Art was only a substitute for the Internet


Annie Abrahams

pwem : poom : poezie   A multi-lingual piece of constraint collaborative writing by Annie Abrahams. Made in collaboration with Jan de Weille.

txt, new text, archived text no more than 200 chars at the time new text, new text, new text an incentive, a reaction, a proposition, a provocation

I love writing with others, I love reading what others write, I love mangled texts, I love cut-ups, dada, spoken words... , the old internet, net art and intimacy. I love to defy, to guess, to figure out, not knowing before, seeing wonders in incoherence, messy things. I will often revisit, I will read, I will write with it, in it.

Annie Abrahams, based in Montpellier, France, has an art practice that meanders between research and performance. In her carefully scripted art, she tends to reveal ordinary human behavior and develops what she calls an aesthetics of trust and attention. She is interested in collaborative practices as a learning place for “being with”, and considers behavior as the aesthetic material for her art. In projects like Angry Women (2011-), Distant Movements (2018-), Constallations (2018-) and Utterings (2019-) Abrahams questions the possibilities and limits of communication in general and, more specifically, investigates its modes under networked conditions.

Jocelyn Allen

Born and based in Birmingham, United Kingdom, in 1988, I am an artist who mainly works with photography, text/hashtags, dance, video and performance.

I completed my first self-portraiture project in 2010 and have been primarily using myself within my personal work since. The themes that I often explore are hiding & revealing, body image, self-esteem, self-confidence and anxiety, though recently my work has been about pregnancy and motherhood too.

My practice is very therapeutic for me and through it I am learning to accept myself and my body, whilst also building my confidence. It also helps me to process my thoughts and feelings, as well as document my life.

After giving birth to my daughter (B) in June 2020, I decided to start a blog, Jockey Greys (an autocorrect of my first two names – Jocelyn Freya).

The blog has primarily featured work from my series about becoming a mother, Oh Me, Oh Mãe. A few of the sub-series within the project are family portraits (where B's face is usually hidden by using Photoshop), 'Portrait Of A Mother Of A ___ Month Old', and 'Imitating B ___' (my favourite theme within the series which grew out of wanting to not show her face). I want to wait until she is old enough to decide if she wants her face to be visible or not.

Each shoot is accompanied by up to thirty hashtags (Instagram’s maximum limit per post) where I try to talk as honestly as possible about my motherhood experience so far. The work is also a diary of becoming a mother during the pandemic. My typical blog post format consists of a shoot image, the hashtags, and then elaborating on the hashtags.

I completed the project in May 2021, when I found out I was pregnant and have since been making and sharing work in an as yet untitled series about being pregnant and being a mother. The shoots and blog posts follow the same format as Oh Me, Oh Mãe, with an additional section where I compare the images and hashtags of the same stage in my pregnancies.

Prior to starting Oh Me, Oh Mãe, I documented my pregnancy with B in a series called Waiting For Things In A Time When You Rarely Wait For Things, which I had named before the Covid-19 pandemic hit. I also took pictures of myself after being sick due to morning sickness in a project called Puke Portraits, which has since been followed up with Puke Portraits II.

Kaja Cxzy Andersen

Kaja Cxzy Andersen  (b. 1985, Stavanger, Norway) creates mixed media sculptures, installations, and web based work, sometimes combined with performative elements. Drawing inspiration from online culture, mythologies, and mundane daily rituals, her work can be seen as humorous reflections on everyday life post internet.

Andersen holds an MFA in Fine Arts from SVA in New York (2016) and a BA in Contemporary Art from The Art Academy in Tromsø (2011)

Andersen is currently based in New York.

Sara Bezovšek

Sara Bezovšek  (1993) is a visual artist, active in the fields of new media, experimental film and graphic design.

