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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

Reburger (3D animation)Artist: Patrick LichtyComment:

I named it Eve Clone as God created Eve, and humans want to play God and created a cloned Eve. I integrate the elements of the human chrysalis and human beast to shape the double identities of Eve Clone, who was both charming and evil. I quoted the

How can Nietzsche’s fear of the Eternal Return made comprehensible, even if it may fallen victim to wrong interpretation? Elke Reinhuber's approach to explicate this problem is a vinyl record of an endlessly reiterating sound, which emphasises the

Visitors inhabit a dome-space where they move, communicate and interplay with performers. An experience of audience participation and multi-user interaction. Home to layers of performance, image, sound, text and interactivity, the dome space

One of the first dance and media performances designed for a fulldome virtual reality environment. An immersive visual and sound environment, paired with epicurean pleasures and the contemplation of a dance performance. Architectural skies and

Spectators enter an intimate space to meet face-to-face with a performer offering her body as an interface to the media environment. Performer's outfit and scenic environment are equipped with touch sensors, theremins, and multiple buttons and

In the video Making of Eve Clone I, I looked back and represented the process of me creating Eve Clone and the evolution of her body in each period. From the original drafting of Eve Clone, which recorded my inspiration of drawings, to using

Two dancers, a visual artist and a sound artist, perform live. Performing bodies as an interface between the spectators and the media environment. By manipulating the sensors, spectators can modify certain parameters of the media environment.

Performers interact with images and sounds and manipulate four mobile projection surfaces, orchestrating a set of changing architectural constructions. Spectators circulate freely like visitors to an installation, accessing multiple points of view