No Looking After the Internet


No Looking After the Internet

22nd October 2014


No Looking After The Internet is a project by Gabrielle Moser.

No Looking After the Internet is a monthly “looking group” that invites participants to look at an image (or a series of image) they are unfamiliar with, and “read” the image out-loud together. Chosen in relation to an exhibition, an artist’s body of work, or an ongoing research project, the looking group focuses on how we engage with images that present a challenge to practices of looking. If these images ask the viewer to occupy the uneasy position of the witness or voyeur, No Looking offers the space and time to look at them in detail: to return to these scenes in another context where we can look at them slowly and unpack our responses to the image.

Premised on the idea that we don’t always trust our interpretive abilities as viewers, the aim of No Looking is to examine what makes the practice of looking difficult. How does a slower form of looking allow us to be self-reflexive about our role as spectators? How do we look at these images differently when we interpret them with a community of others?

No Looking is an ongoing project based out of Toronto’s Gallery TPW and takes its name and inspiration from No Reading After the Internet, an out-loud reading and discussion group that meets regularly in Toronto and Vancouver (

Harry Sanderson’s “Unified Fabric”
Tuesday, October 22
7–9 pm

In dialogue with Harry Sanderson’s exhibition “Unified Fabric,” the October meeting of No Looking will examine images that attempt to visualize the labour conditions of digital image-making. While Sanderson’s project brings together works by several other artists in the context of a self-built render farm—a super computer comparable to those typically used for rendering Hollywood animations—to interrogate the material realities of digital technology, looking group will hone in on the complicated relationship between images and bodies. How do digital image technologies, often conceived of as immaterial and disembodied, impact our physical practices of producing and viewing images? Why is it so difficult to represent the conditions of labour that sustain these digital image-making practices? And what do digital images of distant subjects ask from us as spectators?