Her artistic practice is characterised by the exploration, collection and storage of mostly pop-cultural visual references from various online platforms, films and TV series. Using the cut/copy-and-paste technique, she combines the found digital material into web pages, collages, mashup videos, etc., thus creating new narratives through appropriation. In doing so, she is interested in what people view and share on social networks, how visual material travels the internet, how it changes and how it affects users. By using digital images familiar to the global internet user, she wishes to depict how internet phenomena and cliche and iconic pop-cultural references influence our perception. The dense amount of short clips from known series and films, animated GIFs, internet memes, videos and other images from online platforms creates a feeling of layeredness, as the viewer can read a number of parallel associations, linked to recognising individual material, in addition to the basic story.

my web page:

Andy Heck Boyd

Andy Heck Boyd,  b. 1981, Kentucky, USA, briefly attended tv/video and filmmaking courses, in, New England Institute of Arts and Communications in Boston, MA, and, Rockport College in Rockport, ME, now disabled and spends the days making art

Edgar Alan Rodriguez Castillo

My work is  the end result of the fate, merging, and exaggeration that I push on purpose of many of the aspects of life that end up surrounding or revolving around my personal life, whether I deliberately looked for them or I happened to encounter them, and this includes people, places, situations, objects, cultures, etc. The polarization of these features included in my work and the way I manage to smoothly amalgamate them together through editing creates an experience of continuous suspense and addictive joy during the whole duration of the moving image no matter the length of the piece. The inevitable fictional characteristic product of documenting immoderate and unrestricted human beings together fabricates what I have called Sci-Fi/Documentary. I look forward to making people more aware of their context and embrace it as the most magical of all the possible worlds in order to navigate it as poetically as possible.

Edgar Alan Rodriguez Castillo is a multidisciplinary artist born in Mexico City, based in New York. Edgar Alan has a BFA in Philosophy from Universidad Iberoamericana. In 2019 he graduated from the School of Visual Arts of New York with a Suzanne Anker BFA Grant for Exceptional Achievement in BFA Fine Arts. Edgar has exhibited his work in New York, Mexico, and Canada.

Edgar Alan is currently working on his first feature film I Used To Play In Bands Now I Do This Solo (I Don’t Need Bands I Just Need You Baby).

Vuk Ćosić

Steal this pixel

The one-pixel animation presented in this exhibition is the very original and historic pixel that was central, but also meant three different things in three works from 1996 and 1997:



Compressed History of Film:

The overall idea with lo-tech was to move in the opposite direction of the consumer electronics mainstream (higher resolutions, stronger machines, faster file transfer…), while inventing and proposing new meaning. The poorly hidden agenda was and still is to be a good conduit for the virus of freedom.

Vuk Ćosić is widely recognized as one of the founding pioneers of, the last avant-guard movement of the twentieth century.

Xavier Dallet

Xavier Dallet  aka Chan Somethingstar, is a visual artist working on internet. Dallet was born in Villeneuve sur Lot in the South of France in 1980. After spending his childhood in Dakar, he moved to Normandy, where he first studied under Jacques Pasquier, his mentor in painting. He then pursued further studies at the School of Arts in Caen (1994-97), Cherbourg (2001-03) and Le Havre (2004-07). He moved to Paris in 2006 where he attended the school of photography, Efet (2015).

Since childhood, Xavier lived and studied with feelings that mixed mysticism with reveries about life in general. This was expressed through several art experiences, painting, conceptual objects and photographic "ready-mades". In his photographic exploration of "ready-mades", with a small toy washing machine (from Paris to Rabat from 2006 to 2014), he realized that his objects of study were about his presence on internet, for example, an avatar he made in 2008-09. This discovery led him to stop painting and progressively, studio arts altogether in the sense that since his time at the Efet school of photography, internet had become his canvas and the brush, for exploring his feelings.

Dallet has been involved with the art collectives, Le Baobab and Perfect Users for the past four years. He investigates his art mainly through "Messenger", where he has ephemeral conversations on two themes : the composition of a column and playing with images from popular culture. After two years of sharing more than 200,000 images on Baobab, he has been working on the examination of phone art with over 700 videos of less than a minute. Xavier makes digital collages through social networks while exploring his own sense of existence or non-existence. He uses networks as a conceptual mirror of his being in which he applies the opposite of art, a reality by the second because internet has no memory.

