Reference (ART 307)


A Short History of the Bauhaus (videos)























Some Bauhaus work examples 













































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The four Russian artists who make up AES+F (Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky, and Vladimir Fridkes) collaborate on highly conceptual interdisciplinary projects that combine photography, video, installation, performance, and mixed media. They construct elaborate, allegorical scenarios to make biting social commentary, such as in the “King of the Forest” series (2001-03), in which the artists allow modern economic and social structures that exploit youth to stand in for the “King” figure, a reference to a folkloric creature who kidnapped children and locked them in his palace. The works are documentations of performances orchestrated by AES+F in St. Petersburg, Cairo, and New York, for which they brought together masses of children often exploited, such as ballerinas and models, or incorrectly thought to be exploited, such as those in Islamic society. By capturing these children in cavernous spaces—Catherine the Great’s palace, the Mosque of Muhammad Ali, and Times Square—the artists highlight their fragility.


Alex Mcleod



Alia Farid


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Alia Farid lives and works in Kuwait and Puerto Rico, both countries that she is from and whose complex colonial histories she reveals through drawings, objects, spatial installations, and film. She has a Bachelor of Fine Arts from La Escuela de Artes Plásticas de Puerto Rico (San Juan), a Master of Science in Visual Studies from the Visual Arts Program at MIT (Cambridge, MA), and a Master of Arts in Museum Studies and Critical Theory from the Programa d’Estudis Independents at MACBA (Barcelona). Recent and upcoming group shows include participation in Sharjah Biennial 14, the 2nd Lahore Biennale, and Theater of Operations: The Gulf Wars 1991–2011 at MoMA PS1. Recent and upcoming solo exhibitions include Galerie Imane Farès (Paris), Witte de With (Rotterdam), and Swiss Institute (New York).


Anna Uddenberg

“anna uddenberg”的图片搜索结果

“anna uddenberg”的图片搜索结果

Through the feedback loop of consumerist culture Anna Uddenberg investigates how body culture, spirituality, and self-staging are intertwined with the mediation and production of subjectivity by new technologies and forms of circulation. Her practice is a space for reflecting on taste/class, appropriation, and sexuality, which integrates earlier approaches to gender theory while pushing these questions into new and intensively material territories.














Anne Imhof is a contemporary German artist known for her performance, paintings, and installation work. The artist’s use of materials like black dibond, glass plinths, heavy-metal music, and Goth performers, to confront prevailing power dynamics, sometimes results in unease for the viewer. The subtle body language, constraining spaces, and vernacular materials used in her performances, show human emotions in a formal almost depersonalized light. “It’s basically the thoughts of the people that are performing in it that, in the end, shape it,” she said of choreographing her work. Born in 1978 in Geißen, Germany, she studied under the artist Judith Hopf at the Städelschule in Frankfurt am Main, where she graduated in 2012.


Antoine Catala

I am here for you (Sock, Orange), 2018, silicone rubber, resin coated foam, pneumatics, edition of 3, 18 x 6 x 3 in.


Barry X Ball

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Boolean Buddha



Carolyn Frischling



Cosima von Bonin











One focus of von Bonin’s artistic works is the relationship between works of art and the world of fashion, music and architecture. She often focuses on collective artistic production frequently including collaboration with other artists as well as parties, DJ sets, music performances and audio and video exhibitions. The exhibitions are of an ephemeral nature intended to reject the classical idea of the individual artistic genius.


Cécile B. Evans
The Virtual is Real

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“I just don’t believe in the word ‘virtual’,” says artist Cécile B. Evans and argues that in today’s society, where drones are used for warfare and romantic relationships begin online we can no longer distinguish between the so-called real and the virtual.
As one of the most prominent voices of Post-Internet Art – a term covering art practices that engage with the Internet and new technologies – Cécile B. Evans’ work examines how digital culture has impacted the human condition. Over the past 10 years digital technologies have permeated our lives to such a degree that it is no longer possible to distinguish it from physical reality. “People worry that the real world will disappear,” says Evans, “and it’s not like the real world will evaporate and be usurped by the digital. In the best possible scenario it’s a collaboration between the two and it becomes a prosthesis for things we are unable to do, as opposed to a substitute.”
Cécile B. Evans (b. 1983) is a Belgian-American artist based in Berlin, originally trained as an actor at New York University. She is the recipient of the Emdash Award 2012 and the 2013 PYA Prize resulting in commissions for Palais de Tokyo in Paris and the Serpentine Galleries in London. Evan’s work has been shown internationally, e.g. at the 9th Berlin Biennale. For more about Cécile B. Evans see:


