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  • Currently the Director of Dundee Contemporary Arts, Scotland’s largest contemporary arts and media centre, I lead a large staff team and a critically acclaimed programme of contemporary art, cinema, research and production & education activity.
  • In Sound Mind -
    Human brains can subtract unwanted sense data – including sound – from the environment when we focus attention. The rest of the information is still being processed; it’s just attenuated, pushed to the background. In Sound Mind explores this
  • As the work “Unformed Symbols” (2006), the work “Unformed Symbols: Another Side” (2008) recreates a card game, but this time as if it were seen from the reverse side, with only the plain backs of cards visible. Real cards and projected images of
  • Dejan Grba's research in new media art combines mutually inspired artistic and theoretical work. In art projects, he explores the creative, technical and relational aspects of generative systems by defining new ways to interrelate the material and
  • Srečo Dragan is an artist known for his pioneering work in video art. He collaborated with Ana Nuša Dragan from 1967 to 1988, creating the first video in Yugoslavia, "The White Milk of White Breasts," in 1969. They were also active members of the
  • This high-tech treatment of Shakespeare's masterpiece played June 29 - July 1, 2000 in the Lumley Studio Theatre at the University of Kent at Canterbury. The Y2K production of A Midsummer Night's Dream marks a collaboration between
  • PLANCTON was founded in the 1994 by a group of three artists (Annunziato, Pierucci and Gemma de Julio) and started the activities with a series of artworks and experiments on expressive languages based on the fusion of different media (video, music,
  • Franc Solina is an artist and computer scientist. He has been teaching at the Faculty of Computer and Information Science since 1988 and has been involved in the Video and New Media program at the Academy of Fine Arts and Design since 2011. In 1991,
  • Imaginary Workspaces is a series inspired by dystopian science fiction narratives as written by Stanislaw Lem and Philip K. Dick that imagine fictional industrial workspaces. This collection of invented images oscillate between retro futuristic
  • ncisively political and profoundly poetic, William Kentridge's protean artistic investigation continues in his beautiful series of tapestries begun in 2001. The tapestries stem from a series of drawings in which he conjured shadowy figures from