Instagram: @chan_somethingstar

Rachel De Joode

Rachel de Joode  works on and with the canvas in a sculptural way, the materials merge, morph and warp: paint is smeared, dripped, or poured; the canvases themselves are often cut up, torn, or crushed. Pigments, resin, glue, or plastics are shaped and applied by hand. Ending up in a labyrinth of pleasure, intimacy and desire.

Rachel de Joode is a Dutch-born, Berlin-based multi-media artist. She mixes mediums, particularly those of photography, sculpture and most recently, painting. Much one her work bounces between the physical and the virtual, exploring the relationship between the three dimensional object and its two dimensional representation.

De Joode earned her diploma in time-based art from the Gerrit Rietveld Academie in Amsterdam. She was awarded the Deutsche Börse Residency at the Frankfurter Kunstverein in Frankfurt (2013) and the Sculpture Space residency (2012), as well as a residency at LMCC Governors Island (2013 – 2014) in New York. She has received funding from the Mondriaan fund, the Berliner Senat, the Prins Bernhard Cultuur Fonds and the Royal Dutch Embassy.

Her work been internationally exhibited in group and solo shows, including the ICA in Philadelphia (USA); Henie Onstad Kunstsenter in Oslo (NO); ZKM in Karlsruhe (DE); the Museum of Contemporary Art of Rome (IL); Göteborg International Biennial for Contemporary Art (SE) Kunstverein Nürnberg (DE); Kunstfort Vijfhuizen (NL); Galerie Christophe Gaillard in Paris (FR); Interstate Projects in New York (USA); Higher Pictures in New York (USA).

De Joode currently teaches materialzed photography at ECAL (École cantonale d'art de Lausanne).

Joseph DeLappe

In 1996 I created  a series of traditional oil paintings referencing media portrayals of people utilizing the first wave of virtual reality technologies. In 2018 I’ve started a new series of smaller watercolor studies of people in the second wave of VR – most of the photographic reference for this ongoing body of work were taken by me at various VR festivals, events, university labs and such. I remain fascinated by our eager embrace and adaptation to current interface technologies – VR remains very awkward, expensive and ungainly to use. These paintings translate a digital moment into an analog artifact of this moment in time.

I’ve been colorblind my entire life. I was partially inspired to take on this new series of paintings due to the acquisition of color blind correcting glasses –painting was always a challenge – these new glasses have literally opened up the world to me and have become, in a way, the mechanism towards connecting me to a new reality of color (wearing a different kind of headset if you will – my glasses)…

A San Francisco native, Joseph DeLappe is interested in the intersections of art, technology, social engagement/activism and interventionist strategies exploring our geo-political contexts. Working with electronic and new media since 1983, his work in online gaming performance, sculpture and electromechanical installation have been shown throughout the United States and internationally. Creative works and actions have been featured widely in scholarly journals, books and in the popular media. In 2016 his work, Killbox was nominated for a British Academy of Film and Television Arts (BAFTA) award. In 2017 DeLappe was awarded a Guggenheim Fellowship.

DeLappe lives in Dundee, Scotland where he is a Professor of Games and Tactical Media in the School of Arts, Media and Games at Abertay University.

Chris Dorland

Chris Dorland  (Canada/USA) is a NY based artist working at the intersection of painting and new media. Dorland's work explores the increasingly tenuous boundaries between physical and digital environments, actual and virtual realities.

His work has been shown internationally and is in numerous collections including the Whitney museum, The Bronx Museum, The Neuberger Museum among others. His work has been exhibited in FRONT INTERNATIONAL: The Cleveland Triennial for Contemporary Art, Cleveland, US; Nicoletti Contemporary, London, UK; Super Dakota, Brussels, BE. He has exhibited in galleries such as Marc Selwyn Fine Art, Los Angeles, US; Sikkema Jenkins, New York, US; Rhona Hoffman Gallery, Chicago, US.

Dorland is Director-at-Large at Magenta Plains.

Negin Ehtesabian & Patrick Lichty

Negin Ehtesabian   Visual Artist, Illustrator, and Graphic Designer

-BA in Visual Communication, University of Tehran, Iran

-Animation, the University of the West of England (UWE), Bristol, UK

She has more than 30 published picture books in Iran which some of them internationally have been translated and published.

