Archive Search

For us humans, who are limited in time and space, time is a one-dimensional affair. We can move only along one axis we define in co-ordinates of "past-present-future". (In this definition, "present" is the origin of our co-ordinate system, "past"

In this installation, an interactive format similar to FOURSPACE (1991) has been developed in a different aesthetic direction. The game as a primary modality of interactivity is chosen as the functional context for a strategy of communication

In this interactive installation, three viewers are able to manipulate components of a computer-generated image using multi-axis joysticks positioned in front of a projection screen. The image is a half octagonal cylinder that is divided into three

The urban installation is based on the measuring of infrastructural ( passengers, cars…) and communicational ( electromagnetic fields produced by mobile phones, radio…) flows and their transposition into luminous, sonic and kinetic actions. It

In simple terms Panoramic Acceleration is an interactive experience where the physical body and visual perception is subjected to extreme rotational movement. The participant sits in a racing car seat on a motorized revolving arm and focuses on a

This computer graphic installation is a telematic adaptation of THE FRUIT MACHINE (1991). The work connects remote locations to enable simultaneous imaging and real time interaction to take place between both sites where the work is installed. It

In a public exhibition space (Art Basel Unlimited), von Bismarck spent a week on a paraboloid-shaped cement disc, which rotated around its own axis at a speed of fifteen revolutions per minute. He slept, ate, read, and talked on the telephone while

video 2′ 'The latest research within the artist’s already distinguished paradigm has brought a few novelties. In the field of phisical laws the stress is on experimentig with magnetism and as far as the complex levels of her works of art are

Heaven’s Gate is a video installation that was first shown in the stairwell of Felix Meritis in Amsterdam. In other venues the work usually occupies a specially constructed tall, dark room. The video image is projected high up onto a 3m x 4m screen

Rectilinear Displacement positions the viewer in an extended mechanical linear motion - of up to 40 metres - through an exhibition space. At the same time, the user is visually immersed in a virtual space that is projected on a spherical screen. The