Wednesday, 26 May 2010
Wednesday, 19 May 2010
Monday, 17 May 2010
From Wikipedia, the free encyclopedia
Sergels torg (in English:Sergel's Square) is the most central public square in Stockholm, Sweden, named after 18th century sculptor Johan Tobias Sergel, whose workshop was once located north of the square.
Sergels torg has a dominant west-to-east axis and is divided into three distinct parts.
- A sunken pedestrian plaza furnished with a triangular pattern (colloquially referred to as Plattan, "The Slab") and a wide flight of stairs leading up to the pedestrian street Drottninggatan, connecting south toStockholm Old Town and north to Kungsgatan.
- This plaza is partly overbuilt by a roundabout centred on a glass obelisk and by the concrete decks of three major streets.
- North of this traffic junction is a considerably smaller open space overlooked by the high-rise façade of the fifth Hötorget Building from where the avenue Sveavägen extends north.
The site south of the square is taken up by the cultural centre Kulturhuset, which also harbours the Stockholm City Theatre and hides the Bank of Sweden headquarters facing the square Brunkebergstorg behind. Klarabergsgatan leads west past the department store Åhléns City and Klara Church to Klarabergsviadukten and Kungsholmen. Hamngatan leads east under Malmskillnadsgatan to Kungsträdgården, Norrmalmstorg, and Strandvägen. Together with the underground mall east of the pedestrian plaza and the T-Centralen metro station and other continuous underpasses west thereof, Sergels torg forms part of a continuous underground structure almost a kilometre in length.
Since its creation, Sergels torg has been much criticized for giving priority to cars at the cost of pedestrians. It has, among some quarters, become the main target for criticism of the much debated demolition of the central city district of Klara during the 1950s and 1960s. Nevertheless, it is not dissimilar to but larger than the public space in front of Centre Georges Pompidou in Paris and much like its French counterpart remains the most popular space in Stockholm for meeting friends, for political manifestations, for a wide range of events, and for drug-dealers. This includes the fountain, in which people celebrate every major victory by a Swedish sports team.
Before the creation of Sergels torg, Brunkebergstorg was the most important public space in the area, the hub about which traffic revolved, the place where people would go to work and to find entertainment.
Albert Lilienberg was appointed city-planning superintendent in 1927, and a year later he produced the first proposal for a public square on the location in his general plan of 1928. In his proposal he envisioned a square whose north-south oriented axis would line-up with Sveavägen intended to be extended south across the square down to the waterfront with widened Hamngatan and Klarabergsgatan joining in from west and east. After this first proposal, the square is featured on every subsequent city plan produced for the area, with alternations in width and length. Notwithstanding the considerable number of revised proposals produced, surprisingly few were preoccupied by architectonic considerations, instead focusing on optimization of traffic flow.
In the city plan Helldén produced in 1946, the square, still named Sveaplatsen ("Svea Plaza"), was conceived as similar to the present square, but still remained an unarticulated modernistic concept. In this proposal, the square was centred on a rectangular open space furnished with trees, benches, and ponds; a space reached by subways stretching under the surrounding roundabout. During the 1950s, continuously increasing traffic loads made separating pedestrians and car traffic desirable, and several studies produced around 1955 focused on a lower level for pedestrians with cars on street-level with various openings to allow light down to the pedestrians.
In 1957, a first official proposal presented a square virtually similar to the present; except that instead of the fountain there was an opening with tall trees and on the western side, where today is the flight of stairs, was a building was standing on pillars. The Chamber of Commerce was critical to the concept, concluding pedestrians on a lower level would produce poor business sites, an analysis which would eventually prove correct. Their own proposal the following year, developed together with various authorities, reserved street-level to pedestrians while cars were confined below ground. This counter-proposal was however produced in only two months, which made it easy for opponents to pin-down its weaknesses (mostly a failure to leave enough space for the metro which was being constructed at this time). Nevertheless, Helldén's proposal failed to impress the city as well, and Helldén together with other hand-picked experts was therefore sent on a tour around Europe, including Coventryand London, to find a better solution. In Stuttgart they could conclude that having pedestrians on a lower level required escalators, and inVienna the pedestrians hall Opernpassage gave them the inspiration to replace the central open space at Sveaplatsen with a round restaurant with glass walls, an aesthetic device intended to give the square an architectonic dignity.
