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« Le chant des sirènes », Justine Emard raconte la création de sa dernière œuvre immersive

Sat, 11 Apr 2026 03:06:58 +0200

Présentée à l’occasion de la première édition du Festival NOÛS, Le chant des sirènes plonge dans les récits anciens de la BnF, raconte...

09 avril 2026 •

Écrit par Maxime Delcourt

Joan Sandoval x MANS O : « C’est une erreur de résumer l’IA à un outil de productivité »

Fri, 10 Apr 2026 18:41:52 +0200

Comment représenter les étapes souvent invisibles de la création des modèles d’IA ? Complexe, abstraite et néanmoins essentielle, cette...

08 avril 2026 •

Écrit par Maxime Delcourt

carsten höller on the 'most powerful architect' and collective experience at MIT museum

Fri, 10 Apr 2026 12:41:56 +0200

sanctuary of dreams: toguna world's digital temple for collective visioning

Fri, 10 Apr 2026 11:18:27 +0200

Brera Design District activates Milan with eclectic stories and spaces at Fuorisalone

Thu, 09 Apr 2026 21:09:30 +0200

Design

On fait le point. Que penser de la loi contre le « pillage » des œuvres culturelles par l’IA ?

Thu, 09 Apr 2026 13:45:08 +0200

Adoptée au Sénat, une proposition de loi tout juste adoptée pourrait renverser la logique du droit d’auteur. Un basculement discret, mais...

À l'instant •

Écrit par Zoé Terouinard

Big Dreams and Other Challenges: The World Wide WebCutting Edge: When inner processes become visibleThrowback: 30 Years of Curio...

Thu, 09 Apr 2026 09:21:29 +0200

In the 1990s, the internet was supposed to democratize the world; in the 2000s, it became an omnipresent phenomenon; after 2010, it turned into a tool for the re-centralization of power; and now it serves as a playground and database for chatbots and agents. The history of the World Wide Web is brief yet eventful,…

“Life Ink” visualizes brain waves and bodily signals as three-dimensional forms and views technology not merely as a tool, but as an active part of creative processes.

Whether hexapods, space suits, 3D printing, quadcopters, or brain-computer interfaces—for 30 years, children and young people have been gaining their first experiences with the new technologies of their time at the Ars Electronica Center. A retrospective in pictures.

The opening of the Ars Electronica Center in 1996 also created a new meeting place in the city. Here, many visitors had their first contact with email and the internet in general, and enjoyed a beautiful view over Linz.

How to program, transform, and sense complex new origami structures? With a residency on “Folded Futures” at the Ars Electronica Futurelab, two students converted their research into artworks.

What does a bacterial civilization leave behind? Researcher and bio-artist Yitong Tseo explored this question in a personal way, allowing 8,000 generations of microbes to merge with their likeness.

The future is co-created: In networked systems, many people work together to shape the future, take responsibility, and develop viable solutions to complex challenges.

“Gulliver’s World” demonstrates that interactivity begins where control is shared, allowing visitors to become genuine designers of digital systems.

During her time as curator in residence of the ARKO-sponsored Curatorial Residency Program, Son Hyerim was on site at the Ars Electronica Festival. This guest article captures her personal reflections on the time spent there.

Art Basel Hong Kong : en immersion au sein de Zero 10, la plateforme dédiée à l’art numérique

Wed, 08 Apr 2026 21:09:26 +0200

Dans une foire comme Art Basel Hong Kong, où tout semble parfaitement en place, certaines œuvres arrivent encore à créer du décalage....

03 avril 2026 •

Écrit par Benoit Palop

Cutting Edge: When inner processes become visibleThrowback: 30 Years of CuriosityThrowback: Sky Media Loft—the electronic café a...

Wed, 08 Apr 2026 12:41:53 +0200

“Life Ink” visualizes brain waves and bodily signals as three-dimensional forms and views technology not merely as a tool, but as an active part of creative processes.

How to program, transform, and sense complex new origami structures? With a residency on “Folded Futures” at the Ars Electronica Futurelab, two students converted their research into artworks.

What does a bacterial civilization leave behind? Researcher and bio-artist Yitong Tseo explored this question in a personal way, allowing 8,000 generations of microbes to merge with their likeness.

The future is co-created: In networked systems, many people work together to shape the future, take responsibility, and develop viable solutions to complex challenges.

“Gulliver’s World” demonstrates that interactivity begins where control is shared, allowing visitors to become genuine designers of digital systems.

Amidst geopolitical crises, rapid AI development, and ecological tipping points, 2025 made it clear that artistic engagement is not merely a commentary on crises, but a central component of social orientation.

Gallica, dans les coulisses d’une des plus grandes bibliothèques numériques au monde

Wed, 08 Apr 2026 12:41:52 +0200

Créée il y a près de 30 ans, la collection numérique de la Bibliothèque nationale de France renferme les plus gros secrets livresques du...

