<http://schema.org/articleBody>
"\n\n&lt;div class=\"slideshow-container\" data-id=\"177494-0\"&gt;\n\n\t&lt;a href=\"#slideshow-177494-0\" class=\"slideshow-block embed-container\"&gt;\n\t\t&lt;div class=\"images grid-1\"&gt;\n            &lt;div class=\"cta\"&gt;\n                &lt;div class=\"icon\"&gt;\n                    &lt;img src=\"https://news.artnet.com/app/themes/artnet-news/assets/img/icon-gallery-black.png\" /&gt;\n                    &lt;div class=\"length\"&gt;7&lt;/div&gt;\n                &lt;/div&gt;\n                &lt;div class=\"text\"&gt;View Slideshow&lt;/div&gt;\n            &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"img\"&gt;\n\t\t\t\t\t&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_07-550x400.jpg\" alt=\"\" /&gt;\n\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t&lt;/div&gt;\n\t&lt;/a&gt;\n\n\t&lt;div id=\"slideshow-177494-0\" class=\"slideshow-viewer\"&gt;\n\t\t&lt;div class=\"slideshow-header\"&gt;\n            &lt;div class=\"slideshow-counter visible-sm visible-xs\"&gt;\n                &lt;span class=\"index\"&gt;0&lt;/span&gt;/&lt;span class=\"total\"&gt;0&lt;/span&gt;\n            &lt;/div&gt;\n\n\t\t\t&lt;a class=\"slideshow-logo\" href=\"/\" rel=\"home\"&gt;\n\t\t\t\t\t\t\t\t\t&lt;img src=\"https://news.artnet.com/app/news-upload/2016/06/news-logo-wide-300x43.png\" /&gt;\n\t\t\t\t\t\t\t&lt;/a&gt;\n\n\t\t\t&lt;div class=\"slideshow-title hidden-sm hidden-xs\"&gt;\n\t\t\t\t&lt;span&gt;Has Post-Internet Art Come of Age?&lt;/span&gt;\n\t\t\t&lt;/div&gt;\n\n\t\t\t&lt;div class=\"slideshow-toolbar\"&gt;\n\t\t\t\t&lt;div class=\"slideshow-counter hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t&lt;span class=\"index\"&gt;0&lt;/span&gt;/&lt;span class=\"total\"&gt;0&lt;/span&gt;\n\t\t\t\t&lt;/div&gt;\n\n\t\t\t\t&lt;span class=\"addthis_buttons hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t&lt;a href=\"#\" class=\"addthis_button_facebook\"\n\t\t\t\t\t   title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n\t\t\t\t\t&lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n\t\t\t\t\t   title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n\t\t\t\t&lt;/span&gt;\n\n\t\t\t\t&lt;a href=\"#\" class=\"slideshow-grid-toggle hidden-sm hidden-xs\"\n\t\t\t\t   title=\"Gallery View\"&gt;&lt;i class=\"dashicons dashicons-screenoptions\"&gt;&lt;/i&gt;&lt;/a&gt;\n\t\t\t\t&lt;a href=\"#\" class=\"slideshow-close\"\n\t\t\t\t   title=\"Close Slideshow\"&gt;&lt;i class=\"dashicons dashicons-no-alt\"&gt;&lt;/i&gt;&lt;/a&gt;\n\t\t\t&lt;/div&gt;\n\t\t&lt;/div&gt;\n\n\t\t&lt;div class=\"slideshow-content\"&gt;\n                            &lt;div class=\"slideshow-sidebar hidden-sm hidden-xs\"&gt;\n                    &lt;div class=\"widget-area\"&gt;\n    &lt;ul class=\"list-unstyled\"&gt;&lt;li class=\"artnet-ads-ad  widget-1 widget-odd widget-container piklist-universal-widget\"&gt;&lt;div class=\"artnet-ads-ad  widget-1 widget-odd widget\"&gt;&lt;div id=\"slideshow1-177494-580ac6353d2a9\" data-slot=\"slideshow1\" class=\"artnet-ad\"&gt;&lt;/div&gt;\n\n&lt;/div&gt;&lt;/li&gt;&lt;/ul&gt;\n&lt;/div&gt;\n                &lt;/div&gt;\n            \t\t\t&lt;div class=\"slideshow-slider\"&gt;\n\t\t\t\t&lt;div class=\"slider\" data-type=\"slideshow\" data-total=\"7\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_01.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_02.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_07.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_05.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_06.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_03.