Lunch Bytes was initiated in 2011 by Melanie Bühler as a series of lunchtime events discussing art and cultural shifts influenced by the digital sphere. Taking place in several locations in the US and Europe, this initiative has grown into an online platform working as an open panel for examination, concerning the role of digital technologies in a vast variety of artistic production.

After its concluding event that took place in Berlin last March (which you can discover more in this interview by Keiu Krikmann), Melanie Bühler decided to take on a physical object that would document and in a sense imortalize Lunch Bytes’s discoursive journey since its debut in Washington D.C. back in 2011.

This object comes in a form of a physical 416 page-publication by the name of “No Internet, No Art — A Lunch Bytes Anthology”, a name that came from a line in the poem “Arrangement 2” by the artists Pierre Lumineau and Adam Cruces, ‘No Internet, No Art’ which culminates the outcome settled up in the Lunch Bytes’s public events — thinking about art and its relation with digital culture.

ApplesAdam Cruces, Apples, 2014

“No Internet, No Art — A Lunch Bytes Anthology”, marks the first publishing adventure of Lunch Bytes providing a general overview of the event series, as well as presenting some important topics that have shaped the crossover between art and internet in the past few years.

In the foreword, Melanie starts with: “Today it has become increasingly difficult to find a person or an object without some kind of connection to the internet. No Internet, No Art is dedicated to exploring what this situation entails with respect to one cultural field in particular: art.” A brief introduction that somehow sums up the overarching theme, which has many facets as you might know, but it’s really important for any art-related being living and working in the current days to retain, or at least, analyze what some of the most promising individualities working in this field have to say.
NudeAdam Cruces, Nude, 2014
This anthology draws from an extended network of artists, writers, curators and art experts which Melanie asked to contribute texts and visual material based on their presentations. Rounding this central contribuitions, the book also includes fourteen interviews that Melanie conducted two years after the series. This addicional content helps the reader to contextulize important themes and key statements on aesthetics and artistic practise throughout the whole book. In the end, along the artists biographies, it also features a handy keyword index and some appendix blank pages which is something that we are not so used to see these days and which gives this publication an interesting way to closure its leafing.
nokia_humanform, Image from Kari Altmann’s
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In “No Internet, No Art”, several themes are discussed by over forty contributors including familiar names with the likes of Kenneth Goldsmith, Adam Bartholl, Brad Troemel, Paul Keale, Kari Altmann, Adam Cruces, Jaakko Pallasvuo, Jon Rafman, Rafael Rozendaal, Ben Vickers, Jenna Sutela amongst many others. Their artistic practise are examined thematically within the context of digital culture, exploring digital aesthetics, defining and curating Internet-related art, labor and work in digital societies, surveillance apparatuses and what it currently means to be socially art-related.
testiAdam Cruces, test, 2014

No Internet, No Art — A Lunch Bytes Anthology

Edited by Melanie Bühler
Copy edited by Rachel Somers Miles
Designed by Hannes Gloor with Freja Kir
Published by Onomatope
416 pages/ softcover
165 x 240 mm / 6,5 x 9,5 inches
64 pages full color