Her focus in Visual art is contemporary Interdisciplinary art projects, illustration, Digital Media, and Curation. The areas of her interests are human nature, literature, psychology, self-expression, Environment, art therapy, and visual music.

Patrick Lichty  (1962) is an artist, writer, curator and educator based in Winona Minnesota, who explores the impact that art and technology have upon society, aesthetics, and how we translate reality through technological media.  He has an MFA in Digital Art from Bowling Green University.

  Iranian artist Negin Ehtesabian and he form the married team of NPT/Ehtesaabian-Lichty who make work concerning human rights and intercultural exchange. He has exhibited widely in New media for nearly 30 years, as part of or collaborating with RTMark, Second Front, Manifest.AR, The Yes Men, and Pocha Nostra. He is an Herb Alpert Fellow, and has exhibited in the Whitney, Venice, Maribor and Yokohama Bi/Trienniales.  Currently, he collaborates as part of the community.

Twitter: @patlichty_art
ig @patlichty_art

Katherine Frazer

Tokonoma   is an interactive, web based piece. A tokonoma is an alcove in traditional Japanese homes, used for displaying ikebana (flower arrangements) and other objets d’art for guests to admire. Tokonomas may change seasonally, or at the creator’s discretion.

Taking cues from Frazer’s “IRL” ikebana practice, Tokonoma explores the question of “what would a digital dwelling look like?” Are there precious or sentimental artifacts one would like to show off to visitors?

Tokonoma was developed by Mackenzie Davidson.

Katherine Frazer is an artist working in digital painting and assemblage. Her work suggests technology’s deconstruction and reconstitution of lived experiences and takes inspiration from her ikebana practice (Japanese floral arrangement) and 3D models and photos collected on her iPhone.

Émilie Gervais

Starry  background artist working with the internet, the moon and the sun.

B,L,E,E,D,I,N,G    repurposes a collection of early web background images into a psychedelic flicker video. Unlike a minimalist flicker, this flicker maximalizes the already excessive stock backgrounds by layering one upon the next into an overwhelming delirium. For each frame, the algorithm decides which parts of the image to keep and which to subsume under the new pattern.

Faith Holland is an artist, curator, critic, and educator whose multimedia practice focuses on gender, intimacy, and technology. In works that negotiate the physical and embodied relationships to technologies, Holland uses equal measures of humor and tenderness. With collage employed as a main unifying tactic across media, Holland’s works take the forms of sculpture, performance, video, animated gifs, and net art.

She has exhibited at venues such as The Whitney Museum of American Art (New York), NRW Forum (Düsseldorf), Fotografisk Center (Copenhagen), Boulder Museum of Contemporary Art (Boulder), Human Resources (Los Angeles), and DAM Gallery (Berlin). Her work has been written about in Artforum, The New York Times, The New Yorker, The Sunday Times UK, Elephant, Hyperallergic, Broadly, and The Observer.

She has been a NYFA Fellowship Finalist in Digital/Electronic Art, an artist-in-residence at Jamaica Center for Arts and Learning and Harvestworks, and a finalist for Fotomuseum Winterthur’s Post-Photography Prototyping Prize. She opened Hard/Soft, her third solo exhibition with TRANSFER, online and offline in 2020 as well as Touchscreen at L’Unique in Caen, France.

She is the recipient of a 2021 New York State Council on the Arts grant.

My present work  evolved from 10 years of experimentation with digital media. I was very taken with the ease with which I could draw on early iPhone and iPad devices, and the portability of these tools meant that I could do my work everywhere.

My intention is to construct a portal into imagined landscapes. Improved technology has given me myriad ways to accomplish this.

My file sizes are currently large to accommodate prints and mural-size installation projects for interior and exterior wall surfaces. New generative technology allows me to create images by combining hand-generated imagery with that of AI.

Because I paint with light on an electronic canvas, the colours are deeply saturated, luminous and with an intended shimmer. I like to use colour extravagantly.

