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Stage performance with three dancers and sixty plastic boxes as scenographic objects, video mapping surfaces, and sound and light sources. Analogy between geopolitics and children's games. Internet found-footage combining images of Syrian refugee

... confrontations. What is more, as we...

Video installation – diptych: Upper part: video projection: Bodyfraction 2020 (Uršula Berlot & Sunčana Kuljiš), Hyperoptics 2021 (Uršula Berlot); sound: Scanner – Robin Rimbaud Lower part: light image-object: laser-cut and digital print on

Adsum is a cubic glass sculpture inside of which letters are laser engraved. The letters are positioned one in front of the other, thus forming a spatial poem inside the solid glass cube that can be read in any direction. 'Adsum' means “I am here”

Eduardo Kac has created an artwork aboard the International Space Station (ISS); French astronaut Thomas Pesquet realized it on Saturday, February 18th, 2017. Kac's work, entitled Inner Telescope, was specifically conceived for zero gravity and was

"An Osmobox is a work of olfactory art that responds to the presence of the viewer by opening itself and gently releasing an aroma. All Osmoboxes are visually identical but completely distinct in their olfactory identity. This means that the viewer

To enhance his performances, presented between 1980 and 1982 in Rio de Janeiro and in other Brazilian states, Kac started to produce visual texts, small sculptures, graffiti, and other kinds of images and objects. After the conclusion in 1982 of his

NFT Buudha is a commentary on the NFT-based art trend of the early 2020's. Drawing on Nam June Paik's "Video Buddha" and the author's "Suburban Meditation" (2003-08), the piece is an intersection of Paik's meditation on media and the author's

FROM THE BACK COVER "These previously unissued recordings from the Porn Art Movement (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of my yellpoems

The book describes my personal observations during the workshop Ingrutatti Palermo as part of ‹Manifesta 12› in July 2018. In the course of these 10 days, I was part of a group of artists and architects from around the world. Sara Kamalvand’s