This newly introduced centre-piece resulted in a proposal for a fountain with a monument above it. For the shape of this fountain, Helldén consulted his friend, the mathematician and artist Piet Hein, who in less than in minute found a curve with a "continuously varying bending" and immediately named it the superellipse. Before presenting his final proposal in 1960, Helldén added the triangular pattern to the pedestrian plaza and the wide stairs on its western side.
A contest for the central monument in 1962 was won by Edvin Öhrström, the 37 metres tall glass obelisk of whom was named Kristall - vertikal accent i glas och stål ("Crystal - vertical accent in glass and steel"). The sculpture, finally completed in 1974 and since haunted by technical problems, never was able to deliver the intended visual output and - quoting Hall - "thus adds itself to the many projects within the [reconstruction of central Stockholm] that didn't endure confrontation with reality." The artist favoured by Helldén, Olle Baertling, started to work on a sculpture for the square in 1960 but never was invited to participate in the contest.
South of the square, intentions were to erect two buildings separated by a street leading toBrunkebergstorg, but the old buildings south of the square turned their gables towards the modernist composition of Helldén throughout most of the 1960s. A contest in 1965 for this area included a cultural centre proposed by Pontus Hultén, the legendary founder of Moderna Museet who wished to see his museum relocated from the isolated island Skeppsholmen. The contest was won by architect Peter Celsing and Kulturhusetwas eventually inaugurated in 1974. It basically is a single huge concrete wall from which are consoling shallow stories with glassed façades, a structure Hultén lyrically described as a stage which would "exercise a strong attractive force" by exhibiting people and works of art through the glass façade.
However, considering Stockholm's northern location, to give the sun full access to public spaces is top priority, and Kulturhuset has proven a problematic wall which not only shuts the sun off, but also tends to dominate the square with its large volume. Additionally, Sergels torg is dominated by its traffic roundabout and is hard to experience as a single coherent space. Together with the traffic structure at Slussen, built in the 1930s, Sergels torg is thus an attempt with few parallels in the world, to make public art of a traffic junction dominating the central district of a city. Since the mid 1990s, countless proposals to rebuild the square has been produced, and the debate regarding the square is likely to continue.
Friday, 14 May 2010
Electronic artist, develops large-scale interactive installations in public space, usually deploying new technologies and custom-made physical interfaces. Using robotics, projections, sound, internet and cell-phone links, sensors and other devices, his installations aim to provide "temporary antimonuments for alien agency".
His work has been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001), the United Nations' World Summit of Cities in Lyon (2003), the opening of the Yamaguchi Centre for Art and Media in Japan (2003), the Expansion of the European Union in Dublin (2004), the 40th Anniversary of the Tlatelolco Student Massacre in Mexico City (2008) and the 50th Anniversary of the Guggenheim Museum in New York City (2009).
His work in kinetic sculpture, responsive environments, video installation and photography has been shown in three dozen countries, including Biennials in Venice, here he was the first artist to officially represent Mexico, as well as Istanbul (Turkey), Havana (Cuba), Sydney (Australia), Liverpool (UK), Shanghai (China), Seoul (Korea), Seville (Spain), New Orleans (USA) and others. His work is in private and public contemporary art collections such as the Museum of Modern Art in New York, the Jumex collection in Mexico, the Daros Foundation in Zürich and TATE in London.
His pieces have received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, a distinction at the SFMOMA Webby Awards in San Francisco, "Artist/ performer of the year" at Wired Magazine's Rave Awards, a Rockefeller fellowship, the Trophée des Lumières in Lyon and an International Bauhaus Award in Dessau, Germany.
He has given many workshops and conferences, among them at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute and the Art Institute of Chicago.
His writing has been published in Kunstforum (Germany), Leonardo (USA), Performance Research (UK), Telepolis (Germany), Movimiento Actual (Mexico), Archis (Netherlands), Aztlán (USA) and other art and media publications.
