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XIII Bienal de La Habana- La construcción de lo posible 2019 - 2019

Exhibit title: #fuckreality
XIII Bienal de La Habana- La construcción de lo posible #fuckreality 2019 - 2019

Event: XIII Bienal de La Habana- La construcción de lo posible #fuckrealityInstitution: Bienal de la HabanaComment:
Diver 2019

Event: DiverInstitution: XIII Havana Biennale, Ludwig FoundationComment:
Ximena Alarcón

Artist: Ximena AlarcónComment:
Featured Artist Banz&Bowinkel 04/2020

.. "Ideally by using these technologies, art should see through them and unveil this imperative role in our society. When it is aesthetically pleasing, the truth doesn’t hurt so much" ..
homes | Photography and New Media Art (Homes | version 2), ehibition at Lumenvisum Gallery, Hong Kong 2015 - 2015

Tamas Waliczky | Homes Photography and New Media Art The exhibition through the means of photography and new media, presents the living space of the fishing village Tai O, with snapshots produced both with traditional techniques and with virtual
NeORIZON 2008 video

NeORIZON is a urban interactive art installation produced for Horizon Outdoor exhibit during eArts Festival Shanghai, October 18-22 2008 curated by Yan Xiaodong. The city skyline defines the "profile" of the City. It is the visible part of its
Artificial Fishes: Autonomous Locomotion, Perception, Behaviour, and Learning in a Simulated Physical World. 1994

Terzopoullos, Demetri and Xiaoyuan Tu and Radek Grzeszcuk. Artificial Fishes: Autonomous Locomotion, Perception, Behaviour, and Learning in a Simulated Physical World. Artificial Life 1, no. 4 (Summer 1994): 327-351.
LumiTouch: An emotional communication device 2001

Ishii, Hiroshi and Angela Chang and Ben Resner and Brad Koerner and XingChen Wang. LumiTouch: An emotional communication device CHI ’01 Extended Abstracts on Human Factors in Computing Systems (CHI EA ’01). Association for Computing Machinery
The pavillion of post-contempary curating: +MUPCA 2009 - 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

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