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Deux pièces datant du début des années 1980, parmi les toutes premières œuvres de Maurice Benayoun, s’articulent autour de la thématique historique du Carré blanc fond blanc de Kazimir Malevitch. L’artiste n’a alors pas encore exploité le

1985, La dernière biennale de Paris. Personne ne le savait à l’époque. En pleine montée du post-modernisme je m’interroge sur le sens de la pratique artistique au milieu des années 80. 8 artistes contemporains seront «mis en situation», sommés de

A l’image du « Corridoscope » de Buren, où alternent des bandes noires et blanches, le montage exploite une succession régulière de plans très courts. 935 mètres de bande adopte un tempo saccadé qui suit à la lettre celui de la bande son,texte et

Dark Matter: The darkened gallery space is dominated by an invisible sculpture of silent sound. Your body probes the space listening for the sculpture's spatial form to be expressed though the sounds of your contact with its immaterial presence.

The second in the series, "Plot Against Time #2 (flurry)", tracks individual snowflakes whirling in the complex turbulence created by the rigorous and minimal forms of Mies van der Rohe's Toronto Dominion Centre skyscrapers and the Al McWilliams

UNMAKEABLELOVE is a revioning of Beckett’s initial investigation that focuses and makes interactively tangible, a state of confrontation and interpolation between our selves and another society that is operating in a severe state of physical and

“Surface Tension” is a collaborative interdisciplinary work for disklavier piano and interactive video created by pianist Eve Egoyan and artist David Rokeby. It was commissioned by the Open Ears Festival with a grant from the Canada Council. It was

Power Struggle is a live battle between four anti- viruses commented by an actor using the tone of a live football game report, a family altercation or a political confrontation. Each one tries to destroy the other three, eradicating everything in

Repsat uses the latest 3D printing technology and it´s conversion from digital files to printed format. Through this conversion we obtain three dimensional models in low relief called litophanies. This litophanies when are retroiluminated works as a

FramedMemoryCard responds to an open serie of unique sculptures that becomes a receipt of digital information where the artist “bury” several files under the sculpture structure. It is defined us an information package hard protected with material