Interactive Art
A multi-screen installation investigates the nature of truth and information.
For the past decade my sense of Bethany Ides’s work was based on hearsay, bits and scraps, or long distance perception.
The Polish artist recently mounted a new participatory installation on Hydra Island in Greece, where Nell McClister prompted him to talk about the core of his collaborative projects: community, experimentation, and spirituality.
Helsinki Web Sketches are a series of graphic compositions assembled from images shot during an artist residency at HIAP—Helsinki International Artist Programme, Summer, 2013.
Andrea Ray speaks to Matthew Buckingham about 19th century sexual freedom, the caring economy and her recent exhibition, Utopians Dance.
Brecht’s estrangement, Artaud’s ritual theatre, Boal’s Theatre of the Oppressed, and camp inform My Barbarian’s performance work: an investigation of what constitutes transformative cultural practice.
The artist discusses abstract games, the dangers of Relational Aesthetics and Portnoy’s recent participatory work 27 Gnosis.
This fictional site operates simultaneously with our everyday lives. It is a place where relationships unfold in time, and structures unfold in space; lying together they suggest the abstract material of sociability. These formations are the relatives of architecture, the turf of Andrea Blum’s work.
Departing a clandestine appointment in a San Francisco office tower, Jejune Institute inductees puzzle over an encrypted instruction key.
Alexandre Singh’s “The Alkahest,” Omer Fast’s “Talk Show,” Shana Moulton’s “Erratic Anthropologies,” and Tan Lin’s “Chalk Playground”/”LitTwitChalk”
Richard J. Goldstein and Hannah Kahng interview Roman Ondák about his installation Measuring the Universe at MOMA.
Having just celebrated its eighth incarnation last April and May, Chicago’s Version Fest is a 10-day mash-up of curatorial projects, public interventions, musical events, and academic forums.
Pedro Reyes works within a complex system of associations that defies our assumptions about the ways in which knowledge is categorized and legitimized.
The crowd at the December, 2001 opening of Liz Larner’s show at the Museum of Contemporary Art in Los Angeles was enormous.
The first work of Janet Cardiff’s I encountered was Whispering Room. I entered a room at the Art Gallery of Ontario where a series of audio speakers mounted on thin metal stands emitted a soft murmur of conversation.
Peter Campus, seminal artist of alternative media, returns to video in his series, Video Ergo Sum. Less conceptual than his earlier work, more personal and unabashedly beautiful, the piece reflect his ongoing investigation into the perception of self.
Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.
