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  • Kitsun -
    KITSUN est un instrument de navigation fondé sur la dynamique des flux sémiques urbains. Dans les champs d’attractions qu’ils génèrent, ces flux informationnels viennent se substituer aux champs magnétiques de la boussole dans la détermination des
  • Mediaflow - video
    MEDIAFLOW :BROWSER AAND INSTALLATION 2006 Thoughts in the flow, that's what the Media Flow Interface stands for. The entire content of an archive, here netzspannung.org, is visible at a glance. Parallel streams of images and words run along the
  • With the use of augmented reality Banz & Bowinkel localize AI - controlled avatars on specifically designed areas within the gallery. The avatars have been developed by Banz & Bowinkel in cooperation with HTW Berlin and act out simulated
  • Seeking the common denominator of all contemporary artworks, in spite of their spectacular diversity, the artist found that it should be the very perfume of the art gallery, freshly repainted, before the exhibition opening. White Cube is first an
  • Blank Chance -
    How do we make decisions? Decisions can be reached applying various methods – intuition or reason. Sometimes, using divination methods or certain tools to find out what might be best supports the process. Whether shaking fortune sticks, reading the
  • Perhaps -
    This is the first poem written specifically for Internet 2. The poem is a world with 24 avatars, each a different word. Each reader, in order to read the poem, must establish his or her own presence in this textworld through a verbal avatar. As
  • 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
  • la huella -
    la huella, 2010 iMac, Quartz Composer, microphone, projector, 200 x 150 cm La huella is a generative work that evolves in a loop of creation, adaptation and destruction. It is a reflection on survival and evolution in nature, a neverending
  • In September 1989, for the second time Osnabrück hosted the European Media Art Festival, a forum that aimed to show and create free artistic spaces. Against the backdrop of media history, the intention of EMAF was to critically reflect upon the
  • In this interactive installation the visual and auditory components of the work were interconnected and closely related. A finely perforated projection screen was visibly divided into sixteen sections. Behind each section was a speaker connected to