its material. It is a site-specific art form that uses the Internet as a conceptual backdrop and idea base. Net art fits perfectly with the Museum of Contemporary Art’s focus on ephemeral, performative and time-based art. It has its artistic forebears in conceptual art and Fluxus and employs strategies that could be compared with mail art’s use of the postal system and the consequent development of artistic collaborations and networks across national borders. Common to all these art forms is their focus on the way in which we communicate and the culture and network that is thereby created.

Net.Specific's first exhibition Communication Paths focuses on the Internet’s communicative potential and its distributed nature. The exhibition presents five different artists and groups who each in their own way incorporate the Internet and its communication and distribution in their works. From the glitch and code pioneers of JODI and the rebellious 0100101110101101.ORG, to the newer additions to the fold; Michelle Teran, Jens Wunderling & Philipp Bosch, as well as the Danes Anders Bojen & Kristoffer Ørum.

In the context of this exhibition, Internet communication is considered in its broadest sense and includes stories forged from materials found online, the inclusion of user-generated content and the use of the Internet’s own channels of distribution. Pseudo-scientific learning and issues related to visual identity and Internet code are also employed in the exhibition.

The exhibition is curated by Tina Mariane Krogh Madsen