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The philosopher Armen Avanessian (Viena, 1974) emerged most actively on the contemporary art scene with his participation in the ninth Biennale of Contemporary Art in Berlin, in which he presented DISCREET, an intelligence agency understood as a political tool, with the aim of performing and producing actions that transcend. An author of reference within the current of speculative realism philosophy, he has published half a dozen books, some translated into English, such as Present Tense. A Poetics<\/em> (co-written with Anke Hennig), Speculative Drawing<\/em> (with the illustrator and visual essayist Andreas T\u00f6pfer) and Irony and the Logic of Modernity<\/em>. He is chief editor at Merve Verlag (Berlin), a publishing house specialised in philosophy and political theory and habitually collaborates with the art magazines Spike, Texte zur Kunst and DIS. He has also introduced, into public discourse, new concepts and theoretical constellations such as \u201caccelerationism\u201d, \u201cxeno-feminism\u201d and more recently the \u201ctime complex :post-contemporary\u201d. He says he\u2019d like to contribute a broader vision about the role of philosophical and political theory, which explores the threshold that it shares with art as an action and a practice. <\/strong><\/p>\n As a theoretical observer of the role of technology in contemporary society, what is your vision of the use of Internet as the dominant means of communication and new technologies in the distribution of contemporary art?<\/strong><\/span><\/p>\n I would like to begin by saying that I believe we are slowly advancing towards a different paradigm in art, as did that of avant-garde or modernist art. My idea \u2013and that of others- is that we already find ourselves, without realising it, beyond the paradigm of contemporary art. But at present I don\u2019t have a better way to denominate it other than post-contemporary art, and as I don\u2019t consider myself a fortune-teller, I\u2019m trying to gather together indications and signs that back up the hypothesis that contemporary art has reached its end.<\/p>\n A form of tracking and analysing this is to contemplate not just forms of production, but also those of the distribution of art. In this sense, the Internet is a specific factor that implies production, distribution, education and the whole economy surrounding it, which is a combination of all these elements. With these factors in play, distribution could change, and I say could, because when one thinks about the Internet, in distribution and contemporary art, what immediately springs to mind is post-internet art, a major subject of discussion in the last few years. In my opinion it failed to a large extent precisely because it didn\u2019t achieve different modes of distribution, even though in the artist sense it has had success in the market. Many of the artists who consider themselves specifically post-internet have aptly dealt with the subjects of the use of Internet as medium\/support, have assessed many technological questions, with the potential to reach very different modes of distribution, even though they haven\u2019t managed. On the contrary, they have worked hard to reinforce their stunning success embracing traditional modes of distribution, not precisely on the Internet. We\u2019ve seen them return to galleries, art fairs and even institutions. For this reason I believe that in the future the potential is still lies with the Internet: to show, sell, buy or produce information.<\/p>\n The end of the contemporary has to do with your idea about the \u201ctime complex \u2013 Der Zeitkomplex<\/em><\/a><\/strong><\/span>[1]<\/sup><\/a>Avanessian, A., Malik, S. (2016), The Time Complex. Post-Contemporary, Miami, USA<\/span><\/span>