D’Ette Nogle











“dis magazine”的图片搜索结果

“dis magazine”的图片搜索结果

DIS is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. Most notably these include, DIS Magazine, co-founded with Nick Scholl, Patrik Sandberg and S. Adrian Massey III in 2010 as a virtual platform that examines art, fashion, music and culture, constructing and supporting new creative practices.
Since being founded, the magazine has expanded into an international community of writers, photographers, musicians and DJs. Recent ventures include DISimages, 2013, a fully operational stock photography agency that enlists artists to produce images available for private and commercial use, and DISown, an ongoing retail platform and laboratory to test the current status of the art object.
Across its various endeavors, DIS explores the tension between popular culture and institutional critique, while facilitating projects for the most public and democratic of all forums—the Internet.


Dominic Harris

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Since establishing Cinimod Studio, a multi-disciplinary, London-based practice in 2007, artist and designer Dominic Harris has gained international attention for his digitally-driven works of interactive art. Harris has devoted recent years to seamlessly blending natural phenomena with complex code through integrated electronics and innovative fabrication techniques. Inspired by the architectural interventions of James Turrell and Dan Flavin, Dominic offers viewers a sublime experience of their surrounding environment in his surreal installations that wryly illuminate the effect of digital culture on human perception in the information age. One of the artist’s most ambitious pieces invited participants to wildly gesture or attempt to change their own heart rate, which would in turn light up the London Eye.
Tags: British Furniture and Design, Digital Art, London Artists, Technology, Interactive, Contemporary Conceptualism, Installation


Ed Osborn








Ed Osborn’s sound art pieces take many forms including installation, sculpture, radio, video, performance, and public projects. His works combine a visceral sense of space, aurality, and motion with a precise economy of materials. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, his kinetic and audible pieces function as resonating systems that are by turns playful and oblique. The recipient of many awards including a DAAD Artists-in-Berlin Stipendium and a Guggenheim Fellowship, he is an Associate Professor in the Visual Art Department at Brown University.


Edward Kienholz

An American artist of unwavering originality, critical insight, and notoriety, Edward Kienholz created powerful work that reflected upon contemporary social and political issues of late-20th-century America. He created life-size three-dimensional tableaux and immersive environments, composed out of the discarded detritus he found at yard sales and flea markets. Although he is best known for his contributions to the development of postwar sculptural practices, Kienholz was also a key promoter of the Los Angeles avant-garde as the founder of the NOW Gallery and cofounder of the Ferus Gallery, a pivotal venue and gathering place for the era’s emerging poets and artists. From 1972 onward, he worked almost exclusively with his fifth wife, the artist Nancy Reddin Kienholz, who played a significant role in the conceptualization and fabrication of his later works.


Ervin Wurm


Erwin Wurm’s eclectic practice—incorporating sculpture, performance, photography, video, and installation—is unified by a combination of formal concerns and a sense of humor. In a sculptural series featuring works including Big Gulp Lying (2010), Wurm depicts anonymous human figures entangled in sweaters and other clothing items, creating a silhouette that is both perplexing and grotesque. Wurm also encourages viewer participation in many of his works, such as in Confessional (2003), a sculpture resembling a dog house with head-size holes on either side into which viewers are encouraged to insert their heads.


Golan Levin’s AMA Video Uses Experimental 3D Cinema



Golan Levin is an American new media artist, composer, performer and engineer interested in developing artifacts and events which explore supple new modes of reactive expression.


Gavin Turk


Gavin Turk, one of Britain’s infamous Young British Artists, is drawn to ideas about originality, self-obsession, and the nature of authentic expression. In paintings, photographs, sculpture, and video installations, Turk explores how particular pieces of art achieve masterpiece status and how artists themselves become celebrities. Mining diverse sources, from art history to popular culture, Turk examines the value structure inherent in the creative process. Joseph BeuysJackson PollockElvis Presley, and Andy Warhol are among the celebrity artists who have captured Turk’s imagination. In a 2009 installation, Turk, sardonically questioning the value of an individual artist’s signature style, presented a series of abstract paintings that looked just like Pollock’s work. On close inspection, one discovers that the paintings are constructed not from dripped paint, but rather from layers of Turk’s painted signature.