- "Recorders", Manchester Art Gallery, Manchester, September.
- "Solar Equation", Light in winter festival, Federation Square, Melbourne, June.
- "Trabajo reciente", Galería Max Estrella, Madrid, April.
- "Vectorial Elevation", Cultural Olympiad, English Bay, Vancouver, February.
- "Pulse Glow", Pulse Glow Festival, City Hall, Eindhoven.
- "Levels of Nothingness", Comission for the 50th Anniversary of the Guggenheim Museum, NYC, USA.
- "Transition States", Haunch of Venison Gallery, NYC, USA.
- "Recent works", Galerie Guy Bärtschi, Geneva, Switzerland.
- "Wavefunction", Kulczyk Foundation, Poznan, Poland.
- "Under Scan", Trafalgar Square, London, UK.
- "Pulse Park", Madison Square Park, New York City, NY, USA.
- "Rafael Lozano-Hemmer", bitforms gallery, New York City, NY, USA.
- "Rafael Lozano-Hemmer", Haunch of Venison, London, UK.
- " Frequency and Volume", (commissioned by Kate Rich, curators: Francesco Manacorda and Ariella Yedgar), The Curve, Barbican Centre, London, UK.
- "Voz Alta", Memorial for the Tlatelolco student massacre (curator: Sergio Raul Arroyo), Mexico City, México.
- "Body Movies", Quebec City 400th anniversary, Parc de la Cétière, Quebec City, Canada.
- "Pulse Spiral", (cuartor: Molly Dent-Brocklehurst), Center for Contemporary Culture - Melnikov Garash, Moscow, Russia.
- "Recorders", (curator: Sabine Himmelsbach), Edith Russ Haus für Medienkunst, Oldenburg, Germany.
- "Body Movies", Te Papa Museum, Wellington, New Zealand.
- "Some Things Happen More Often Than All Of The Time" (curated by Príamo Lozada and Bárbara Perea), Mexican Pavilion – 52
- Biennale di Venezia, Venice.
- "Pulse Front", Public art installation commissioned by and premiered at LuminaTO. Curated by Gregory Burke, The Power Plant and Co-produced with Harbourfront Centre, Toronto.
- "Body Movies", Museum or Art, HK Arts Development Council, Hong Kong.
- "Rafael Lozano-Hemmer, bitforms gallery, New York."
- "Under Scan", public art commission, East Midlands Development Agency, Nottingham, Castle Wharf, Derby, Market Square, Northampton, Market Square, Leicester, Humberstone Gate West.
- "33 Questions per Minute", (curator: Andreas Broeckman) Spots Mediafaçade, with realities:united, Postdamer Platz 10, Berlin.
- "Subsculptures", Galerie Guy Bärtschi, Geneva.
- "Under Scan", public art commission, East Midlands Development Agency, Lincoln, Brayford University Campus.
- "Subtitled Public" (curators: Itala Schmelz, Jennifer Teets), Sala de Arte Público Siqueiros, Mexico City.
- "Rafael Lozano-Hemmer", bitforms gallery, New York.
- "Vectorial Elevation" (curator: Claire Peillod), Fête des Lumières, Place Bellecour, Lyon.
- "Amodal Suspension", opening project of the Yamaguchi Center for Art and Media (curators: Yukiko Shikata and Kazunao Abe), Yamaguchi, Japan. Access Pods and terminals for the piece were installed at: MACBA in Barcelona, MARS Lab in Bonn, C3 in Budapest, Fundación Telefónica in Buenos Aires, MIT MediaLab in Cambridge, Bauhaus in Dessau, IAMAS in Ogaki, ZKM in Karlsruhe, Kyoto Art Center in Kyoto, FACT in Liverpool, Science Museum in London, Ojo Atómico in Madrid, Laboratorio Arte Alameda in Mexico City, SAT in Montréal, Sarai in New Delhi, Eyebeam in New York City, Wood Street Galleries in Pittsburgh, V2_Organisatie in Rotterdam, Itaú Cultural Center in São Paulo, Sendai Mediatheque in Sendai, Art Center Nabi in Seoul, NTT-ICC in Tokyo, MeSci in Tokyo, Ontario Science Centre in Toronto, Emily Carr in Vancouver, WRO Center in Wroclaw and Multimedia Institute in Zagreb.
