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  • Heiligenaltar (Altar for Saints) -
    Diplomausstellung
  • Press/Enter: Between Seduction and Disbelief
    Power Plant Contemporary Art Gallery, ed. Press/Enter: Between Seduction and Disbelief. Toronto, CAN: Premier Book Marketing, 1995.
  • Virtual Realism
    Heim, Michael. Virtual Realism. Oxford: Oxford University Press, 1998.
  • Strategies of Intertainment
    Ranzenbacher, Heimo. Strategies of Intertainment In Ars Electronica 2001: TAKEOVER - Who´s Doing the Art of Tomorrow? / Wer macht die Kunst von morgen?, edited by Gerfried Stocker and Christine SchöpfNew York, Wien: Springer Verlag, 2001.
  • Just Use It ! -
    2007 Nordjyllands Kunstmuseum (June 14 – August 26) “Just Use It !” with works by Yoko Ono, Feliz Gonzales-Torres, Christa Sommerer & Laurent Mignonneau, Rirkrit Tiravanija, Jeppe Hein, Marco Evaristti, Dieter Buchhart curated by Anna-Karina
  • Metaphors of Participation / Metaphern der Partizipation - Interview with / mit Rafael Lozano-Hemmer
    Lozano-Hemmer, Rafael and Heimo Ranzenbacher. Metaphors of Participation / Metaphern der Partizipation - Interview with / mit Rafael Lozano-Hemmer In Ars Electronica 2001: TAKEOVER - Who´s Doing the Art of Tomorrow? / Wer macht die Kunst von
  • Metaphors of participation / Metaphern der Partizipation
    Ranzenbacher, Heimo. Metaphors of participation / Metaphern der Partizipation In Ars Electronica 2001: TAKEOVER - Who´s Doing the Art of Tomorrow? / Wer macht die Kunst von morgen?, edited by Gerfried Stocker and Christine SchöpfWien, New York:
  • European Media Art Festival 2007: 20 Years of Being Confused
    To mark its 20th anniversary, the congress part of EMAF called "D-Fluxx" presented not only a kind of inventory entitled "Media Art History", but also a definition of the current position of Media Art. The film programme focused on the Cuban
  • Northwestern University, Boston
  • Architecture scénographies interactives -
    Dans les projets de conception d’exposition, je m’efforce de considérer la scénographie comme une composante significative du message véhiculé par le projet muséographique. Nous sommes en effet passés d’une époque où le muséographe avait
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