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In a world in which everything is accelerating, taking time out to reconsider one's daily habits, reclaim one's own choice of rhythm, and be aware of our limits, seems ever more vital. With Tweet Time, which was produced in collaboration with

This film shows a monochrome landscape beneath a strip of sky. At first barely perceptible, a subtle movement is noted throughout the peaked contours of the waves—an organic contraction and expansion of a mountain-like skin. It is with the congealed

3 Seconds in the Memory of the Internet explores the notion of privacy and memory on the Internet. Three arbitrary seconds were selected from three different decades in the Internet's development: one from the 1980s , one from the 1990s and one

… is a series of works comprised of what Kac calls "biotopes", that is, living pieces that change during the exhibition in response to internal metabolism and environmental conditions. Each of Kac's biotopes is literally a self-sustaining ecology

This sound installation explores the rapid dissemination of media, highlighting the diminishing boundaries of secrecy and privacy. Through immersive participation, visitors witness how whispered words swiftly propagate, their echoes enveloping the

The installation to see the invisible. An installation for a one-man exhibition at Hiroshima City Museum of Contemporary Art,Japan. "Seeing is Believing" consists of three works. "Empty Entity" infrared ray electric light display, "Sheep"

In her VR piece, The Parallel Dimension, Teresa Wennberg based her work concept on a realistic form language combined with highly sophisticated texture maps. There is a clear relation to her earlier works in 2- and 3-dimensional computer animation

For me, as an artist working with software CONSPIRE is first about encoding. As an ex-soviet, I perceive CONSPIRE in the same time like a dissident’s practice (an other way of encoding!) and like a monitoring following by manipulation – all kind of

For her new series “Hyper Reality” Olga Kisseleva has photographed food items stolen by consumers in a supermarket and reconstructed them as still lives. Each photo allows one to paint a portrait. Olga Kisseleva’s historical references are situated