- "Relational Architectures", (curator: Priamo Lozada), Laboratorio Arte Alameda, Mexico.
- "Body Movies", Duisburg Akzente, Duisburg.
- "Two Origins" (curator: Marta Gili), Place du Capitole, Printemps de Septembre Festival, Toulouse.
- "Vectorial Elevation" (curator: Juan Guardiola and Javier González de Durana), Opening project of Artium, Basque Contemporary Art Museum, Vitoria-Gasteiz.
- "Body Movies", Liverpool Biennial (curators: Eddie Berg, Lewis Biggs) Liverpool
- Body Movies" (curators: Alex Adriaansens and Andreas Broeckmann), Cultural Capital of Europe Festival, V2 Grounding, Rotterdam.
- "Airport Cluster" (curator: Pat Binder), Foto/Graphik Galerie Kaethe Kollwitz, Berlin.
- "Vectorial Elevation" Zócalo Square, Mexico.
- "Re:Positioning Fear" (curator: Charlotte Pöchacker), 3rd Internationale Biennale Film +Architektur, Graz.
- InTERvenciones (curator: José Roca) Valparaiso 2010
- "Atopia" (curators: Josep Ramoneda e Iván de la Nuez), CCCB, Barcelona.
- ARCO, Haunch of Venison, bitforms, Guy Bärtschi, Max Estrella, Madrid.
- Artefact Festival (curator: Pieter-Paul Mortier), Leuven.
- Art Bologna, Galerie Bärtschi, Bologna.
- "Sculpture as time", Art Gallery of Ontario, Toronto.
- "Inpoliticos" (curator: Laura Bardier), Palazzo Art Napoli, Naples.
- "Decode, digital design sensations" (curators: Louise Shannon, Ligaya Salazar), Victoria and Albert Museum, London.
- "Being in the World" (curator: Berta Sichel), CIFO, Miami.
- "5 Solos" Galería OMR, Mexico City.
- "The World is Yours" (curator: Anders Kold), Louisiana Museum, Copenhagen, Denmark.
- "Hundred Stories about Love" (curator: Chieko Kitade), 21st Century Museum of Contemporary Art, Kanazawa, Japan.
- "Enter Action-Digital Art Now", (curators: Pernille Taagaard Dinesen, Anne Sophie Løssing ), ARoS Museum, Aarhus, Denmark.
- "Emergentes" (curator: José-Carlos Mariategui), Telefónica, Santiago, Chile.
- "YOU_ser_ : Das Jarhundert des Konsumenten" (curator: Peter Weibel), Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany.
- "Art & Electronic Media" (curator: Edward Shanken), Bitforms, NYC, USA.
- "Socially Active", (curators: Rachael Baum, Vivian So Hyun Choi, Helena Copsey, Sue-Na Gay, Grace Zihua Lu, Sara Taylor), Universtiy Gallery, Essex, UK.
- "Un Mundo Feliz", (curator: Rewell Altunaga), 10th Bienal de la Habana, Havana, Cuba.
- "Open Space", (curator: Yukiko Shikata), ICC, Tokyo, Japan.
- "Conjugaciones: arte contemporaneo", (curator: Miriam Kaiser), Museo de los pintores Oaxaqueños, Oaxaca.
- "White Tie & Tiara Charity Ball", Elton John AIDS Foundation, London.
- "Extra-Muros", Mutek Festival 10th anniversary, (curator: Alain Mongeau), Montreal.
- "The Fifth Floor : Ideas Taking Space" (curators : Peter Gorschlüter, Lindsey Fryer and the people of Liverpool) , Tate Liverpool, Liverpool (England).
- "Phantasmagoria: Specters of Absence", (Curator: José Roca), Salina Art Center, Salina, Kansas, USA.
- "The Prisoner's Dilemma", (curator: Leanne Mella), The Cisneros Fontanals Foundation in Miami, Florida, USA.
