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SMART PANTHEON
2016
All kinds of people are using their smartphones. The displays don’t show any apps – only the sensual movements of the hands. Each pair of hands plays both roles from Michelangelo’s “Creation of Adam” at the Sistine Chapel: God the father and Adam,
Revelation of Eve Clone IV
2014
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2014
In 2014, I was invited to exhibit Revelation of Eve Clone IV in “Raising the Temperature” at the Queens Museum of Arts, New York. The work presented Eve Clone being submerged by seawater in a ruin. The water was dyed red, like blood from the dead.
PEY-CHWEN_INTERVIEW_160822.pdf
ADA Artist Interview with Lin Pey ChwenArchive of Digital ArtText & Interview by Alejandro Quiñoneshttps://www.digitalartarchive.at/features/featured-artists/featured-artist-lin-pey-chwenWhat are your current projects?I will continue working
Featured Artist Lin Pey-Chwen
09/2022
Lin Pey Chwen’s oeuvre extends from sculpture to interactive digital installations. Over the course of more than twenty years, her work encompasses a unique approach to media art and technology exploring a critical understanding of contemporary
Heiligenaltar (Altar for Saints)
1998
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1998
Diplomausstellung
Out of the dump
2011
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2011
communiqué Centre des Arts Pour ce dernier volet de la saison, le centre des arts invite l’esprit prolifique de Maurice Benayoun à investir ses espaces ainsi que ceux de la Médiathèque George Sand d’Enghien-les-Bains autour de deux propositions
Magdalena München Saison 2018
2018
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2018
Event: Magdalena München Saison 2018Institution: Magdalena MünchenComment:
Mary Finn-Saisselin
Artist: Mary Finn-SaisselinComment:
The pavillion of post-contempary curating: +MUPCA
2009
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2009
Museum of Post-Contemporary Art (MuPCA) in The Dump Paris est une ville qui semble croire à un déterminisme calendaire qui affecterait l’histoire de l’art et plus encore l’architecture de sa conservation. Orsay: un musée du XIXe siècle, le Centre
Architecture scénographies interactives
2000
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2000
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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