Ghislaine Leung

Ghislaine Leung (Sweden, 1980) lives and works in London and Brussels. Ghislaine Leung is one of the six artists that shape the ambitions and drives of The Unreliable Protagonist, the first two-year programme of Netwerk Aalst. Leung engages with the forces that shape our personal environment and the institutions that cast our communal lives. Who is speaking? Who is being listened to? Which voices and languages constitute its specific environment and infrastructure? What kind of agency does it perform – who’s in and who’s left out?


Ian Cheng






Ian Cheng (born March 29, 1984) is an American artist known for his live simulations that explore the capacity of living agents to deal with change. His simulations, commonly understood as “virtual ecosystems” are less about the wonders of new technologies than about the potential for these tools to realize ways of relating to a chaotic existence. His work has been widely exhibited internationally, including MoMA PS1, Serpentine Galleries, Whitney Museum of American Art, Hirshhorn Museum, Fondazione Sandretto Re Rebaudengo, Migros Museum, and other institutions


John Gerrard


John Gerrard is best known for his sculptures and installations, which typically take the form of digital simulations, displayed using real-time computer graphics. Gerrard’s works concern themselves with the nature of contemporary power by exemplifying the mass structures and vast networks of energy which materialised during the twentieth century.
“Gerrard’s fine balance of concept, content, and material suggest a theme and variations of the virtual. The computer-generated landscapes bring to mind virtual worlds, video games, and special effects able of producing unrealities. The format, however, manifests something quite real, albeit at the periphery of most of our worlds – the arrival of food in our markets and the availability of oil are things we take on faith. Their existence remains provisional – more or less virtual – whether in life, on a gallery wall, or on a computer chip.”


Joakim Ojanen – “Year of the Dog”

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Joakim Ojanen’s artwork embodies the inner child within all of us. He creates a deeply personal universe full of unique characters that automatically win the heart of the viewer with their sincerity. His paintings and ceramic sculptures capture genuine moments of human expression. When they are grouped together they create delicate and emotionally charged narratives. While maintaining a sense of humor they manage to hit an intense spot in the human psyche, perhaps a subconscious adolescent need none of us ever get over; the desire to belong. Piece by piece each of Ojanen’s works tells a story about finding one’s way in the world and reminds us it’s okay to be ourselves.


Joe Minter

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Jon Rafman

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Digital artist Jon Rafman is best known for his work around Google Street View, which he approaches as a repository of images that bring to the fore the relationship between technology and human experience. Concerned with the tension between the camera’s indifference and the human search for meaning, he has said, “While celebrating and critiquing modern experience, the technological tools themselves show how they can estrange us from ourselves.” For his ongoing project, Brand New Paint Job, Rafman appropriates elements from modernist paintings—by Joan MiróYves Klein, and Jackson Pollock, among others—using them as textures that he applies to digital renderings of 3D models, including busts, interior spaces, cars, and pieces of furniture.
Tags: Virtual and Augmented Reality, Post-Internet Art, Digital Art, Contemporary Canadian Art, Digital Culture, Related to Games, Contemporary Fact versus Fiction, Focus on the Social Margins, Cultural Commentary, Personal Histories, The Fantastic, Film/Video, Failure, Engagement with Mass Media, Surveillance, Installation, Grotesque, Erotic



Jordan Wolfson







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Jordan Wolfson is an American artist living and working in New York City and Los Angeles. His art is known for addressing social commentary, violence and entertainment, using video and film, sculptural installation and virtual reality.


