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Featured Artwork "I’m sorry I made you feel that way" by Martina Menegon (2023) 06/2024

I'm sorry I made you feel that way (2023) by Martina Menegon is an interactive experience and performative self-portrait exploring new possibilities for empathy and care for our hybrid selves.
Fragments for Georges Méliès, Black Box / Chambre Noir 2007 - 2007

Event: Fragments for Georges Méliès, Black Box / Chambre NoirInstitution: Moderna MuseetComment:
The Magic Flute 2007 - 2007

... meaning of the drama, illustrating the two...
William Kentridge: Black Box / Chambre Noire 2005 - 2006

Black Box / Chambre Noire konzipierte William Kentridge speziell für die Reihe der Auftragsarbeiten des Deutsche Guggenheim und wählte daher inhaltlich bewusst Deutschland, das Land des Auftraggebers, als Ausgangspunkt der Arbeit. Kentridge, der
Annabel Castro

Artist/academic. She studied an MsC in information technology applied to arts at Chalmers University of Technology and a PhD in Digital arts and experimental media at University of Washington. She has published articles in journals such as Artnodes,
Featured Artwork "Outside in: Exile at home" by Annabel Castro (2018 – 2021) 09/2024

"Outside-in: exile at home" (2018 - 2021) is an installation by digital artist Annabel Castro. In the installation, using a machine learning algorithm, four classic fiction films are continuously torn apart inside a screening room.
Critical Interventions into Canonical Spaces: Augmented Reality at the 2011 Venice and Istanbul Biennials 2014

Thiel, Tamiko. Critical Interventions into Canonical Spaces: Augmented Reality at the 2011 Venice and Istanbul Biennials In Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium, edited by Vladimir Geroimenko, 31-60. Cham:
TROC / TRAC 2003 - 2003

Event: TROC / TRACInstitution: LA CHAMBRE BLANCHE CENTER OF CONTEMPORARY ARTComment:
Tell Me the Truth 1989 - 1990

... at a hotel in Manama, Bahrain in 1979. This...
Architecture scénographies interactives 2000 - 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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