Although Meriem Bennani’s early work overlaps with Internet art’s preoccupations—it appropriates the idiom of reality TV, for example, and her one-off videos match the pace of online production—her work remains relevant even as the Internet’s social role has changed dramatically. To net artists of the DIS era, the threat posed by the commercial Internet was primarily aesthetic; it was banal, stultifying, and homogeneous, which made hijacking its visual language to produce, say, a stock image of a Gallery Girls star chugging beer out of a baguette koozie feel incisive and funny. Bennani’s latest work, “Party on the CAPS,” an exhibition of video and sculpture at Brooklyn’s Clearing Gallery, captures an experience of postcolonial dispossession and rage.
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