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  • Kim Asendorf is a conceptual artist and works in a large area of media and digital related art. He loves to transport things from the Internet into real life and back. Kim did several net art projects, often based on data taken from the Internet or
  • it feels like home -
    “It feels like home” is an online intervention that uses the synthetic space of the browser as a stage to unfold an interactive, performative and generative virtual experience. Experimenting with the notion of time during a pandemic and isolation,
  • Inspired by Pier-Paolo Passolini's 1969 film Theorema and by a dream Courchesne's daughter had when she was 10 years old. In the installation, visitors are planted somewhere in the Japanese countryside. From there they will try to make a
  • Thor, Rainer. Resümee eines Kunst-Werkes Kronen Zeitung (June 21st 1994).
  • The computer allows us to simulate reality. Although the simulation itself is not real it inherits a certain power to become real. Today, it is increasingly normal to transfer simulated reality into physical reality. With the help of computers the
  • n an information-based age, the ability to search and organize information amounts to power. Search engines shape knowledge, modulate web traffic, and contribute to the creation of new semantics and meanings. Currently, Google's influence is
  • How can we see that the lively dancer on stage is on her way to be resurrected from the death? Thermography was the ideal medium for the production of Orpheus and Eurydike
  • Beyond -
    In a playful spirit of philosophical inquiry, Beyond explores the paradoxes of technology, desire and the paranormal posed since the birth of mechanical reproduction: the phonograph severing the voice from the body, photography capturing the soul
  • Huhtamo, Erkki. Resurrecting the Technological Past: An Introduction to the Archeology of Media Art In Art and Electronic Media, edited by Edward A. Shanken, 199-201. London: Phaidon, 2009.
  • McCleave, Leslie. Film Medium: Zoe Beloff´s Uncanny Resurrections Res Magazine 5, no. 3 (2002).