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A matrix of sixty-four tubes is spread out equally over the room. These tubes bend over extremely slowly as if a slow motion wind were touching them. Leaning into one another they reach out to the visitors like the tentacles of a giant snail. The

8520 S.W. 27th PL is an installation about the pointlessness of our never ending decision making process: choosing between left or right, brown shoes or black shoes, K-mart or Wal-mart. The exhibit features modified Dancing Hamster Toys, originally

At the same time an innovative art installation, a world premiere, and a prototype for brain design technology. Brain Cloud is part of the Brain Factory series of works helping the visitors, recently converted into “brain-workers”, to give shape to

In 2014, I was invited to exhibit Revelation of Eve Clone IV in “Raising the Temperature” at the Queens Museum of Arts, New York. The work presented Eve Clone being submerged by seawater in a ruin. The water was dyed red, like blood from the dead.

An interactive hypertext piece based on the sefirotic tree of the Kabbalah. "Storms" is organized in vocalic and consonantal bifurcations. To navigate through the poem one is invited to click on a letter at any given time. In some instances,

In the video "Solid Landscapes", the artist “spells out” the never-ending growth of usable and productive (anti-)landscapes by reproducing and multiplying evidence of a dramatic change that is occurring in an incremental manner around the world. It

MARS—the Media Arts Research Studies at GMD (1995–2001) and at Fraunhofer (2001–2012) The MARS - Exploratory Media Lab, initiated and directed by Monika Fleischmann and Wolfgang Strauss since 1997, designed and developed research prototypes,

LORNA 1979-1983 A.D. A.D. "A precondition to video is that it does not talk back. It absorbs, rather than reflects." Preliminary Notes, 1981 While video was like a reflection that did not talk back, interactive works were like a trick, two