For inspiration, I surf the waves of the metaverse and read works of contemporary literature. As I work, I feel the mystery, depth and vastness of our cosmos. The worlds I create consciously diverge sharply from the urban landscape in which I live. They are an attempt to help me drown out the static and noise of cyberspace and the city. I portray states of feeling and the oneiric and hope to touch viewers in their hearts as well as their minds.

In addition to my digital animations, I make paintings on electronic canvas.

I truly believe that art belongs everywhere, and this is one reason I continue to pursue my work in the digital realm.

Visual artist Renata Janiszewska was born in London, England. She completed a Bachelor of Fine Art from the University of Toronto, and engaged in further studies in Experimental Art at the Ontario College of Art & Design University. The art of Renata Janiszewska comes out of a passion for line and colour. She has created dynamic works in diverse media, with a concentration on drawing. In 2010 she turned her practice toward the digital, and now paints almost exclusively on electronic canvas. Her digital work has been reviewed in the Globe and Mail. She is a thinker and a dreamer in colour. Janiszewska lives in Toronto, Canada.

Dina Kelberman  is a multi-media artist based in Los Angeles, CA. Her work comes out of a tendency to play with the commonplace media surrounding her everyday life; Google Image Search, YouTube, television, the internet. Kelberman has created original pieces for the New Museum and The Marina Abramovic Institute and participated in numerous international biennials. Her work has been written about in The New York Times, Art21, NPR, Known and Strange Things (Cole, 2016) and elsewhere. In 2019 she completed her first feature-length recontextualization film, The Goal Is To Live. She is currently ranked 5th in the world for Most Lines in Tetris for the Nintendo Entertainment System.

Unfinished explores frustration, desperation, resentment, anger, entitlement, and self-indulgence. Please donate to fund this important artwork.

Margarethe Kollmer  is a visual artist living in Berlin. In her work she deals with relationships of media, power and affects. Her practice is influenced by psychoanalysis, cinema and advertising. Using reformatting, digital manipulation and language to create semi-fictional scenarios, she sets up and problematizes situations in which the viewer is involved.

As the director of material drawn from circuits of content production, Kollmer uses anonymized fragments of self-expression and cultural set pieces to create fragile gestures of emotional reality that are simultaneously questioned. These instances composed from a shared pool of imagery and experiences are both generic and intimate. Using laconic humour and ambiguity, she intentionally produces conflicting feelings, mixing up the public and the personal. Central to her work is a discussion of the violent dissolution and creation of subjects struggling to form in the face of their continuous objectification and commodification; a drama negotiating the order of gazes.

The Thing Is, is a series of semi-fictional 3d animations that combines transferred images of internet porn with blog post text fragments that ask for guidance. Surreal effects occur due to the translation of material, renegotiating boundaries of bodies and distinct meanings. Additional imagery is taken from public parks, representing public space in its physical form. With the anthropomorphic figures remaining completely motionless, the camera is the only actor. In this way the work investigates questions of agency in a hyper-surveilled environment.

courtesy of left_gallery, Berlin

Mikelle Männiste is a Montreal-based artist who uses various mediums, including painting, drawing, video animation, and performance.

This current project explores how darker subjects, such as death and violence, can be encountered on the internet. In 2012, when the search for Luka Magnotta was ongoing, some of my high school classmates told me they had found the horrific video Magnotta had taken of himself murdering Jun Lin.

In the time since, a few similar violent events have been filmed or broadcast online and shared soon after on loosely-moderated sites like Liveleak and 4chan. With social media networks becoming the most frequented sites online, there have been several instances of extreme violence and even snuff films being posted on these platforms, only to be removed soon after. However, this is invariably followed by a phenomenon where people attempt to seek out the media after it has been deleted.

My piece represents how this content is hidden deep within the web, below what seems on the surface to be a place of community and sharing.

Jaime Martínez  (1978) is a Mexican photographer and visual artist, he is currently living and working in his hometown, Monterrey, México.

  His work is mainly focused on portraits and landscapes, specializing in animated photography since 2008. His artworks usually are a colorful and vivid mixture of analog and digital photography.

