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“Synthetic images as an answer to Auschwitz” (“We Shall Survive in the Memory of Others”)1 asserted Vilém Flusser (1920–1991) forcefully in an interview shortly before his death. Only by passing through radical abstraction could a new

We come across irony all the time in everyday communication: in photos, caricatures, texts and conversations. Witty, critical or ironic comments are transformed into questioning works and words using the devices of under- and over-exaggeration,

Event: Open Space 2009Institution: ICC (Intercommunication Center)Comment:

Event: Symposium “art_bit_culture”Institution: ICC (Intercommunication Center)Comment:

Event: Deep Screen - Art in Digital Culture Proposal for Municipal Art Acquisitions 2008Institution: Stedelijk MuseumComment:

http://rosa-menkman.blogspot.co.at/2012_02_01_archive.html

Event: 101010ZZZ - A NET.ART EXHIBITION (solo)Institution: VideotageComment:

Event: JODI: Street DigitalInstitution: Museum of Moving ImageComment:

Event: Conversations at the Edge (CATE)Institution: the School of the Art Institute of Chicago (SAIC)Comment:

“Ins Universum der technischen Bilder” or “Lob der Oberflächlichkeit“ – with such programmatic titles Vilém Flusser (1920–1991) advanced to become one of the most influential thinkers to deal with communication and media in the 20th century. Flusser