Even though many still complain about the flood of digital images and advertisements, the power of the once omnipotent Pictures Generation is declining, together with the period’s typical approach towards art. This is a schizophrenic floating in the 'sea of images': 'the media culture of movies and television, popular music, and magazines' as Douglas Eklund, curator of the famous 'The Pictures Generation, 1974—1984' exhibition (The Metropolitan Museum of Art, 2009) puts it. The 2009 exhibition was the first formal labeling of a group of artists exhibited together based on their appropriation of images from a consumerist and media saturated age. Contrary to them, artistic activity of the young, mid-80s-born artists displayed in ART+TEXT BUDAPEST, is mainly based on online research, and they tend to think in the fashion of networks, not in single media pictures.
In the age of the Internet, there is no beginning or end of any kind of images, the mind has only a fluid, infinite vision of images connected to each other. New picture phenomenon has emerged replacing media pictures generated by consumerism. As this new weird episteme suggests, image is just an arbitrary section plane of a whirling, interconnected information stack—a phantom on any segment cut off from the constantly pulsing Big Data. Artist practices based on this new experiment could be described as paradoxical iconoclasms, since pictures are manufactured as artworks (for sell), while their existences are denied, or at least accompanied by a commentary about the non-existence of the Image. The dys- prefix in the title—distorting the original term ‘Pictures Generation’—refers to the pathological disintegration of the autonomous picture.
Meanwhile new artificial raw materials (polyurethane, silicone, 3D print, carbon fiber etc.) and/or hi-tech gadgets coming from various industries also play important role in these artworks. Usage of mixed media underlines the fact that online activity changed our life, the way we think and live, but it did not pull the rug out from under our feet. Forerunner French philosophers—Barthes, Foucault, etc.—contextualized the picture and the identity of the author, underlining the rule of the viewer/reader, clearing the way for the era of the Pictures Generation. Post-Internet Art and experience have dethroned the omnipotent viewer, focusing on the interpersonal or multi-personal data sets, generating ephemeral pictures in every second, focusing on artworks reflecting to this new experiment.