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  • The Medusa Project
    THE MEDUSA PROJECT (AUTOBIOGRAPHY) refers to the relationship between women and power as depicted in both ancient mythology, and in postmodern culture. It represents my attempt to directly merge personal history and influences into the production of
  • Plasm: Not a Crime -
    "Plasm: not a crime" is the artistic statement of Peter Broadwell and Rob Myers that sharing secrets is not a crime. It used to be that most interactions between people took place face to face. If you had a desire to keep something confidential,
  • off-sense 2006 -
    The physical space of the gallery becomes entangled with the navigable space of the virtual environment in “Off-sense”. This sprawling installation of computer hardware provides access to a virtual world, where avatars float, roam and communicate
  • "La Provence au Pernambouc" -
    En 2005, Aix-en-Provence a accueilli l'année du Brésil, où s'est développé de juin à novembre le projet "Pernambuco! art contemporain - culture populaire ". Les expositions et divers événements ont permis de porter un regard sur cet État du Nordeste
  • Isabelle Jenniches
    Isabelle Jenniches (1971) received her Master's degree in Theater and Film Design from the Academy of Applied Art in Vienna, Austria, and a postgraduate degree in Digital Media and Fine Arts from Media-GN in Groningen, the Netherlands. After her
  • Cáceres Abierto 2017 -
    Cáceres Abierto is a contemporary art and culture programme that integrates interventions in the public spaces, exhibitions, panels and workshops. A set of proposals that are symbolic as well as practical, respectful of the community and the
  • Feedback -
    Janet Cardiff's “Feedback” (2004) is an interactive sound piece that plays a Jimi Hendrix rendition of “The Star Spangled Banner” when the visitor steps on a wah-wah pedal. “Feedback” is a gift in honor of Rifkin by Tom and Kitty Stoner and
  • Benjamin Britton
    Originally working in the field of literature, Benjamin Britton moved into video and computers in the early 80's, creating videotapes and installations, videodiscs, and now is working with interactive digital media as an artform. His principle
  • Catherine Mason
    My particular expertise in the history of computer and digital art began in 2002 when I joined an AHRC-funded research group at Birkbeck College, University of London – The CACHe Project (Computer Arts, Contexts, Histories, etc), which investigated
  • Christina McPhee
    Christina McPhee’s images move within a matrix of abstraction, shadowing figures and contingent effects. Her work emulates potential forms of life, in various systems and territories, and in real and imagined ecologies. Her dynamic, performative,
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