Video “Hockey” by Annika Larsson.


“Hinting” by Superscript.


»Blind Side Of A Secret«, »Acquisition of Power Over Fire« and »Making of a Shooter Redux« by Yoshi Sodeoka.


Christian Robert-Tissot.


»Game Over«, 2006 by Jean bedez.

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»Panty Story«, 2006, performance by Wanda Raimundi-Ortiz.


»Mercury/Mercurio«, 2004. Wanda Raimundi-Ortiz’s first solo exhibition.

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»Stock Exchange«, 2006, takes the form of a video ‘letter’ written to the footage acquisitions department at Artbeats Software, Inc., a company whose main business is to provide high quality and royalty-free film and video clips for commercial clients. The artist theorizes how the company might go about accepting (or not accepting) footage shot by freelance videographers, eventually asking Artbeats to define their selection criteria. The response, during which a representative of the company lists a set of ‘shooting tips and guidelines’ is juxtaposed with actual clips from the Artbeats catalog. The work as a whole seeks to meditate on the construction of visual meaning in today’s very fluid (and increasingly template-driven) image economy.

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»i (towards a reconciliation with technoromanticism)«, 2004, is an inquiry into modes of escapist representation within leisure and entertainment technology. Apple’s iTunes software was modified using Apple’s own plug-in architecture, originally built to allow non-affiliated programmers an opportunity to come up with their own algorithms for the ‘Visualizer’ component of iTunes. In this case the original Visualizer engine was swapped out, not for another synced color/shape generating algorithm, but for a looped video of the artist creating light patterns with common sparklers. The piece was shown orginally on a laptop computer playing seminal classics by Kratfwerk, but any music can be played. By Nate Harrison.


»Somatolyse«, 2005 by Bettina Khano


Two chairs of a workshop by Martino Gamper.


»Serie 1024 x 768« by Johannes Franzen. This is an artist programmed software that makes a new image appear in a five to ten second interval. This means that for every new picture the computer program assigns a color to each of the 1024 times 768 dots. The machine does not proceed linearly, i. e. attribute a different color one by one to the dots on display. Rather, a random generator turns out new colors for all the dots with each new calculation; every time, every theoretically possible image can appear.


“Machines”, many different mechanical orchestras and


“Yokomono White” with Hassan Khan by Staalplaat Soundsystem.

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»New Hedonism« (2006) by Alla Georgieva.


Video “Rapidmemory” by Henny van Nistelrooy. The video shows a complete representation of the artists old bedroom in scale. Again completely made with memory as a guide. Sometimes very accurate and sometimes less precise.


»There is no way to go now«, 2007 by Kristof Kintera.


»Onanist« by Aleksandra Domanovic.


“Tokyo Metropolitan Expressway” (Video) by Nina Fischer & Maroan el Sani.

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Total Recall” is a silent, single channel video installation, approximately 18’ in duration at its current incarnation. It is composed entirely from images culled from Google Image Search. International standard date format (yyyy-mm-dd) is used as a search term in Google Image Search for everyday Ryan Park has been alive: 1978-09-21 until the work’s date of completion (2007-08-10 in the included sample). For each date, the highest ranked image is downloaded and inserted sequentially into the video. By Ryan Park. Video.


»Petites dramaturgies du mode d’emploi, (Alarme)«, 2001 and


»Escalator«, 2003-2004 by Joëlle Flumet.


»Time-based NetTime logo interpretation« by Yariv Alter Fin.

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»Candy House«, 2004, is centered on the artist setting traps for children, using various lures lain in order to exploit the curiosity, eating habits, or “voluptuousness” of the prey in this case, the child. By Karen Russo.

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