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Others have appeared and returned to a virtual black hole: It’s Still Privileged Art, by Condé & Beveridge, and Home vs. Away, by Peter Friel and Eric Schmid. So what are we talking about? XYM, the largest database of art publications, in.pdf format, initiated by Marlie Mul and Yngve Holen. Its main characteristic being, the material that goes up on the web, at some point, comes down.
riggering interest through artificial scarcity, XYM manages to twist the concept of “internet-aware art” (according to the term used by Ryder Ripps), by offering a vehemently selective platform in the presentation of artists, who already have a foot and a half in the door that opens up to the other side of hypertext, but with a device that at the same time seems to declare war on one of the founding principles of hyper-connectivity: that of interlinking and making everything available.
XYM flirts with the cataclysmic image of disconnection, using restrictions to stimulate desire or what John Kelsey would call “the option of unfriending” as a means for sabotage and mockery.