Archive Search

  • TGarden is a responsive media environment in which small groups of participants from the general public influenced and played with real-time-generated sound and image through improvised movement and gesture. Visitors to the environment —which
  • Vacuum formed plexi-glass, light projection Series (6): Tooth, Eyelash, Skin, Hair, Tooth v.2, Nail Dim: 80 x 90 cm (each) This series of relief light-sensitive works was conceived on the basis of computer-modified microscopic images of particles of
  • CrypoMania -
    The exhibition’s title, Cryptomania, is a composite of the word Crypto, a technological trend that expresses the encryption of private information as a reaction to the digital world that offers no privacy, and the word Mania, which expresses the
  • Solid Landscapes -
    In the video "Solid Landscapes", the artist “spells out” the never-ending growth of usable and productive (anti-)landscapes by reproducing and multiplying evidence of a dramatic change that is occurring in an incremental manner around the world. It
  • Cadence (2022) by Kayla Parker is an animated film poem created with a constellation of common wayside flowers, gathered during walks on land reclaimed from the sea along the shore of the Laira estuary, on the coast of SW Britain.
  • Beloff, Zoe. La vie revée de la technologie Trafic, revue de cinéma 30 (Summer 1999): 84-91.
  • Couchot, Edmond. La Technologie dans l´art. De la photographie á la realite virtuelle. Paris: Editions Jacqueline Chambon, 1998.
  • Ascott, Roy. The Shamantic Web: art et technologie de la conscience In Pour une Ecologie des Media: Art, Cinéma, Vidéo, Ordinateur, edited by M. Klonaris and K. Thomadaki, 88-104. Paris: Astarti, 1998.
  • Banz & Bowinkel, Ivana Bašić, Paul Chan, Frauke Dannert, Harun Farocki, Olga Fedorova, Johann Kniep, Marc Lee, Manuel Roßner, Gerriet K. Sharma, Jakob Kudsk Steensen, Addie Wagenknecht In autumn 2018, the Künstlerhaus, Halle für Kunst & Medien will