Il y a 1 heure •

Écrit par Zoé Terouinard

sixteen rotating vertical slats choreograph shifting forms in SpY’s kinetic sculpture

Wed, 08 Apr 2026 10:04:09 +0200

Le jour où Ralph Baer a inventé la première console de jeu vidéo

Tue, 07 Apr 2026 12:41:53 +0200

Avant toutes les parties de PlayStation, il y a eu Ralph Baer, un ingénieur qui, au croisement des années 1960 et 1970, a modifié à...

À l'instant •

Écrit par Zoé Terouinard

paolo ulian sculpts carsico washbasin from marble for antoniolupi

Mon, 06 Apr 2026 09:21:29 +0200

antoniolupi explores marble's timelessness with endless combinations in the bathroom

Mon, 06 Apr 2026 09:21:29 +0200

Data Critters – Tracing our digital actions through modern scribes

Fri, 03 Apr 2026 18:42:06 +0200

Data Critters are custom-built mechanical plotters connected to live data feeds from the platforms they map. They trace paths across paper as data is generated, producing an ever-growing, never-finished map of online human activity.

Works from SCREENTIME

Fri, 03 Apr 2026 18:31:00 +0200

On Sunday, March 22, Rhizome presented SCREENTIME as part of the New Museum's opening weekend, featuring eleven video works made by artists in ArtBase, Rhizome’s archive of digital art. The fully sold-out screening convened excited museum-goers, members of Rhizome's Community, and even Jeff Koons.

Works in this program unveiled the performative potential of often overlooked, pedestrian spaces on the internet. Mundane internet iconography like the YouTube playbar or buffering icon are personified through desktop performance; a forgotten GeoCities website is simultaneously mourned and brought to life through an impromptu act of karaoke, and Second Life is transformed into a space to both reflect on and remix significant historical events.

Many videos in this program are archived in ArtBase, Rhizome’s archive of born-digital art. First established in 1999, the ArtBase contains over 2,000 works of net art, and includes some of the very first artworks to use the internet as an artistic medium. For SCREENTIME, Rhizome accessioned two new video works to ArtBase: D ied in your arms tonight (Shell’s Place Page 29) by Olia Lialina, and Reenactment of Marina Abramovic and Ulay's Imponderabilia by Eva & Franco Mattes.

Artists include Silvio Lorusso, Young-Hae Chang Heavy Industries, Skawennati, Mark Fingerhut, JODI, Eva & Franco Mattes, Paul Slocum, Martins Kohout, Anne de Vries, Takeshi Murata, and Olia Lialina.

A New Museum security staff member guards the video work Moonwalk by Martins Kohout.

SCREENTIME poster, design by Ruby Miller.

View the works and learn more about them below.

Silvio Lorusso, The Best Is Yet To Come, 2012

The Best Is Yet To Come is a website displaying a series of preloaders, animated GIFs that often appear before a website's content has loaded. In this work, the preloaders are the content, encouraging the viewer to savor the experience of waiting.

Young-Hae Chang Heavy Industries, Samsung, 1999

Since 1997, Young-Hae Chang and Marc Voge have been working together under the name Young-Hae Chang Heavy Industries. Adopting the model of a fictional corporation, they produce online artworks that follow a strict formula: Flash movies consisting of texts set in all-caps Monaco typeface, appearing onscreen in sync with jazz and bossa nova soundtracks. In Samsung, one of the duo’s earliest works, a narrator finds salvation from their life of aimless ennui thanks to Samsung—not the South Korean company or its products, but the very idea of Samsung. Their repeated expressions of love and admiration seem absurd, but also point to the ineffable quality of brands and corporations.

View works by Young-Hae Chang Heavy Industries in ArtBase

Skawennati, TimeTraveller™ Episode 01, 2009

TimeTraveller™ is a multi-platform project that features a website, a nine-episode machinima series shot in Second Life, dozens of still images, and a 3D printed sculpture. Together, these elements explore Indigenous futurism through the invention and use of a fictional technology, the TimeTraveller™; an edutainment system which enables characters to travel through time and witness historical events significant to Native North Americans.

In the first episode of the machinima series we are introduced to Hunter, a young, angry Mohawk man living in the year 2121. Despite his impressive range of traditional skills as a hunter, warrior and iron worker, Hunter is unable to find his way in an overcrowded, hyperconsumerist, technologized world. In an act of desperate clarity, he’s decided to use his TimeTraveller™ to help him figure it out. “Go ahead,” he says, “Call it a vision quest.”

Mark Fingerhut, GOBLIN.exe, 2020

GOBLIN.exe is software that uses real malware techniques to take over the user’s desktop temporarily, only to delete itself upon completion, minutes later. A desktop poem, or a one-act desktop play, the work choreographs built-in elements of the Windows operating system—including Notepad, error messages, and the command line interface—to tell a story of privacy, the nature of time and memory, and reconciliation with the unstoppable waxing and waning of interpersonal relationships.

JODI, ://?WWJJ-=fol'\ks/omy909-live, 2007-2012

_%REmiXXes_Ff_TEc-SoCia.L%20CriTterrQuE_34r;lyOTUB3_%20SO$cialz</

This video originally appeared on FOLKSOMY.NET, and is documentation of a live VJ performance by the net art duo JODI. Originally performed live at various galleries and art spaces around the world, the artists would aggregate hundreds of amateur YouTube videos and remix, collage and blend them in real time using custom-made controllers. While performances ranged in structure and rhythm, they often included videos that brought out the creator’s uncensored feelings towards different technologies in some form; from violent acts performed on computer hardware to passionate, original musical odes celebrating popular social media platforms like Facebook.