- "Asedio" (curator: Jose Luis Barrios), Museo Universitario de Arte Contemporáneo, Mexico City, México
- "The Art of Participation: 1950 to now" (curator: Rudolf Frieling), San Francisco Museum of Modern Art, San Francisco, California, USA.
- "Prospect.1, New Orleans Bienniale",(curator: Dan Cameron), NOMA Museum, New Orleans, USA.
- "YOUniverse, 3rd International Bienniale of Contemporary Art" (curated by Peter Weibel, Marie-Ange Brayer and Wonil Rhee), Centro Andaluz de Arte Contemporáneo de Sevilla, Sevilla, Spain.
- "Emergentes" (curator: José-Carlos Mariategui), Centro Fundación Telefónica, Lima, Peru.
- "Turn and Widen, 5th Seoul International Media Art Bienniale" (co-curator: Raul Zamudio), Seoul Museum of Art, South Korea.
- "In Memoriam Albert Hofmann", (curator: Michel Blancsubé), Laberinto de la Ciencia y Las Artes, San Luis Potosi, México.
- "Synthetic Times - Media Art China, A Beijing Olympics Cultural Project" (curator: Zhang Ga), National Art Museum of China, Beijing, China.
- "Phantasmagoria: Specters of Absence", (curator: José Roca), University of Southern California, Fisher Gallery, Los Angeles, California, USA.
- "No es Neutral" (curator: Felicitas Rausch), La Tabakalera, International Contemporary Culture Centre, San Sebastiàn, Spain.
- "Intruders", (curator: Mélanie Boucher), Musée national des beaux-arts du Québec, Quebec City, Canada.
- "Maquinas y Almas - Souls and Machines" (curated by Montxo Algora and Jose Luis de Vicente), Museo Reina Sofía, Madrid, Spain.
- "Emergentes" (curator: José-Carlos Mariategui), Espacio Fundación Telefónica, Buenos Aires, Argentina.
- "Phantasmagoria: Specters of Absence" group show, (curator: José Roca), The John and Marbe Ringling Museum of Art, Sarasota, Florida, USA
- "New Zealand Festival", Te Papa Museum, Wellington, New Zealand
- "Phantasmagoria: Specters of Absence", (curator: José Roca), McColl Center for Visual Art, Charlotte, North Carolina, USA.
- "Fortunate Objects" (curator: Cecilia Fajardo Hill), The Cisneros Fontanals Foundation in Miami, Florida, USA.
- "Emergentes" (curator: José-Carlos Mariategui), The Laboral Art Center, Gijón, Spain
- "Automatic Update" (curator: Barbara London), Museum of Modern Art, New York.
- "Art Basel Unlimited", OMR, Guy Bärtschi and bitforms gallery, Art 38 Basel Fair, Basel.
- "Auto Emotion", (curator: Gregory Burke), Power Plant, Toronto.
- "Floating Artworks", (curator: Bruce Ferguson), TD Centre, Art Gallery of Ontario, Toronto.
- "Phantasmagoria, Specters of Absence", (curator: José Roca), ICI, Biblioteca Luis Angel Arango, Bogotá.
- Art Brussels, Galerie Guy Bärtschi, Brussels.
- "Huge", Artcore Gallery, Toronto.
- ARCO, OMR, Guy Bärtschi, bitforms gallery, Madrid.
- Artefiera, Galerie Guy Bärtschi, Bologna.
- "Lines of Flight", (curator: Celina Jeffrey), LEF-CAAC, Hunter College, New York.
- LA Art Chelsea, OMR Gallery, New York.
- Pulse Fair, bitforms gallery, New York.
- "Collective One", Galerie Guy Bärtschi, Geneva.
- "Plataforma", (curator: Priamo Lozada), Fábrica La Constancia, Puebla.
- "Forms of Classification: Alternative Knowledge and Contemporary Art", (curator: Cecilia Fajardo-Hill), CIFO, Miami.
- "Only the Paranoid Survive", HVCCA, Peekskill, New York.
- Armory Show, OMR Gallery, New York.
- FIAC, Galerie Guy Bärtschi, Paris.
