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Transit
2002
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2002
Event: TransitInstitution: University of Essex GalleryComment:
Department of Art History and Theory, Colchester/Essex
Visions of Hildegard, C
2000
en los últimos años. Twenty-six Visions of Hildegarde. 30" by 22", 2000. Algorithmic pen and ink drawing on paper with 4 gold leafed medallions. (Original algorithmic procedures date from the early 1990's.) Los dibujos de la familia
Little Sister
2000
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2000
"Little Sister" combines the potential suspense of live web cam images with closed circuit television and global surveillance camera sequences, based on over twenty online links to webcams worldwide, observing private and public locations. They
Stanze
1997
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1997
"Stanze" is composed by a video-camera and a back-projected screen located in a void room. The camera is located at the top center of the screen. The observer has freedom to move around the room and several observers can interact with the artwork.
Schahram Poursoudmand
Schahram Poursoudmand Music & Sound Artist I Composer I Visual Imagist I Poet Schahram Poursoudmand is a German experimental, avant-garde composer, music & sound artist, visual imagist and poet. He creates extraordinary music, sound and visual art.
transmediale.09: deep north
2009
Looking beyond the alarmist scenarios of environmental, social and economic catastrophes to be expected in the wake of global warming, the essential question isn't that of how to avoid these processes, but to examine the need for a fundamental shift
In-Viscera
1995
video
The installation proposes some poetic moments inside body landscapes using images of a scrutinezed body by technological medical devices. An internal camera circuit travel generates videolaparoscopies of viscera, coming from a surgery, that are
Douce France
2007
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2008
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
VideoFilmFest '88
1988
Since 1973, video contributions have taken an essential part in the International Forum of New Cinema at the International Film Festival. 1988, the MedienOperative showed its own programme under the name VideoFilmFest – usually it has only been the
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