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"Labyrinthe …", in "The wrong city …"
2001
Beliaeva Valentina. "Labyrinthe …", in "The wrong city …". St Petersburg, Russia: State Russian Museum, 2001.
"Show and Tell, The Discursive Idea of Things" and "Horror Vacui"
2001
Frohne, Ursula. "Show and Tell, The Discursive Idea of Things" and "Horror Vacui" In (dis)Locations, , 512-61; 84-93. Ostfildern-Ruit: Hatje Cantz, 2001.
"So far, so close …", in "The wrong city …"
2002
Yvergniaux, Daniele. "So far, so close …", in "The wrong city …". St Petersburg, Russia: State Russian Museum, 2002.
"The Power of Intention: Reinventing the [Prayer] Wheel"Curator : Elena Pakhoutova
2019
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2019
Event: "The Power of Intention: Reinventing the [Prayer] Wheel"Curator : Elena PakhoutovaInstitution: Rubin Museum of Art Comment:
"The wrong city …", in "The wrong city …"
2001
Borovsky Alexandre. "The wrong city …", in "The wrong city …". St Petersburg, Russia: State Russian Museum, 2001.
#fuckreality. Kunstraum Niederösterreich. 5 October- 24 November
2018
Krejs, Christiane and Martin Kusch and Alexandra Schantl and Ruth Schnell. #fuckreality. Kunstraum Niederösterreich. 5 October- 24 November. Vienna: Verlag für Moderne Kunst, 2018.
(collective) Troika
Troika is a multi-disciplinary art and design practice founded by Conny Freyer (b. 1976, Germany), Eva Rucki (b. 1976, Germany) and Sebastien Noel (b.1977, France) who met while studying at the Royal College of Art, London. Together, they have
(in)human sciences
2006
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2006
“(In)human Sciences” was made for the exhibition Neterotopia, curated by Daniele Balit and Pierre Mertens. During March 2006, my work was displayed in the advertising space of the website of the french newspaper Libération. The exhibition was also
/source/ (postfactual)
2017
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2017
Timo Kahlen's interactive work of net art /source/ (Postfactual), 2017 invites the viewer to search for reliable sources, for valid ‘facts’, for trusted nodes of information on the internet. A seemingly void, monochrome white surface is all it
05 March/10:43 pm
2004
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2004
05 March/10:43 pm consists of a small, suburban model house on a table, linked to a computer. Looking into one of the windows the viewer discovers a small live projection, floating in the room, showing a person who is collapsed on a chair, with a
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