 I'm Michelle Cotton. I'm the head of artistic programmes and content at Moodam and the curator of post-capital art and the economics of the digital age. The exhibition takes its title from a book that was published in the 90s called Post-Capitalist Society. I was interested in the way that this book, even though it doesn't even mention the internet, talks about the notion of knowledge superseding the ownership of labour, land or property and this being in the future the way that economies would be defined. The artworks in the exhibition really reflect a society that's transformed by recent technologies such as the internet, e-commerce, social media and so on. So they consider the phenomena of, for instance, contemporary labour conditions, alternative warehouses, logistic centres, the gig economy, the emergence of industries such as data mining, the idea of an attention economy where our engagement, our likes, our shares can be monetised and the notion of property in the 21st century and how this extends to our data, our personal data and how this interacts with our legal and political systems. In terms of the number of artists presented in the range of media, this is the largest exhibition that we've presented here at Moodam since I've been here. So technically, logistically, it's a complex project to pull off and we also had some very large works, but not least Noratorato's piece installed here in the galleries, made here in the galleries, but also Roger Hyon's piece which uses a MiG-21 aircraft for that piece, we brought the aircraft here into the museum. This is a new work that we commissioned especially for the exhibition called Exactly My Points. It's a mural, so it's a painting made directly on the wall. It took a team of people over 10 days to make it here in the museum and after the exhibition it will be destroyed or disappear, but of course conceptually it will still exist as a possibility that can be created elsewhere. Nora's practice is kind of threefold, if you like. She works with text, she works with language. She's, if you like, a beat poet for the smartphone generation in the sense that she's taking language from all different contexts, from the media, from her own private correspondence, from television and so on, advertising and cutting and pasting together these huge epic scripts that then become the material for her work. These sculptures belong to a series by an artist called Katja Novitskova who has been working for some years upon the notion of attention economies. So she uses purposefully attractive, intriguing, extraordinary images of natural animals and she pairs them with these upward pointing arrows, a kind of crude graphic that we might associate with financial graphics, stock market exchange and so on. And the graphic kind of mimics our reaction perhaps as we encounter their works because they're made, they're so Instagram-able if you like, they're made for us to, they invite us to pull out our smartphones and engage with them by taking a picture and sharing it online.