- "Pre-Emptive", (curator: Philippe Pirotte), Kunsthalle Bern.
- "Zones of Contact", (curator: Charles Merewhether), Biennale of Sydney, Art Gallery of New South Wales.
- Volta, Guy Bärtschi, Basel.
- Toronto Art Fair, Artcore Gallery, Toronto.
- "Levinas: Ethics of Encounter", McGill University, Montréal.
- "Electrohype", Malmo.
- "Caleidoscopios" (curator: Gustavo Romano), Centro Cultural de España en Buenos Aires, Argentina.
- ARCO, OMR, Guy Bärtschi, bitforms gallery, Madrid.
- ARCO, Comunidad de Madrid.
- "Scrabble", (curator: Álvaro Rodríguez Fominaya), Centro Atlántico de Arte Moderno, Las Palmas.
- "Dataspace", (curator: Priamo Lozada), Laboratorio Alameda, Mexico.
- Art Basel Miami, OMR Gallery.
- "In the Line of Flight", Tsinghua University, Beijing.
- Guy Bärtschi, Geneva.
- "Algorithmic Revolution", (curator: Peter Weibel), ZKM, Karlsruhe.
- MUSAC, (curators: Agustín Perez Rubio and Rafael Doctor), León.
- FIAC, Galerie Guy Bärtschi, Paris.
- Centro cultural de España, México.
- Art Cologne, Galería Metropolitana, Cologne.
- bitforms gallery Seoul. "Art Basel Unlimited", OMR Gallery, Art 36 Basel, Basel.
- Art Brussels, Galerie Guy Bärtschi.
- Musée d'Art Contemporain, Elektra Festival. Montréal, Québec.
- Dataspace Exhibition, Conde Duque Art Center, Madrid.
- ICC, Art Meets Media, (curator: Yukiko Shikata), Tokyo.
- ARCO, bitforms gallery, Madrid.
- ARCO, OMR Gallery, Madrid.
- Salón Bancomer, (curators: José Luis Barrios, José Springer, Sylvia Navarrete), Museum of Modern Art, Mexico.
- "LOOP", Galería Metropolitana, Barcelona.
- Art Basel Miami, OMR Gallery.
- "Techniques of the Visible", (curator: Sebastian Lopez), Shanghai Biennial, Shanghai Art Museum, Shanghai.
- Art Cologne, bitforms gallery.
- ARCO, OMR Gallery, Madrid.
- SAT, Montréal.
- "Navigator exhibition", (curator: Jun-Jieh Wang), National Taiwan Museum of Fine Arts, Taichung.
- LA MOCA Digital Gallery, (curator: Alma Ruiz), Los Angeles.
- Art Basel 35, Galería OMR, Basel.
- Art Basel Miami, OMR Gallery, Miami.
- Paris Photo, (curator: Daniela Franco), Statement Project Room, Paris.
- "Open", New Designs for Open Space, Van Alen Institute, New York.
- "Ill Communication", (curator: Rob Tufnell), Dundee Contemporary Art, Dundee.
- "Critical Conditions", (curator: Tim Druckrey), Wood Street Gallery, Pittsburgh.
- "Resonancias", Observatori, Valencia.
- E-phos Festival, Athens.
- OK Centrum, Ars Electronica Festival, Linz.
- SAPPHIRE 02, Lisbon, Portugal.
- 6th International Festival for Architecture in Video, Florence.
- "Emoçao Art.ficial", Itau Cultural, Sao Paulo.
- "Cibervisión 2", (curator: Karin Ohlenschläger), Conde Duque, Madrid.
- "Egofugal", (curator: Yuko Hasegawa), 7th International Istanbul Biennial, Istanbul.
- " MAD01", Ifema. Madrid.
- "Media Arts Festival", Tokyo Metropolitan Museum of Photography, Tokyo.
- "Interactiva00", Museo de Arte Contemporaneo, Mérida.
- "Net.artmadrid", ARCO. Madrid.
- 7. Bienal de la Habana, (curators: Ibis Hernández Abascal, Nelson Herrera Ysla, Magda Gonzalez), Havana.
