Preface<br >Exhibitions are absoLuteLy necessary for understanding art. The way in<br >which we talk about art and perceive it is determined by exhibitions.<br >ConsequentLy， exhibitions are the primary means of communication for<br >contemporary art. They are its body and voice. Exhibitions have become<br >an important part of the cuLture industry， which is again based on the<br >"consciousness industry" created by the entertainment and news<br >industries. In the 1990s art is in a major transition as various new media<br >experiences have entered our Lives; the emergence of communication<br >networks as artists instruments has provided the visuaL arts with an<br >opportunity to associate with digitaL or eLectronic copying technologies.<br > GaLLery Otso has organised exhibitions on interactive media art since<br >1991. Over the years we have had the opportunity to present several<br >remarkabLe， internationaLLy acknowLedged media artists. Jeffrey Shaw，<br >Lynn Hershman， Toshio Iwai， BiLL Seaman， Ken FeingoLd， JiLL Scott， Simon<br >Penny， Eduardo Kac， Christa Sommerer/Laurent Mignonneau， Agnes<br >Hegedus， PauL Sermon， and David Rokeby have by their works given the<br >audience of Otso an opportunity to share the joy of discovery and recogni-<br >tion. The exhibition of Perry Hoberman， an American media and<br >performance artist， in GaLLery Otso continues this tradition of exhibitions<br >through which we aim at providing the Finnish art audience an opportunity<br >to acquaint themseLves with visual arts generated by electronic culture.<br > Perry Hoberman s exhibition introduces a new aspect to what we have<br >aLready seen. The idea of shared creativity is one of the most important<br >aspects in Hoberman s art: humour and play are combined in these<br >extravagant everyday object instaLLations. Hoberman produces works<br >which have to do with Life. The resuLt is an unhierarchicat order and<br >disorder， where banaL sounds， visions， and mass-produced functions<br >interact and become one. What emerges is an "audiovisuaL cocktaiL". Our<br >subjective experience guarantees that some toLerabLe baLance remains.<br >The irony is never vicious or cynicaL， resuLting rather from the way the<br >artist works: defamitiarised， yet so close to home in the spirit of Neo-<br >dada， Ftuxus， and popuLar culture. Hoberman is cLearLy a dreamer and a<br >pragmatist. At best， he is a poet.<br >