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide\"&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-image\"&gt;&lt;div class=\"slide-image-wrapper\"&gt;\n\t\t\t\t\t\t\t\t&lt;img data-lazy=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_04.jpg\" alt=\"\" /&gt;\n\t\t\t\t\t\t\t&lt;/div&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t&lt;div class=\"slide-text\"&gt;\n                                                                &lt;div class=\"caption-toggle clickable\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-toggle-text hidden-sm hidden-xs\"&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-open\"&gt;Read Caption &lt;i class=\"fa fa-angle-up\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"caption-close\"&gt;Close &lt;i class=\"fa fa-angle-down\" aria-hidden=\"true\"&gt;&lt;/i&gt;&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t                                    &lt;div class=\"share-buttons addthis_buttons visible-sm visible-xs\"&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_facebook\"\n                                           title=\"Facebook\"&gt;&lt;i class=\"fa fa-facebook\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                        &lt;a href=\"#\" class=\"addthis_button_pinterest_share\"\n                                           title=\"Pinterest\"&gt;&lt;i class=\"fa fa-pinterest-p\"&gt;&lt;/i&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;div class=\"slide-caption\"&gt;Yves Scherer, \"Closer\" (2014), Exhibition view Galerie Guido W. Baudach, Berlin&lt;br&gt;Photo: Roman M\u00E4rz / Courtesy Galerie Guido W. Baudach, Berlin&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t&lt;/div&gt;\n\t\t\t\t\t\t\t\t\t&lt;/div&gt;\n                &lt;div class=\"slideshow-interstitial\"&gt;\n                    \t\t\t\t\t&lt;div class=\"widget-area\"&gt;\n    &lt;ul class=\"list-unstyled\"&gt;&lt;li class=\"artnet-ads-ad  widget-1 widget-odd widget-container piklist-universal-widget\"&gt;&lt;div class=\"artnet-ads-ad  widget-1 widget-odd widget\"&gt;&lt;div id=\"slideshow1infeed-177494-580ac6353d79f\" data-slot=\"slideshow1infeed\" class=\"artnet-ad\"&gt;&lt;/div&gt;\n\n&lt;/div&gt;&lt;/li&gt;&lt;/ul&gt;\n&lt;/div&gt;\n                    &lt;button class=\"close-interstitial btn btn-primary btn-lg btn-block\"&gt;Skip Ad&lt;/button&gt;\n                &lt;/div&gt;\n\t\t\t&lt;/div&gt;\n\n            &lt;div class=\"slideshow-grid hidden-sm hidden-xs\"&gt;\n                &lt;div class=\"images row\"&gt;\n                                                                    &lt;a href=\"#/slideshow/0\" data-slide-goto=\"0\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_01-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                                                    &lt;a href=\"#/slideshow/1\" data-slide-goto=\"1\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_02-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                                                    &lt;a href=\"#/slideshow/2\" data-slide-goto=\"2\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_07-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                                                    &lt;a href=\"#/slideshow/3\" data-slide-goto=\"3\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_05-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                                                    &lt;a href=\"#/slideshow/4\" data-slide-goto=\"4\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_06-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                                                    &lt;a href=\"#/slideshow/5\" data-slide-goto=\"5\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_03-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                                                    &lt;a href=\"#/slideshow/6\" data-slide-goto=\"6\"\n                           class=\"img col-md-3\"&gt;&lt;img src=\"https://news.artnet.com/app/news-upload/2014/11/14_YS_Baudach_04-256x256.jpg\" alt=\"\" /&gt;&lt;/a&gt;\n                                    &lt;/div&gt;\n            &lt;/div&gt;\n\t\t&lt;/div&gt;\n\t&lt;/div&gt;\n\n&lt;/div&gt;\n&lt;p&gt;When we take a retrospective glance at the art world in five or ten\u00A0years, it\u2019s a safe wager that fall 2014 will be mapped as the point at which post-internet art entered the mainstream. The often nebulous genre essentially refers to art that reflects on the context, conditions, and possibilities produced by our \u00FCber-connected, online society. It has been featured in &lt;a href=\"http://www.artinamericamagazine.com/news-features/magazine/the-perils-of-post-internet-art/\" target=\"_blank\" target=\"_blank\"&gt;a