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  • Plant guilds is an artistic study on the possibility to visualize a design principle in Permaculture: that of considering inter-relations between different families of plants. It has been realized processing such consociations with the help of a
  • The exhibition at the Negev Museum of Art is part of an international project, which originated in 2012 under the title of EDEN (Ethics, Durability, Ecology, Nature). The project is based on the idea of continuing the restoration of the enchanted
  • Goldin+Senneby (since 2004) is a framework for collaboration set up by artists Simon Goldin and Jakob Senneby; exploring juridical, financial and spatial constructs through notions of the performative and the virtual. Their collaboration started
  • Sommerer, Christa and Laurent Mignonneau. Interactive Plant Growing In Ars Electronica - Facing the Future, , 393-394. Cambridge, MA: The MIT Press, 1999.
  • Allison Kudla was born in the second month of 1980, her mother a preschool teacher, her father a college professor. At an early age she became interested in colorful floating patterns she saw in her room at night when she tried to sleep. She often
  • Sommerer, Christa and Laurent Mignonneau. Interactive Plant Growing In VIDÉOFORMES 98. Culture Contemporaine Arts Video, Nouvelles Technologies, edited by G. Soucheyre, 10-13. Clermont Ferrand: Turbulences Vidéo, 1998.
  • Sommerer, Christa and Laurent Mignonneau. Trans Plant II In 3D Beyond the Stereography: Images and Technology Gallery Exhibition Theme, edited by T. Moriyama, 76-77. Tokyo: Tokyo Metropolitan Museum Of Photography, 1996.
  • Sommerer, Christa and Laurent Mignonneau. Interactive Plant Growing In Media Time: WOOD and BYTE: Festival delle nuove tecnologie mulitmediali, edited by M. G. Mattei, 56-61. Bolzano, IT: Centro Audiovisivi, Bolzano, 1999.
  • Jun Takita, born in 1966 in Tokyo, graduated in 1988 from Nihon University, majoring in arts. He received a Masters from Paris Ecole National d’Art in 1992, having received a scholarship from the French government. He draws heavily from concepts of
  • I am fascinated by human/techno/plant relations in dynamic systems and networked assemblages. Working with new technology against the grain, my research takes a positive yet critical approach, framed by new materialism and posthumanism. I have