The project’s title refers to the word “folksonomy”, a social classification system and portmanteau of the words “folk” and “taxonomy.” Folksonomy refers to user-created tags, bookmarks or keywords typically derived from the user’s own vocabulary as opposed to an official controlled taxonomy.

view works by JODI in ArtBase

Eva & Franco Mattes, Reenactment of Marina Abramovic and Ulay's Imponderabilia, 2007

Reenactments (2007–10) are actions that take place inside the video game Second Life, where Mattes’ avatars—modeled on their own bodies—restage iconic performance art pieces from the 1960s–80s. In this video, the artists reenact one of the most famous performances in art history: Imponderabilia (1977) by Marina Abramovic and Ulay. In Mattes’ 2007 reenactment, audiences from around the world could attend and interact with the performance live online—a synthetic space where the body is both present and absent, and interaction happens through code—or watch them projected in a gallery.

Paul Slocum, Time-Lapse Homepage, 2005

Time-Lapse Homepage is a video the artist made sequentially, frame-by-frame, by editing the HTML on his homepage and taking a screenshot after each change. The soundtrack was created by compiling brief clips of audio recorded from the MIDI files (primarily U2, Moby, and Madonna) playing when each screenshot was taken.

Martins Kohout, Moonwalk, 2008

Moonwalk was created through a recursive process which involved uploading a black video to YouTube, screen-recording it with the playbar visible, and uploading the result to the platform. This process repeated multiple times, gradually forming the pyramid structure seen at the end. Originally, YouTube’s actual playbar aligned with the one inside the video, visually blending with the lowest layer of the composition—an effect lost after the site’s later redesigns. Uploaded only three years after YouTube’s founding, Moonwalk was created during a time when many net artists were experimenting with the formal qualities of the platform.

Anne de Vries, Forecast, 2011

Forecast is a computer-generated video featuring a camera panning through photographs of a blue sky with clouds over Amsterdam. A slow voice guides the viewer through selected passages from Bertrand Russell’s A.B.C. of Relativity, explaining distinctions between actuality and perception and addressing relativity theory and concepts of space-time. Midway through the work, the spoken text transitions into music, leading the viewer into a more associative and hypnotic experience.

Olia Lialina, Died in your arms tonight (Shell’s Place Page 29), 2019

This video documents what has become of a web page made by the user Shell on the free web-hosting service Geocities, founded in 1995. Once a carefully considered web page that choreographed images and lyrics to a MIDI rendition of the 1986 classic rock song “Died in your arms tonight,” it now survives more than a decade later in a state of ruins. Missing image icons cascade about the page, the lyrics are difficult to read, and the audio file referenced in the work’s title is no longer supported in a modern browser, and must be brought up separately in a YouTube window. Through desktop performance, Lialina pays tribute to the devotion and earnestness of early Geocities users, while also acknowledging the inevitable expiration that came with their creations.

Takeshi Murata, Untitled (Pink Dot), 2007

This piece is a part of Takeshi Murata's influential body of work that pioneered the practice known as data moshing. Murata edits and strategically removes certain data from digital video files, creating an undulating effect. The source video in Untitled (Pink Dot) is Sylvester Stallone's 1982 film, Rambo: First Blood.

Rhizome’s public programs are made possible by grants from the Mellon Foundation, Teiger Foundation, and in part by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, and the New York State Council on the Arts with support of Governor Kathy Hochul and the New York State Legislature.

This program was curated by Kayla Drzewicki, Archive & Program Manager, Rhizome.

Program Design & Title Cards by Ruby Miller.

Les années passent, et les artistes sud-coréens continuent de bousculer l’art vidéo

Fri, 03 Apr 2026 17:48:56 +0200

Au MASI Lugano, en Suisse, l'exposition K-Now : Korea Video Art Today s'appuie sur l'art vidéo et la VR pour présenter le travail de huit...

À l'instant •

Écrit par Zoé Terouinard

Pipilotti Rist, aux origines d’une vidéaste avant-gardiste

Thu, 02 Apr 2026 10:48:54 +0200

À l’occasion de l'exposition The Psycho-Somatic Zone à l'Institut d’art contemporain de Villeurbanne, présentée du 03 avril au 02...

À l'instant •

Écrit par Zoé Terouinard

IED Master of Arts in Interaction Design: shaping emerging technologies for products and services

Thu, 02 Apr 2026 02:48:48 +0200

IED Master of Arts in Interaction Design focuses on training designers who can shape and manage interaction ecosystems where physical and digital dimensions converge.

Art numérique : quelles sont les 10 expositions à voir en avril 2026 ?

Wed, 01 Apr 2026 10:48:49 +0200

Le mois d'avril vient à peine de débuter et, déjà, annonce-t-il une flopée d'expositions d'art numérique. Histoire de ne rien louper...

À l'instant •

Écrit par Zoé Terouinard