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Installation view at The Eleventh Bienal de la Habana, Havana, Cuba, 2012. "Last Breath" is a robotic installation that stores and circulates the breath of a person forever, between a bellows and a brown paper bag. The apparatus is automatically

Combining public art with mobile technology, Mexican-Canadian artist Rafael Lozano-Hemmer presented the world premiere of "Open Air," Sept. 20 - Oct. 14, 2012. Commissioned by the Association for Public Art, "Open Air" is a spectacular interactive

"Flatsun," 2011 Custom-made LED screen, computerized surveillance tracking system, fluid dynamic algorithms (Navier Stokes, fractal flames, reaction diffusion and Perlin noise), aluminium, stainless steel, glass 55.12" / 140 cm diameter 6.3" / 6

Jerusalem 10 - 16 June 2009 Overview of Jerusalem Archaeological Park during the Festival of Light The golden dome on the left is Al Aqsa mosque. The other sides of the park in view are bounded by the walls of the old city. Abstract Cosmology

"Seismoscope 2: Abu Hamid Muhammad ibn Muhammad al-Ghazali", 2009 Persian (1058-1111), author of "The Incoherence of Philosophers" 16.1" x 17.7" x 6.7" / 41 x 45 x 17 cm, XY Plotter 45.2" x 16.1" x 17.7" / 115 x 41 x 45 cm podium 11" x 17" / 28

"Solar Equation," 2010 Aerostat, 5 HD projectors, 7 computers, custom software 14m / 48' balloon "Solar Equation" is a large-scale public art installation that consists of a faithful simulation of the Sun, 100 million times smaller than the real

The digital animation "Conquistadors" examines the tensions and conflicts that define the Russian territory in the age of privatization. The artist reflects on current modes of domination, both foreign and domestic, on the Russian territory, and

For me, as an artist working with software CONSPIRE is first about encoding. As an ex-soviet, I perceive CONSPIRE in the same time like a dissident’s practice (an other way of encoding!) and like a monitoring following by manipulation – all kind of

Douce France is in situ project for Abbey de Maubuisson.The Abbey appears to Olga Kisseleva as a paradigm of this “Douce France” she had dreamed in Russia. But her work is ironical, it draws up an image of a globalized world, dominated by capital

Three screens are linked to three body-building machines that visitors are invited to use. Doing so activates images of demonstrators projected onto the screens but blurred by the random appearance and disappearance of big brand logos. The whole