Keith Farquhar

“Keith Farquhar”的图片搜索结果

“Keith Farquhar”的图片搜索结果

Keith Farquhar’s work suggests what it is to make figurative sculpture in the age of digital reproduction. Best known for his photo-sculptural works, More Nudes in Colour is an ongoing series of works where each new piece begins with paint spontaneously applied to a naked model. The results are photographed producing images reminiscent of nudes from classical antiquity–the painted skin often emulating marble, wood-grain, or other materials from which figurative sculpture is traditionally made. The images are then fabricated as life-sized cardboard cut-outs (similar to those found in cinemas promoting the current releases) and exhibited on custom-made plinths of the same material. Farquhar refers to these finished works as flat-pack statues.
Production starts in Farquhar’s studio with an improvised series of actions, reminiscent of particular 1970’s performance practices that forefront the body as a site of engagement. Referencing both Yves Klein and Jackson Pollock in it’s painterliness, the work also evokes Hippy body painting and certain coffee-table erotica books such as Charles Gatewood’s Messy Girls! and Richard Kern’s New York Girls. Those familiar with Farquhar’s work will note the trademark economy by which multiple, disparate references are impacted within one unified, elegantly realised solution. With More Nudes in Colour, the distillation process is intensified within the flat-pack, kit formation of each finished piece: What begins with a wholly physical, messy and chance-filled endeavour culminates in a series of concise, dematerialised artworks that can literally fold away to nothing.


Kim Joon

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Karl Sims – Evolving Virtual Creatures With Genetic Algorithms













Lutz Bacher

Lutz Bacher, Magic Mountain (2015). Photo courtesy of MoMA PS1.
Lutz Bacher, Magic Mountain (2015). Photo courtesy of MoMA PS1.

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An installation view of Bacher’s 2013 show at the ICA in London.
Lutz Bacher creates humorous interventions and installations from fragmentary photographs, texts, and videos that highlight society’s complicated relationship with images. A female artist who has been operating under a male pseudonym since the 1970s, Bacher uncovers ambiguous social codes and rules, questioning constructed identities by building art from cultural detritus and imperfect objects. Her oeuvre is disparate, making it difficult to parse a common thread; “Jokes” (1987–88) is a series of lewd or punny speech bubbles overlaid on images of celebrities or politicians, while the “Do You Love Me” (1994/2008–9) videos feature Bacher’s friends and gallerists being interviewed about Bacher as both a person and an artist. Her work explores issues of identity through a mix of personal and pop-cultural artifacts, and is marked by a subtle, tactful humor.


Li Hanwei 

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Mariana Castillo Deball

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Mariana Castillo Deball takes a kaleidoscopic approach to her practice, mediating between science, archaeology, and the visual arts and exploring the way in which these disciplines describe the world. Her installations, performances, sculptures, and editorial projects arise from the recombination of different languages that seek to understand the role objects play in our identity and history. Her works result from a long research process, allowing her to study the different ways in which a historical object can be read as it presents a version of reality that informs and blends into a polyphonic panorama. Seeking to initiate a dialogue with institutions and museums beyond contemporary art, she collaborates with ethnographic collections, libraries, and historical archives. She often produces multiples —books or objects with different uses and formats— to explore how they might generate new territories. Weaving her way through the fields of anthropology, philosophy, and literature, Castillo Deball draws inspiration from a wide range of sources as she engages in the exchange of knowledge as a transforming process for everyone involved.


Mattia Casalegno


Mattia Casalegno is an Italian interdisciplinary artist, live-media performer and installation artist working in a broad range of media.
His multidisciplinary work is influenced by both post-conceptualism and digital art, and has been defined relational, immersive, and participatory.
His practice explores the effects new media have on our societies, investigating the relationships between technology, the objects we create, our subjectivities, and the modes in which these relations unfold into each other.
His work is been exhibited extensively and featured in publications such as “A Touch of Code” ed. Gestalten Books, “New Media Design” ed. Sometti; and “Deleuze and Audiovisual Art”, Manchester Metropolitan University. He is recipient of a Center for Cultural Innovation and a Young Italian Network Grant; winner of Electrowave in 2003 and finalist to the New Technological Art Awards in 2014. In the last year he was artist in residence, among others, at Budafabriek Kunstcentrum in Belgium and Eyebeam, NY.


Matthew Stone

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Matthew Stone (born 1982 London, England) is a London-based artist. He is part of the South London art collective.
Stone graduated from Camberwell College of Arts, London in 2004. He currently stages performances and films. In 2007, his first solo show, entitled “Futurehindsight”, took place at UNION in London. In November 2009, Stone topped the arts section in a “Power players Under 30” list compiled by the Sunday Times.
In November 2011, Stone gave an exhibition at Kathy Grayson’s “The Hole” Gallery entitled Optimism as Cultural Rebellion, the same name as his blog.