hate-piece&lt;/a&gt; in &lt;em&gt;Art in America&lt;/em&gt;\u2019s November issue and as the central tenet of Scott Reyburn\u2019s &lt;a href=\"http://www.nytimes.com/2014/09/29/arts/international/post-internet-art-waits-its-turn.html\" target=\"_blank\" target=\"_blank\"&gt;market report from Frieze London&lt;/a&gt; two months before for the &lt;em&gt;New York&lt;/em&gt; &lt;em&gt;Times&lt;/em&gt;. One of its biggest proponents, the collective DIS, was appointed to curate the 2016 Berlin Biennial (see \u201C&lt;a href=\"http://news.artnet.com/in-brief/dis-will-curate-2016-berlin-biennale-112089\" target=\"_blank\"&gt;DIS Will Curate 2016 Berlin Biennale&lt;/a&gt;\u201D). And, a slew of galleries have now built an entire identity, and a market, around the movement.&lt;/p&gt;\n&lt;p&gt;As the &lt;em&gt;AiA&lt;/em&gt; take suggests, post-internet art is\u00A0a far from universally accepted or appreciated movement\u2014save perhaps unwittingly by urban sellers of the indoor palm plants that have, for whatever reason, become post-internet fans&amp;#8217; calling card. To an extent, part of that problem is one of age; some of the artists\u00A0aren\u2019t really or are just barely digital natives. In those cases, the work can remain too focused on the novelty of the internet and its modes of presentation rather than the conditions it produces. It can also simply be a misnomer for other, research-based practices.&lt;/p&gt;\n&lt;p&gt;But Yves Scherer dives as deeply as any of post-internet art\u2019s more-notable adherents. His debut show at Berlin\u2019s Galerie Guido W. Baudach\u2014alongside Kate Cooper\u2019s phenomenal exhibition currently up at the KW Institute for Contemporary art\u2014is the most \u2018contemporary\u2019 show I\u2019ve seen all year. Entitled \u201CCloser,\u201D it\u00A0filets the post-internet and its theoretical bases with a fluency that suggests Scherer may not yet be fully cognizant of its resonance.&lt;/p&gt;\n&lt;p&gt;Take the tatami mats that form the show\u2019s second-most prominent motif, for example. One double-bed variant lies more or less in the middle of the gallery. Others are hung within Perspex vitrines having been burnt, sliced, painted, or otherwise altered. A third set aren\u2019t tatami mats at all but instead prints of the mats\u2019 characteristic rice straw surface on canvas. It\u2019s a fairly out-of-left-field reference for a Swiss-born 27 year old who splits his time between London, where he recently graduated from the Royal Academy, and Berlin.&lt;/p&gt;\n&lt;p&gt;Or is it? As I was soon to find out from Baudach, the tatami mat is in fact Scherer\u2019s preferred sleeping spot when in London &amp;#8211; he bounces between friend\u2019s apartments\u00A0or lives\u00A0in places\u00A0too small to have defined sleeping or living quarters. That\u2019s no odd quirk. It\u2019s a domestic manifestation of the state of play, which Yann Moulier Boutang and others have come to call Cognitive Capitalism.\u00A0This is also the defining set of socio-economic factors that have surrounded post-internet artists as they\u2019ve come of age: where work becomes brain-only work performed by the always-on-call, lifelong freelancer, tapped onto a laptop from bed or a caf\u00E9, and for which pay is often a distant prospect measured in quarter-long waits.&lt;/p&gt;\n&lt;p&gt;In the discrete schema of the exhibition, however, the mats delineate a residential interior. The space is\u00A0populated by tabloid photos of celebrities dragging unsexily on cigarettes, opposed by a video\u2014which looks on at Scherer\u2019s female friends taking lazy drags framed by twilight\u2014that would sell anyone a Marlborough, sketched-on curtains, and four life-size nude statues of English actress\u00A0Emma Watson.