In 1998, I made my 2nd web art work titled La Folie de la Peinture (The Madness of Painting), fragments of which are archived on the Wayback Machine site. This was a comprehensive, if condensed, articulation of my critique of the movement from modernist abstraction, via conceptualism, to the photographic ontology of postmodern installation and performance art. My own practice had been evolving along this trajectory until, in the mid 1990’s, I found the World Wide Web with its capacities for instantaneous connectivity, hypertextual linking and multimedia convergence. La Folie de la Peinture was featured in the 2nd Multimedia Asia Pacific Festival (MAAP) 1999,: COLLAPSING GEOGRAPHIES online exhibition which was part of the Third Asia Pacific Triennial, Screen Culture and Virtual Triennial program.
The opening image of this navigational work was a direct flatbed scan of a bottle of Cuvée Tradition French wine that we had recently consumed. The two hyperlinked hotspots on the image that took the user through to the rest of the work were a ‘black square’ and the word ‘ZIP‘, references to the endgame in American hard-edged abstraction. Black square took the user through to a set of photographic images, remediated documentation, of an installation made at the Tower House Studios, Goldsmith’s college, London in 1991. These images were linked in such a manner as to enable a simulation of the navigation of the space and the experience of each ‘work’ in the new web ‘space’ as a reinterpretation in multimedia for online viewing. This part of the web work was augmented with physical objects from the original installation and a new desktop VR interface, when La Folie de la Peinture was presented at the Substation, Singapore in 2001 in a two-person show with Joe Lewis titled, Layers … Reality … Memory.
‘ZIP‘ took the user through to a modified image of a vulgar performative intervention I made in 1995. at the site of Bernard Tchumi’s architectural reification of the deconstructive ethos at the Parc de la Vilette, Paris.