MSHR is the art collective of Birch Cooper and Brenna Murphy. Their work meshes digital sculpture, analog circuitry and ceremonial performance. The duo constructs and performs cybernetic compositions using synthesizers of their own design. For exhibitions, they install macro-arrangements of these sculptural instruments to create immersive light-sound-scapes. In their performances, they engage the systems through a series of unique interfaces. They also work with 3d modeling programs to design virtual reality spaces, embedded with generative computer music systems. MSHR’s sculptural, musical and electronic work inform each other deeply, creating the meta-form that is their collaborative practice.


Nicolas Party

06. Nicolas Party, Installation view, ‘Polychrome’, The Modern Institute, Osborne Street, Glasgow, 2019. Photo - Patrick Jameson

Swiss artist Nicolas Party, who was the subject of a solo exhibition at Swiss Institute in 2012, is known for applying his bright, graphic patterns onto everything from ceramics to furniture to floors, ceilings, doorways, and walls. Despite the surreal simplicity if his aesthetic, his work exemplifies his philosophy regarding color theory and line. Solo exhibitions include: Trunks and Faces (2014), Westfälischer Kunstverein, Muenster; Landscape (2014), Kunsthall Stavanger, Stavanger, Norway; Pastel(2014), Gregor Staiger, Zurich; Carrot Stairs (2014), David Dale Gallery, Glasgow (Permanent Commission); Still Life oil paintings and Landscape watercolours (2013), The Modern Institute, Osborne Street, Glasgow; and Still Life, Stones and Elephants (2012), Swiss Institute, New York.


Nina Beier

"The future is already here - it's just not evenly distributed," The 20th Sydney Biennale. Australia, 2016. Installation view.

China, 2016. Ceramic vase and ceramic dog,

Nina Beier was born in 1975 in Aarhus, Denmark, and lives and works in Berlin. Beier has had one-person exhibitions at the Kunstverein in Hamburg; David Roberts Art Foundation, London; Objectif Exhibitions, Antwerp; Kunsthaus Glarus, Switzerland; Nottingham Contemporary, United Kingdom; Mostyn, Llandudno, United Kingdom; Kunsthal Charlottenborg, Copenhagen; and the Yerba Buena Center for the Arts, San Francisco. Her work has been included in group exhibitions at the Walker Art Center, Minneapolis; Centre Pompidou, Paris; Tate Modern, London; CCA Wattis, San Francisco; Musée d’Art Moderne, Paris; KW Institute for Contemporary Art, Berlin; Artists Institute, New York; Fondazione Sandretto Re Rebaudengo, Turin; Swiss Institute, New York; and the Power Station, Shanghai. Her performance-installation Anti-ageing was commissioned by Performa 15 and later staged as part of ICA London’s Art Night in 2016. She has been awarded the Prize of the Böttcherstraße, and her work was included in 13th Biennale de Lyon and the 20thBiennale of Sydney.


Oliver Laric


Oliver Laric’s multimedia work engages with themes of pop culture, mass media, the relationship between past and present, and globalization. He re-imagines classic Greek and Roman sculpture, producing massive polyurethane and 3-D-printed casts. His ongoing video project “Versions” explores historical and contemporary image hierarchies through a series of documented monologues. Laric’s earlier work was primarily video-based and involved the manipulation of existing broadcast media such as YouTube, as in 50 50, a video compilation of karaoke singers covering a song by the hip-hop artist 50 Cent.


Orion Martin

Orion Martin is known for his stylized, super-flat style, which re-contextualizes the still life into seductive portraits of consumerism. Often presented in over-the-top, polished plastic frames, Martin’s works combine various limbs and objects, interweaving each object into an elegantly cohesive statement.


Oscar Tuazon


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In speaking about his architectonic sculptures and installations, Oscar Tuazon says, “I hope that the effect of my work is mostly physical. That’s what I like—walking through something, having an experience of the weight of things, or an experience of balance.” Tuazon, who studied architecture and urban studies and has assisted Vito Acconci in his architectural endeavors, is inspired by what he calls “outlaw architecture” and the way in which inhabitation redefines the form of an environment. His works are pared-down structures made from natural and industrial materials; this frequently includes wood, concrete, metals, and light fixtures, configured in such a way that works both with and against their entropic qualities.


