Crosslucid, Touchless S(t)Imulation, © courtesy of the artists. a visual poem, was created for FASCIA BLUES, a collaboration between deCode & Hervisions. The piece comments on connection as a relative means to facilitate new methods of communication, and was exhibited at CADAF during Art Basel Miami 2019.

By Marie Chatel

Copy-Paste. Today we take for granted this functionality on our laptops as if it had always been there. But the fragmentation, dislocation and recombination of visual and textual content only have a short history that finds all its meaning in art. Flourishing in the early 20th century through the movements of Cubism, Dada and Surrealism, collage and montage still have a visible impact on digital art. Beyond its actual process, the practice brought distinct aesthetics and new ways to represent society and technology. Highlight on the legacy of this revolutionary art technique.


AES+F, Inverso Mundus, Still #1–02, 2015, pigment InkJet print on FineArt Baryta paper, 55,6x80 cm, edition of 10 © courtesy of the artists. In this fantastic world, chimeras reminiscent of Peter Bruegel and Hieronymus Bosch are domesticated like pets.

By Marie Chatel

With thirty years of exercise and more than a hundred solo shows to this day, Russian art collective AES+F has established itself as a key player in digital practices and the contemporary art scene. What’s most intriguing in their absurd parodies is how narratives look both shallow and buried at the same time. Driving viewers in a relentless quest for meaning is probably one of the group’s most successful and overriding strategy, and it all revolves around one term: allegory.

Allegory: Back to Basics

Before delving into AES+F’s approach to narration, let’s go back to the definition and traditional use of…


John Gerrard marks the vacant site of Lucas Gusher with an oil-burning flag warning of the ultimate outcomes of capitalism.
John Gerrard marks the vacant site of Lucas Gusher with an oil-burning flag warning of the ultimate outcomes of capitalism.
John Gerrard, Western Flag (Spindletop, Texas), 2017, video still. Courtesy of the artist, Thomas Dane Gallery, London, and Simon Preston Gallery, New York.

By Marie Chatel

“Are we just secretly yearning for an endless summer?” asks Pedro Gadanho, director of Lisbon’s MAAT Museu de Arte in Eco-visionaries (2019) and, frankly, who would say no to that. But while this question might have appeared innocent a few years back, the tide has turned. From Greta Thunberg’s 15-days sailboat journey across the Atlantic to the Amazonian forest burning down, at last, one stops to ignore, forget, overlook and dismiss. The idea of a technology ensured, corporately maintained future for the very few bothers. …


Claudia Hart, Big Red with Big Red Noise augmented Wallpaper, 2019: 3D visualization, bitforms gallery, NY, 2020, courtesy of the artist.

By Marie Chatel

Claudia Hart is a pioneer of media art, one of the very few that worked at the onset of merging art and simulation technologies in the 1990s. Starting with early 3D virtual imaging then-used in the military only, she subsequently experimented with upcoming techniques such as AR and VR in an all-embracing capacity. But is being technologically vanguard enough for artists to gain credibility? Is it just about mastering new tools? These questions ask to ponder the blurring of roles between a creative and an engineer or IT specialist. Conspicuously, while Hart’s embrace of technologies stands apart…


Sabrina Ratté, Undream, 2018, still from video, courtesy of the artist.

Interview by Marie Chatel

Café Le Brebant, Paris, a Monday morning. We meet with video artist Sabrina Ratté to talk about her creative approach, use of new media, and recent work, as she brings her solo show Cité-Jardin to Galerie Charlot in Paris.


Ursula Damm, Peter Serocka (software conception), Membrane, 2019, screenshot, © courtesy of the artist.

Interview by Marie Chatel

Ahead of Art Basel week, we’ve met with Sabine Himmelsbach, director of the House of Electronic Arts (HeK) in Basel, to talk about artificial intelligence and art, as the institution dedicates its latest exhibition Entangled Realities: Living with Artificial Intelligence to artists engaging with the revolutionizing medium.


By Marie Chatel

© Andrei Stratu on Unsplash.

New media art is a challenging field for non-specialists to apprehend, requiring an understanding of both art and digital technologies. How do the two areas interact? How do artists manage to work with both? And what does this merging offer in presenting new cultural and social meanings? Following up on one of our most popular articles — What is Digital Art? Definition and Scope of the New Media — we have gathered discussion panels in video and podcast formats for you to embrace better what digital art is about. Enjoy!

Introducing Digital Art

This podcast from State of the Art…


Zach Blas and Jemima Wynans, I’m here to learn so :)))))), 2017, as currently displayed at Transfer Gallery’s exhibition Forging the Gods, © Transfer Gallery. The work is also on show at La Gaîté Lyrique as part of the exhibition Computer Grrrls.

By Marie Chatel

Traditionally speaking, the aura of an artifact grows with rarity, which may result from the provenance of the object, the medium used, craft, expertise, and level of recognition of the artist, as well as market trends, following the general law of supply and demand. Computer-produced artworks, however, inherently depart from this economic model, making it either painstakingly adjustable to the existing scheme or persuasively innovative in its consumption and usage.


LaTurbo Avedon, Sittin’ up in my room, 2018, courtesy of the artist.

By Marie Chatel

Representing our physical traits and those of others, realistically or not, is a constant subject of art history which continues to intrigue artists working with digital tools, network systems, and biotechnologies. From avatars to cyborgs and technologically-augmented humans, here is a highlight of several themes and approaches to body depiction in the age of new media.


Morehshin Allahyari and Daniel Rourke, The 3D Additivist Manifesto, 2015, 3D video still, courtesy of the artists.

By Marie Chatel

Last week on international women’s day opened in Geneva the international film festival for human rights FIFDH, a forum questioning injustice, armed conflicts, lack of civil rights, and other critical social frameworks, and which this year traces the specific impetus of women activists (through March 17). With movie On Her Shoulders documenting Nadia Murad’s fight for the recognition of Yazidis’ genocide, the opening ceremony set the tone in reminding of the courage, responsibilities, and risks that women take to defend their values. …

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