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Reconfiguring the System: RTMark & Agricola de Cologne
2006
Thompson, Seth. Reconfiguring the System: RTMark & Agricola de Cologne 03.09.2006.
The Music of Things
2023
Triana, Alba. The Music of Things. 1 th ed.Bogota, Colombia: Museum of Modern Art of Bogota — MAMBO, 2023.
Siegfried Zielinski: Genealogías, visión, escucha y comunicación
2007
Andres Burbano, ed. Siegfried Zielinski: Genealogías, visión, escucha y comunicación. 1st th ed.Bogotá, Colombia: Universidad de Los Andes : Goethe Institut Bogotá, 2007.
Appearences can be deceiving. The portal of weight and embodied meaning portrayal in product design
2014
Francien Verdenius and Jorge Maya and Geke Ludden and Pieter Desmet and Andrés Burbano and Vanessa Okken and Juan Salamanca and Ad Pruyn. Appearences can be deceiving. The portal of weight and embodied meaning portrayal in product design.
The 1st International Forum for Creative Mobilities
2017
Event: The 1st International Forum for Creative MobilitiesInstitution: France-Colombia 2017Comment:
2016 “404 International Festival of Art and Technology”, C++ Gallery, Bogota, Colombia
2016
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2016
2016 “404 International Festival of Art and Technology”, C++ Gallery, Bogota, Colombia
Rambona
1992
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1994
In "Rambona" the artist transposes the subject of "woman as object of desire" (cover girl) into an image of power. Rambo becomes Rambona. Says the artist, "Duga, a popular magazine in Serbia, came out with a cover girl dressed in a combat suit. The
Alejandro Quiñones
Born in 1996 in Bogotá, Colombia. Currently studying Interface cultures master at the University of Art and Design Linz, Austria. He holds a bachelor’s degree in fine arts at the National University in Bogotá, Colombia. His work includes interface
Flickering Signifiers
1998
Flickering Signifiers is an ambient light installation concerned with the rhythmic nature of television light and how it is used to seduce and compel the viewer into a kind of hypnotic and passive inaction-while watching. Detection of movement has
Watchers
1996
"Watchers" are ambient light sculptures concerned with the rhythmic nature of television light and how it is used to seduce and compel the viewer into a kind of hypnotic and passive inaction. Detection of movement has been at the core of our
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