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“Synthetic images as an answer to Auschwitz” (“We Shall Survive in the Memory of Others”)1 asserted Vilém Flusser (1920–1991) forcefully in an interview shortly before his death. Only by passing through radical abstraction could a new

We come across irony all the time in everyday communication: in photos, caricatures, texts and conversations. Witty, critical or ironic comments are transformed into questioning works and words using the devices of under- and over-exaggeration,

Event: Wand 5 e.V.: Filmwinter 97. StuttgartInstitution: Wand 5 e.V.: Filmwinter 97. StuttgartComment:

Event: 13th Videobrasil. Electronic Art Biennial, Sao Paulo, BrasilInstitution: Videobrasil Electronic Art BiennialComment:

Event: Techno FictionInstitution: Mirage FestivalComment:

Event: E-fest 2015Institution: E-Fest - digital art festivalComment:

Performance by JODI. Short presentations and panel discussion with Annet Dekker, Gabriella Giannachi, and Vivian van Saaze - See more at: http://www.stedelijk.nl/en/calendar/forum/79432#sthash.s37LWTwy.dpuf

Event: net_conditionInstitution: ZKMComment:

“Ins Universum der technischen Bilder” or “Lob der Oberflächlichkeit“ – with such programmatic titles Vilém Flusser (1920–1991) advanced to become one of the most influential thinkers to deal with communication and media in the 20th century. Flusser

The goal was to save video material threatened with disappearance and to rescue forgotten material. The project succeeded in retrieving a large number of videos from the 1960s and 1970s, believed lost, from artists, estates, and museum storerooms;