- Int. Festival for Architecture in Video, University of Florence.
- "Mediaterra 2000", Fournos Center, Athens.
- "Split", Splitski Filmski Festival, Croatia.
- "File", Museum of Image and Sound, São Paulo.
- "OK Center", Ars Electronica Festival, Linz.
- "Art electrònic a Espanya" (curator: Claudia Gianetti), Sala d'Exposicions de la Caixa de Sabadell, Sabadell.
- Next Festival, Karlstad.
- "Yo y mi Circunstancia", (curators: Paloma Porraz and Guillermo Santamarin), Musée des Beaux Arts, Montréal.
- "ZKM", Medienkunstpreis 2000, Karlsruhe.
- Interactive Urban Landscapes, Copenhagen.
- Art Futura Festival, Sevilla.
- "Image architettura in movimento", Turin.
- Festival de Video de Navarra, Pamplona.
- Viper 98 webart selection, Lucerne.
- "Lo Mejor de los dos Mundos", Cuenca.
- "Arte Virtual, Realidad Plural", Museo de Monterrey, Monterrey.
- "Remote Sensations", Ars Electronica Festival, Linz.
- MOPU, Festival Internacional de Info-arquitectura. Madrid.
- Nova Scotia Community College, Halifax.
- Actual '96, Logroño.
- Apple Computer, Cupertino, California.
- European Media Art Festival in Osnabrück.
- "The External Interior (Interactive Spectator)", Ex-caotica group show, Galeria Cruce, Madrid.
- Theater, Music, Dance and New Technologies. Torino.
- Forskningscentrum fur Informatik. University of Karlstad.
- Museo Nacional Reina Sofia, Infografía en España series.
- ARCO'95, Fundacion Arte y Tecnologia. Madrid.
- Akademie der Bildenden Kunste. Nuremberg.
- "Tomorrow's Realities", SIGGRAPH'93, Anaheim, California.
- 2!M VR Exhibition, Comunidad de Madrid. Madrid.
- "En-red-arte", Círculo de Bellas Artes, Madrid.
- ARCO'93 Art Fair, Madrid.
- "Memoires Vives", Infographie Canada, Montréal.
Residencies / Workshops
Lectures / Presentations
- CHIN Digital Heritage Symposium Keynote, Vancouver
- USC, Los Angeles
- CCA, Montreal
- FPAA, Philadelphia
- Art Museum of the Americas, Washington DC
- Université de Montréal Concordia University, Montréal Adelaide Film Festival, Keynote, Adelaide 21st Century Museum of Contemporary Art, Kanazawa, Japan Museum of Modern Art, New York Association of Performing Arts Presenters, New York
- Institute of Contemporary Arts (ICA), London, UK
- Goldsmiths College, London, UK
- Musée des Beaux-Arts, Montreal, QC, Canada
- Science Museum, London, UK
- Princeton University, Princeton, New Jersey, USA
- Cooper Union / Parsons, New York, NY, USA
- Edith Russ Site for Media Art, Oldenburg, Germany
- Barbican Centre, London, UK
- New School, New York, NY, USA
- Tate Modern, London
- Fondazione Bevilacqua la Massa, Venice
- Power Plant, Toronto
- ICC, Tokio
- Art Gallery of NSW, Sydney Bartlett School of Architecture, London
- Goldsmiths College, London
- Logo Parc, ámsterdam
- Guggenheim Museum, NEW YORK
- Concordia University, Montreal
- Q-Arts, Derby
- School of Architecture, University of Lincoln
- Phoenix Arts, Leicester
- Broadway, Nottingham
- Metro Cinema, Derby
- Avenue Campus, Northampton
- Loopholes Symposium, Harvard University
- SAPS, Mexico City
- Kodak Lecture, Ryerson, Toronto
- IVF, Victoria
- ICC Tokio
- Media Space, Stuttgart
- Udla symposium, Puebla
- Fundación Telefónica, Madrid
- Carlos III, Madrid
- CITRU, México City
- SAT, Montreal
- IDCA, Aspen
- MICA, Baltimore
- LMCC, New York
- Royal College of Art, Estocolmo
- Yamaguchi Center for Arts and Media, Yamaguchi
