The term “post-internet” is used in the fields of art and design to describe practices that no longer treat the internet and its aesthetics as something novel, but rather as an omnipresent part of everyday life that is completely intertwined with our physical existence. Post-internet aesthetics tend to typically highlight nostalgia for early internet culture, vibrant colours, deliberately over-polished images, or, conversely, pixelation. Often, the intent of such aesthetics is nostalgic irony linked to consumerism (like vaporwave, for instance), highlighting the sense that nothing is simply definable or “real” anymore, and emphasising the boundlessness of the internet, which exceeds the capabilities and limitations of the biological body and looms over us as a higher power.

One of the defining characteristics of the post-internet is the glitch, which has attained the status of a distinct visual symbol in contemporary art. In her work The Glitch Moment(um), Rosa Menkam presents the 8 rules of the Glitch Studies Manifesto at the very beginning of the book. As she puts it, the glitch essentially represents the imperfection of every attempt at perfection, the possibility of discovering new combinations, catharsis through disintegration, and above all, an acceptance of the fact that nothing can proceed without error, and that error can be the means by which any medium is brought into a critical state of hypertrophy with the aim of critiquing its internal politics. The term hypertrophy is apt here, as it generally refers to an increase in the size of individual cells, leading to an enlargement of tissues or organs. In this exhibition, images expand, flicker, intensify and come vividly to life in radiant colours.

The featured artists navigate the post-internet aesthetic through visual saturation, maximalism and the embodiment of the non-physical through the artist’s physical gesture. The exhibition functions as a mini manifesto against visual silence, the pursuit of perfection and the division between online and physical reality.

In her oil canvases from the Cloud series, Katja Felle shifts from her previously known fragmented digital images towards an abstract fusion of forms and the boundlessness of digital spaces. The complete fluidity of the representation of the digital cloud alludes to the perfection of memory technology, which, however, without the mediation and activation of human memory and gesture, remains latent, an end in itself, floating in an in-between space where information flows seamlessly from one form into another before any human intervention takes place. In the manual depiction of screen images using the classical sfumato technique, error inevitably arises, countering the perfect smoothness toward which the era of intangible digital content strives (the post-cassette, floppy disk and CD era). The tapestries, by contrast, communicate through pixelation executed by stitching with thread. Noise, playback errors and the inability to display colour uniformly on a screen enter into dialogue with one of the oldest visual art forms, slowing the speed of data transmission to a human pace.

Vita Kolar has developed a distinctive style within the field of digital painting, often created in parallel with (electronic) music. She enters the creative process through an atmosphere that, amidst layers, noise, and colours, reflects the infinite possibilities of growth, transformation and boundlessness. Each created work can serve as a starting point for a new variation, a recontextualisation of the image based on feeling. In such a way, her paintings gain an almost organic quality, forming within the artist’s portfolio a coherent narrative with countless offshoots that swirl through mystical digital landscapes. The images are created through an approach to colour, composition, line and stylistic distinction that is fundamentally painterly. They are infused with a touch of nostalgia for the 1990s, when the world glowed with colours and wild patterns, and the internet was experimenting with a wealth of new possibilities in visual expression. When viewing Vita Kolar’s works, it is difficult to avoid a sense of synaesthesia as the motifs are imbued with sound, movement and texture that open the door to a world of playfulness and liveliness.

Blaž Rojs creates partially mimetic works through reduction and reconstruction that oscillate between the abstract and the figurative. He is concerned with a fundamental phenomenon of contemporary visual culture: the disappearance of evidentiary certainty. In his paintings, there is no distinction between real and invented sources: he questions whether such distinctions are even relevant anymore. By erasing these categories, his paintings reflect the individual’s subjective relationship to truth, memory and the visual information that shapes our daily lives. We observe the paintings through a prism of imperfection and disintegration. Central motifs are overrun by fragments of other, partially realised images that intrude upon the original information and negate its integrity. In places, information is completely lost, leaving behind gaping voids. A portrait can only be represented as a set of shades on the CMYK colour scale and is barely visible through a web of cathode noise. In Rojs’s work, stability is lost, and a new, collective image of consciousness springs to the fore that treats reality as a constant flow and transformation through freely accessible influence.

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Katja Felle (1988) graduated in Painting from the Academy of Fine Arts and Design, University of Ljubljana, and went on to complete a master’s degree at the Universität der Künste Berlin. In her artistic practice, she explores, appropriates and transforms visual references from the world of the media. An important part of her work includes textile art, particularly embroidery techniques, which she examines through their historical, social and contemporary artistic roles. Her work has been presented in numerous solo and group exhibitions in Slovenia and abroad, and is included in several art collections in Slovenia, Austria, Germany, France, Italy and Poland. She lives and works in Slovenia and France.
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Vita Kolar (1992) graduated from the Faculty of Economics in Maribor in 2016. After completing her studies, she turned to the world of the visual arts, where she initially worked as a designer of printed matter and album covers for music releases, and later also as a VJ, gradually developing her own distinctive visual language. She presented her work independently for the first time in 2024 with an exhibition at the Isabella restaurant and gallery in Maribor, and in 2026, at the Futura Basura Poster Room (Granada, Spain). Her visual works are regularly featured as part of Vakum, a travelling series of music and art events held across Maribor (Gustaf, Sodni stolp, MMC Kibla/KiBela, Galerija Obrat...). She lives and works in Maribor.
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Blaž Rojs (1995) is active in the fields of painting, photography and design. In 2020, he graduated with distinction from the Academy of Fine Arts and Design in Ljubljana. During his studies, he furthered his education at the Academy in Warsaw. In 2025, he completed the MA in Fine Arts at the Zürcher Hochschule der Künste in Zurich, Switzerland. He has shown his work in solo exhibitions at the DobraVaga gallery (2021) and Galerija Fotografija (2022) in Ljubljana, as well as at Media Nox Gallery in Maribor (2023). He has also participated in several group exhibitions in Slovenia and abroad. He lives and works in Zurich and Ptuj.
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