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  • Cornell, Lauren and Massimiliano Gioni and Massimiliano Hoptman, ed. Younger Than Jesus: Artist Directory. London: New Museum and Phaidon Press, 2009.
  • In der Kunst des 20. Jahrhunderts wurde die Kategorie des Schönen einem radikalen Wandel unterworfen. Das vertraute klassische Schönheitsideal, insbesondere der ideale schöne athletische Körper in der Nachfolge der Antike, wurden vom Diskurs der
  • Malani's work is influenced by her experiences as a refugee of the Partition of India. She places inherited iconographies and cherished cultural stereotypes under pressure. Her point of view is unwaveringly urban and internationalist, and unsparing
  • Massimiliano, Gioni and Gary Carrion-Murayari, ed. Ghosts in the Machine. Exhibition Catalogue. New York: New Museum, 2012.
  • Canevacci, Massimo. Hybridentities / Hybridentitäten In Hybrid. Living in Paradox, edited by Gerfried Stocker and Christine SchöpfOstfildern-Ruit: Hatje Cantz, 2005.
  • No Thing
    A monumental sculpture proposed for the Schouwburgplein in Rotterdam and constituted by massive letters forming the words NO THING.
  • Beyond Hierarchy -
    Upon entering the former Verwaltungshalle in the administration center of the Zeche Zollern II, a historical sweep through the lives of six workers from the Ruhr region can be experienced. Embedded inside the architectural frieze of the high atrium
  • Solve et Coagula is primarily an attempt to give birth to a new life form: half digital, half organic. Through a multisensorial, full duplex sensory interface the installation networks the human with an emotional, sensing and artificially
  • Can you see me now? -
    Can You See Me Now?draws upon the near ubiquity of handheld electronic devices in many developed countries. Blast Theory are fascinated by the penetration of the mobile phone into the hands of poorer users, rural users, teenagers and other
  • Image Fulgurator -
    The Image Fulgurator is a device for physically manipulating photographs. It intervenes when a photo is being taken, without the photographer being able to detect anything. The manipulation is only visible on the photo afterwards. In principle,