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Video Installation. A series of perfomances 'An attempt to return back to native element'. The installation consists seven screens with loop playing seven movies. It is based on a series of performances 'An attempt to return back to native element'

Inertia, 2010-11 | Music Henry Vega | Dance Géraldine Fournier | [Materials] Projectors, Computers, Media Player. Dimensions: 5m x 5m x 2.0m Utilizing the cut-up technique, a methodology commonly associated with the aleatory literary technique in

Swarming Lounge 2.0 is a mixed-reality performance and installation where visitors come to meet four live performers and nine augmented-reality characters displayed on smartphones. All characters, both real and virtual, are embedded in the

De laatste arbeiderArtist: Andreas Maria JacobsComment:

Animated film poem created with a constellation of common wayside flowers, gathered during walks on land reclaimed from the sea along the shore of the Laira estuary, on the coast of SW Britain, an endangered habitat now threatened by coastal erosion

Anamorph-Lattice, 6 black-white family snapshots repeated 30 times are organized by the Voronoi mathematical model so that the images disrupt the frontal perspective viewing, creating altered perspectives reminiscent of 16th and 17th century

The original programming language "GRASS" (GRAphics Symbiosis System) was developed by Thomas DeFanti for his Ph.D. dissertation at The Ohio State University in 1974. For further information, see Wayne Carlson, Historical Significance In 1969, the

In the video "Solid Landscapes", the artist “spells out” the never-ending growth of usable and productive (anti-)landscapes by reproducing and multiplying evidence of a dramatic change that is occurring in an incremental manner around the world. It

Imaginary Workspaces is a series inspired by dystopian science fiction narratives as written by Stanislaw Lem and Philip K. Dick that imagine fictional industrial workspaces. This collection of invented images oscillate between retro futuristic

“On the Road”, consists of twelve lenticular panels that explore the cinematic narrative potential of the photographic image in non-electronic form. The exhibition’s title “On The Road” makes reference to the defining work of the Beat Generation’s