Pablo Bronstein

Pablo Bronstein (born 1977, Buenos Aires) is an Argentine artist based in London. He attended Central Saint Martin’s College of Art and Design, at the University of the Arts London, the Slade School of Fine Art, UCL, and graduated from Goldsmiths College of Art. He specialises in architectural sketches in ink and gouache, set in ornate frames and depicting imagined buildings incorporating styles from 18th century France and the 1980s. His work also includes live performance: his Plaza Minuet for Tate Triennial 2006 used involved choreographed movement about the gallery space by Baroque-trained dancers. He has also given an architectural tour of London


Panther Modern  – curated by La Turbo

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Pussykrew is an interdisciplinary duo of Tikul and mi$ gogo. Their creative practices range from multimedia installations, 3D imagery, videoclips and audio-visual performance, to DIY electronics and sculpture design. Pussykrew is originally from Poland, developed globally via Ireland, UK, Berlin, Brussels, Shanghai and online environment. Pussykrew explores post-human concepts, corporeal aesthetics, urban landscapes and fluid identities with their synthetic-organic notions, constantly searching for liminal states within the digital realm.
Pussykrew is creating gender-bending visual journeys, filtered through carnal data mesh, liquid dysphoria and 3D fantasy shuffle. Pussykrew pieces are known for their multi-sensory purposes and physical affection.


Renate Bertlmann

Born 1943 in Vienna, Austria, where she lives and works.Since the early 1970s Renate Bertlmann, feminist avant-garde artist, has explored issues around the representation of sexuality and eroticism within a social context. Despite its closeness to the nascent women’s art movement in the 1970s, revolting against a male-dominated world and developing new aesthetics to represent the female body, Bertlmann’s work distinguished itself by its inclusion of the masculine point of view. Working with collages, drawings, photographs, photo-films, performances and objects, her work has always played, not without humour, on the ambivalence of the feminine and masculine relationship in terms of sexuality and desire, challenging the stereotyped, preconceived roles assigned by society. Deepening society’s preconceptions, from 1975 she developed a series of works using latex teats and inflated condoms, associating the phallic with the feminine and addressing issues of contraception and motherhood. Including pornography in her work from the 1980s onwards, Bertlmann has pursued throughout her career an interrogation on gender relations.
This is particularly visible in her series of works Exhibitionism 1973, in which curved abstract forms and soft pale pink colours evoke the contours of a feminine body, while the two egg-shaped protruding objects directly allude to male genitals. What look at first sight like abstract lines refers in fact to male and female corporeality, furtively displaying a pair of legs and a backside that support two testicles. As the title suggests, the viewer is presented with an act of exhibitionism. In her constant work on the interrelationship between the masculine and the feminine, Bertlmann manages to render the interchangeability of sexes and of sexual desires by deceiving conventions.


Robert Lazzarini



Sanja Ivekovic

Sanja Iveković studied at the Zagreb Academy of Fine Arts, graduating in 1971 from the department of graphics. Coming of age during the 1968 student protests, which swept across Yugoslav cities, Iveković belongs to the New Art Practice (NAP), a generation of artists whose conceptual practices gravitated toward the use of public space, breaking away from institutional infrastructures. As an act of resistance against lyrical abstraction, these artists combined visual art with newly available technologies such as photography, Polaroids, photocopies, film, video and graphic design. In 1978 Iveković co-founded the Podroom Gallery with fellow artist Dalibor Martinis, which became a hub for her generation of artists. Iveković was the first artist in Yugoslavia to actively engage with gender difference, tackling the commodification of women’s roles with the onset of consumerism in the country. She began experimenting with pop art techniques while she was still a student. Using television advertisements, tabloid magazines and current affairs as her sources, Iveković juxtaposed these with images of her own life, addressing the discrepancy between public and private discourses, and pointing to the hypocrisy of the public declarations of gender equality in socialist Yugoslavia.
Sanja Iveković: Sweet Violence, December 18, 2011–March 26, 2012, MOMA 

Sophie Kahn

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 Sophie Kahn is a digital artist and sculptor, whose work addresses technology’s failure to capture the unstable human body.
She grew up in Melbourne, Australia, and is now based in Brooklyn, NY. She earned a BA (Hons) in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago, where she was awarded a full tuition Trustee Scholarship.
Her work explores the resonances of death in the technological image. It owes its fragmented aesthetic to the collision of the body with new imaging devices. The precisely engineered 3d laser scanner she uses was never designed to capture the human body, which is always in motion. When confronted with a moving body, it receives conflicting spatial coordinates, generating glitch. She outputs this damaged data as prints, video and hand-painted, 3D printed sculptures. The works that result draw inspiration from funereal and memorial sculpture, and appear to be faux-historical forgeries – or contemporary relics.