&lt;/p&gt;\n&lt;p&gt;Each Emma is suited to a slightly different taker. One is pristinely white, save for a scribbled signature. Another is lightly splattered with pink paint, wears stockings, and has its face made up to look like an anime character. A pale pink statue&amp;#8217;s\u00A0nightgown appears to have just slipped off its shoulder, the floor around it marked numerous times with \u201C#heforshe,\u201D the hashtag for Watson\u2019s recently-launched campaign for UN Women. A copper-covered Emma has been crated, the boxes interior padded with sound dampening foam and a fan installed on its side as if the shipper was worried she might expire without fresh air. A fifth sculpture, also copper or bronze, stands in a lily pond outside the curtain that\u2019s meant to form the door to Scherer\u2019s created-home in pure bourgeois fashion, despite the pond having been created with cheap, utilitarian carpet.&lt;/p&gt;\n&lt;p&gt;It would take a rather astute Watson aficionado to immediately recognize that the sculptures depict\u00A0the actress. In strict terms, they don&amp;#8217;t. To create them, Scherer scoured the web, pulling hundreds of recent images of the actress\u2014a partial archive of the photos has &lt;a href=\"http://www.guidowbaudach.com\" target=\"_blank\" target=\"_blank\"&gt;replaced the gallery\u2019s website&lt;/a&gt; for the duration of the show\u2014to create a three-dimensional digital model of her based on an \u201Caverage\u201D of those images that could then be brought to life using a 3D printer.&lt;/p&gt;\n&lt;p&gt;The works\u2019 jumping off points are numerous. It\u2019s as good a critique of Google and Facebook\u2019s averaging effect on what was once a utopian vision of an infinitely diverse internet, as it is a takedown of our weirdly-intimate relationships with celebrity, with Instagram delivering a by-the-minute diary of famous strangers\u2019 private lives (the classic paparazzi photos on the wall recall just how distant that relationship used to be only ten years ago.)&lt;/p&gt;\n&lt;p&gt;If the exhibition could be misread, it would be as a direct commentary on female exploitation and objectification. Its press materials make passing reference to the trolls who threatened to expose nude photos of Watson following the HeForShe announcement. And though, of course, that context is unable to be excluded from any\u00A0analysis of the show now, the sculptures were started long before\u2014one was shown at Art Berlin Contemporary, which took place the week before the initiative\u2019s launch.&lt;/p&gt;\n&lt;p&gt;Like the tatami mats, the choice of Emma Watson was, if I had to guess, one based on the artist&amp;#8217;s personal taste and perhaps the fact that, more than most entertainment notables, there\u2019s nothing particularly bad or even controversial that one can say about the 24-year-old actress-cum-model. But there are others who could have taken her place\u2014men too.&lt;/p&gt;\n&lt;p&gt;What it really breaks down to, where affect does and should be found in \u201CCloser,\u201D is within the exhibition\u2019s most easily overlooked sculpture. Off to the right, as one enters the interior of Scherer\u2019s abode, a desktop computer tower sits almost as if it\u2019s being used to run the video playing around the corner. On closer inspection, however, a glowing, blue light shines inside the black metal frame, illuminating a sole male figure cross-legged on some computational structure, quite literally living within his computer.&lt;/p&gt;\n&lt;p&gt;To some ears, that might sound direct to a cringe-worthy degree. But it strikes its key with painful intensity. It exposes, like the best art, something we know but don\u2019t really like to admit. The internet at once connects us to an unprecedented degree and alienates us to a magnitude no theorist of the industrial revolution or even of 20 years ago could have predicted. We can watch anything, learn anything, order anything on displays of varying sizes. We can create and print out our dream companion &lt;a href=\"http://www.wired.com/2014/05/3d-printed-guns/\" target=\"_blank\" target=\"_blank\"&gt;or even a gun&lt;/a&gt;, for that matter. People, in their fleshy existence, cease to\u00A0really\u00A0matter. Except, of course, that they do.&lt;/p&gt;\n&lt;em&gt;Follow &lt;a href=\"http://facebook.com/artnetnews\" target=\"_blank\"&gt;artnet News&lt;/a&gt; on Facebook.&lt;/em&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
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