His animated gifs have been widely exposed online and offline since the Tumblr era. Lately he has been creating and selling his art as NFTs on platforms like KnownOrigin and Foundation. 

Fantasy  is making its way into our daily experiences. Gaming illusions, for one, are gradually corroding systems of belief. Shifts in political rhetoric disrupt our sense of morals and values. Observing practices such as these have brought me to exploring the crossroads between representation, play, reality and myth.

Myths are not stagnant as tradition would have it, but feed imaginations and diverge into personal interpretations each time they are shared. I believe language to be as alive as we are. It thrives along with us, ever-changing through our struggles with communication and as language evolves so do myths, stories and legends.

Lynn Millette works with painting and electronic media. She has a comprehensive background in disciplines related to culture including the new technologies, philosophy, psychology, literature, and the humanities.

Millette has had several solos, most recently, Road Trip, at the Mdc Janine-Sutto, Montréal and Les Fenêtres sur l'eau, Mdc Notre-Dame-de-Grâce in Montréal. Recent group shows include, Epicentre, Valencia, Spain, the main show of the 4th Wrong Biennale and Uncommon at the John B. Aird Gallery, Toronto


Swipe (Tear Crush Swipe)  - what sound do pictures make? A short video about meetups,  choosing, and who’s in charge, with all the feels. A dozen or so one page photo-books of Wall Street in NYC, a tree in Berlin and a lost Pixel cat in Montreal, made by tearing architectural drafting paper into sheets / sheets then folded into one page booklets and then hot messed in a photocopy machine and swiped. A human/B-HL-L3280CDW coproduction 

Petra Mueller takes experimental media and makes it more experimental.

"Mueller has made experimental works that challenge the standard conventions of image technology, media and genre, launching a challenge to the complacencies of arts liberation",  Anteism Gallery Project Space, Montréal 2021.

Mueller is a recipient of a Research Council Nature and Technologies Fellowship (formerly FCAR) and J.W. McConnell Research Fellowship, with her works held in university and museum libraries and collections.  

Martine Neddam  is an artist who uses language as raw material. Since she began as an artist her favorite subjects always were speech acts, modes of address, words in the public space.

Since 1988 she has exhibited text objects (banners, plaques, shadows on the wall) in museums and galleries. She has also conceived many large scale public commissions in several european countries : Netherlands, France, Great Britain. Since 1996, she has created virtual characters who lead an autonomous artistic existence where the actual author remains invisible, among others Mouchette (1996) and David Still (2001) and XiaoQian (2005) and Madja Edelstein-Gomez (2018).

In 2013 she began to develop her own software MyDesktopLife, supported by the ZKM | Center for Art and Media (Karlsruhe). Her work has been exhibited at La Biennale de Montréal (2011), Whitechapel Gallery (London, 2016) and the Stedelijk Museum (Amsterdam, 2018/2020).

 Nikos Voyiatzis  is an artist, archivist, media designer and educator. His work explores information organization in its political and aesthetic dimensions, and revolves around online archives, network cultures and digital cultural heritage. Recent projects include Hypersubjective spaces: speculative preservation of user generated digital folklore since 2011, Archives in transit: from the world of libraries to artificial intelligence, a series of workshops and an educational toolkit for Arts Electronica and OCC Athens, From community archives to post digital folklore, an artistic research on art & media community archiving, presented at the Biennale of Western Balkans. 

Martine Neddam and Nikos Voyiatzis have for several years collaborated in the preservation of . They discovered fan videos and screen captures of on Youtube. They preserved them and situated them in the art context with the help of Andres Manniste who added subtitles to the project. Both Neddam and Voyiatzis deeply believe that the makers of these videos deserve a part of the authorship credits for the creation of the character called Mouchette.

Nico  is a filipino intermedia artist located in honolulu, hawai'i, playing in the liminal space where the body ends and the outside world begins. inspired by transhumanism, bootlegs, and thoughts lost in translation, they discard intended purpose in order to reasses our relationship with tools and arenas, such as the internet.