Stine Deja

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Through the practices of 3-D animation, photography and installation, immersive sleek aesthetic, Stine Deja explores issues of machine learning, AI, and compels the viewer to consider him or herself through this self-reflective intertwining of humans and machines. Using 3-D animation, digital surrogates, and narrative, Stine Deja’s videos explore how cyberspace affects our imagination and sense of intimacy. Recognising that technology has become an architect of emotion in the hybrid space of contemporary life, Deja’s work compels the viewer to consider him or herself through this self-reflective intertwining of humans and machines.
Deja’s lavish and sleek animations wash over the viewer, encapsulating the viewer’s consciousness in a bubble of highly stylised motifs and graphics; often supported by music. These microcosms are further punctuated with footage found in the public domain, integrating a sense of parody and the absurd within the narrative. Throughout Deja’s practice, the use of voice-over guides each viewer across the transient planes of her videos. Within this generated space, viewers inhabit digital surrogates that negotiate the malleable borders separating the ‘real’ and the ‘virtual.’ These entities feel an uncanny familiarity, with their responsive range stretching from comforting to ironic. Deja’s digital human proxies simultaneously probe both cyberspace and the viewer’s psyche, investigating the extent by which genuine emotional feeling within this virtual realm shapes us as social beings.Stine Deja was born in Denmark in 1986 and currently lives and works in London. She received her MA in Visual Communication (Moving Image) from the Royal College of Art in 2015 and her BA in Interaction Design from Kolding School of Design in 2012. Since 2017, her work has been represented by Annka Kultys Gallery. The artist has had three gallery exhibitions, including CYPHORIA, a virtual travel agency that explored the techno-social phenomenon of living concurrently outside/inside the machine, then There is Life Outside intended as an exposé of our increasingly artificial world.. More recently, Deja has also collaborated with the artist Marie Munk on the exhibition Synthetic Seduction  examining synthesised intimacy.


Tim Noble & Sue Webster


Tim Noble and Sue Webster take ordinary things including rubbish, to make assemblages and then point light to create projected shadows which show a great likeness to something identifiable including self-portraits. The art of projection is emblematic of transformative art. The process of transformation, from discarded waste, scrap metal or even taxidermy creatures to a recognizable image, echoes the idea of ‘perceptual psychology’ a form of evaluation used for psychological patients. Noble and Webster are familiar with this process and how people evaluate abstract forms. Throughout their careers they have played with the idea of how humans perceive abstract images and define them with meaning. The result is surprising and powerful as it redefines how abstract forms can transform into figurative ones.
Parallel to their shadow investigations, Noble and Webster have created a series of light sculptures that reference iconic pop culture symbols represented in the form of shop-front-type signage and carnival shows inherent of British seaside towns, Las Vegas and Times Square. With the aid of complex light sequencing these signs perpetually flash and spiral out messages of everlasting love, and hate.


Takeshi Murata



Yorgo Alexopoulos

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New-media artist Yorgo Alexopoulos transforms paintings, photographs, film, and sculptures into digital imagery for lush, immersive video installations. Alexopoulos explores humanity’s unending quest to understand existence, death, and the universe, or as he describes, “how we as human beings are constantly trying to interpret things: what happens after we die, what happens before we are here[…].” He attempts to convey human processes of interpretation and perception by intermixing religious iconography, expansive views of outer space, land- and seascapes, geometric shapes and patterns, and shades of color in his works. Set to evocative music, these images flicker, morph, and stretch across multiple monitors—an encompassing, expansive vision of the richness of the world and how we both see and represent it.
Tags: Multiple Screens, Animation, Psychedelic, Digital Art, Digital Culture, Grid, Technology, Film/Video, Biomorphic, Mixed-Media, Color Theory, The Fantastic, Nature, Outer Space, Landscapes, Narrative


Tian Xiaolei




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A cool tutorial:


Really Fake, or Faking Reality? Simulacra, Fake Art, and Breaking the Frame: A Conversation between Patrick Lichty and Claudia Hart


artwork by Wang Yefeng (Frank)






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