Joel Ford for whitneybiennial.com, as seen in 2015 on Chrome for Mac. Photo: Heloise Cullen.
One story of whitneybiennial.com opens at the ElectronicOrphanage (EO) in Chinatown, Los Angeles. Founded in 2001 by artists Miltos Manetas and Mai Ueda, the now-defunct EO was once a small artist-run project space on Chung King Road, a pedestrian pathway dense with independent galleries and studios. Until its demise in 2004, the "Orphanage" remained a stark black cube, completely barren if not for a white screen where digital art was occasionally projected, typically when neighboring galleries hosted opening receptions over drinks. For the most part, the space was a kind of laboratory for a group of artists, curators, and critics with a shared interest in the computer and digital culture—the "Orphans." It was here, sometime in February 2002, that a plot to cybersquat the Whitney Biennial began to take shape. Or at least this is how Manetas, the project’s architect, remembers it.
"Orphans" at the ElectronicOrphanage, Chinatown, LA (2001-2004). Source.
According to Manetas, the idea transpired from his exchange with art critic and fellow Orphan, Peter Lunenfeld. Less than a month away, the Whitney's 2002 Biennial was the focal point of their conversation, in particular the museum's heightened curatorial interest in emerging internet art forms. This seemingly ordinary chat eventually segued into an ambitious plan: to stage a net art show as an online foil to the 2002 Whitney Biennial. In time, the project developed into a full-on counter-exhibition, which would be hosted on the website whitneybiennial.com and installed IRL as a physical intervention, where a fleet of twenty-three U-Haul trucks, projecting artworks from the website, would blockade the Whitney Museum during the private opening reception of the Biennial.