- FCMM, Montreal
- Embajada de Canadá, Tokio
- Laboratorio Arte Alameda, México D.F
- Making Art of Databases, V2_Organisatie, Rotterdam
- California Science Center, Los Angeles
- Museum of Fine Arts, Boston
- Digifest, Toronto Emily Carr Institute of Art and Design / UBC, Vancouver
- ARCO, Madrid
- Bauhaus, Dessau
- MIT MediaLab, Cambridge National Research Council of Canada, IMI Montréal and IRC Ottawa
- Prix Ars Electronica Forum, Linz
- Arts International, Rhizome blender, NEW YORK
- Museums as Media Symposium, Guggenheim Museum, NEW YORK
- Subtle Technologies conference, University of Toronto
- UCLA, Art department, Los Angeles
- LA MOCA, Art in Motion lecture series, Los Angeles
- Transurbanism Symposium, Netherlands Architecture Institute, V2, Rotterdam
- Interventions Symposium, National Museum of Photography, Bradford. Istanbul Biennial, Istanbul
- Ars Electronica Festival, Engineers of Experience, Linz
- Yamaguchi Center for Arts and Media, Yamaguchi
- Wexner Center, Media Arts and Culture Colloquium, Ohio
- School of the Art Institute of Chicago
- Art, Technology and Culture Colloquium, UC Berkeley
- Santa Rosa College, Santa Rosa CA
- Transmediale, Berlin
- Center for the Arts and Humanities, SUNEW YORK, AlbaNew York, NEW YORK
- Prix Ars Electronica Forum, Linz
- Next Conference, Karlstad, Sweden
- Consejo de la artes de Nuevo Leon, Monterrey, México
- Dutch Electronic Art Festival, Rotterdam, Netherlands
- Virtual Museum Symposium, Arch Foundation, Salzburg, Austria
- Viper 98, Webart selection, Lucerne, Switzerland
- Universidad de Granada, Granada In Art Festival, Tenerife
- Imagina 98, Le Sense du Numerique, Monaco
- In Art 97, Tenerife
- Jornadas El Objeto Inmaterial, Trasforma, Vitoria
- IATM conference, Keynote speaker, Palacio de Correos, Madrid
- "Conocimiento del Arte", Residencia de Estudiantes, Madrid
- Festival Sonar 96, Barcelona
- Seminario de Paul Hertz, Politécnico, Valencia
- Seminario Ciberarte, Fundación CAM, Alicante, Valencia y Murcia
- In Art 96, Tenerife
- Feria de Arte ARCO 96, Madrid
- Milia 96, Cannes
- Festival Ciber-ría 95, Bilbao
- Art Futura 95 Festival, Madrid
- Jornadas sobre Arte y Comunicación Multimedia, Politécnico, Valencia
- Learning in Networks Conference, University of Karlstad, Sweden
- U.N.A.M. Department of Art, Mexico City
- Tecnológico de Monterrey, Department of Communications, Monterrey
- Fundacion Arte y Tecnología de Telefónica, Madrid
- U.A.M. Azcapotzalco, Department of Design, Mexico City
- Consejo de Ciencia y Tecnologia CONACYT, Mexico City
- Museo de Antropología, Mexico City
- Feria de Arte ARCO 93, Madrid
- Concordia University, Department of Design, Montreal
- Canadian Studies Association, Pamplona
- Concordia University, Communications Department, Montreal
- 21st Century Museum of Contemporary Art, Kanazawa, Japan, 2009
Technological Contemporary Dance with Transition State Theory:
- X'Teresa Arte Alternativo. Mexico City, November 1994
- Akademie der Bildenden Kunste. Nuremberg, Germany, November 1993
- SIGGRAPH '93 Festival. Anaheim, California, August 1993
- Circulo de Bellas Artes, Sala de Columnas. Madrid, June 1993
Performances with Dick Higgins:
- Storm Riders hörspiel, Danish State Radio, October 1992
- Alberta College of Art, several short Fluxus pieces, October 1990
- Banff Centre, The City that Could performance, September 1990