Elisabeth Nicula  is an artist and writer from Norfolk, Virginia. She is interested in seeing and being seen by the non-human world, abstracted scales of space and time, poetics, and memory.

Smooth Friend is my experimental publishing project. The Dart is a photo essay about the ecology of my apartment bathroom, for Facility, 2021. Frank's Corpus is an essay about my photographic archive of bird bodies, for SFMOMA's Open Space, 2021. Robin Sloan wrote about it in his Reading Room newsletter ♥

I went to all the 2019–2020 season Living Room Light Exchange salons, IRL when that was still possible and the last two on the computer, and wrote about what it was like, for Rare Earth: The Ground is Not Digital, 2020. Under the Road is a depaving fantasy with GIFs and armadillo memories, for Silica Magazine, 2020. March 27, 2020 is a blog excerpt about an unexpected intimacy of quarantine, in Urgency Reader 2, 2020. Have You Seen This Bird is an essay about being friends with a free wild bird, in New Life Quarterly, 2019.

Orange  is a Newcastle-born, London/Southend based UK artist with a strong interest in Libre software, Veganism, sousveillance/surveillance, digital identities and the colour orange. Orange's work covers areas such as repetition, data reuse, information security, digital identities, and repetition.

Stephen Paré  is the son of a nuclear physicist and a learning disabilities teacher. He grew up on a wooded ridge in Oak Ridge, Tennessee. In school his classmates were the children of scientists and the grandchildren of coal miners. He holds degrees in German and English literatures, music, and electronics technology, as well as an MFA in studio art.

He creates artworks on mobile devices, and writes flash fictions to accompany some of them. He is the author of a book of about 120 stories and 500 images, The Avid Diver.

His art website is
A 20-page demo of his book may be viewed there.

His mostly daily production of artworks and flash fictions may be viewed on Instagram:

username: @Verbonnet

Cristina Planas  is a multi-disciplinary artist working across video, performance, photography, sculpture and various 2D media.

She works under the moniker Femme Brutale, a performance identity created when she began competing in national and international boxing championships.

She creates narrative-led performances as a form of expanded cinema that deconstruct character and self, and explore the body as a vector of knowledge. Her diaristic essay films explore myth-making and queer meanings and temporalities across time and place.

Cristina Planas is based between Montreal and the UK, where she received her Bachelor of Arts from the Slade School of Fine Art. She is the National UK Boxing champion in her category and won gold at the 2018 Women's Winter Box Cup and Sweden's Golden Girls Championships.

With the support of a Canada Arts Council she is currently working on her first feature-length Femme Brutale™ film.

Chantal Rousseau’s  work explores pop culture and nature through animated GIFs and painting.

Her work has been exhibited across Canada and internationally, including: Hallwalls Contemporary Arts Centre, Buffalo; Canadian Cultural Centre, Paris; The New Gallery, Calgary; Latitude 53, Edmonton; Mercer Union, Toronto; and La Centrale, Montreal. In the fall of 2020 she had a solo exhibition at the Agnes Etherington Art Centre in Kingston, Ontario. In 2020 she was also awarded two temporary public art commissions, one for the City of Kingston, the other for Erindale Park in Mississauga.

In 2021 she participated in a virtual residency with six international artists and curator Abir Boukhari, culminating in three exhibitions: Platform centre for photographic + digital arts in Winnipeg, AllArtNow in Stockholm, and Hangar in Barcelona.

In 2021 she organized a site specific exhibition of animations at the motel Le Nordet in Saint-Georges-de-Malbaie in Quebec, working with two local artists.

She recently finished a three month residency on Manitoulin Island in Ontario, with 4elements Living Arts.

For recent projects:

To Let the Shape Announce the Filling  repurposes the expected deception of cake-cutting memes and blends it with the sensual satiation of ASMR. Through slicing donuts and splitting into pastry fillings, colloquialisms begin to collide, and concepts of ‘real’ fall to the wayside. Forms of identification that are at once compulsory, synthetic, and performative push back on the limits of categorization. What if our radical future already exists?

Sydney Shavers is an artist whose work assesses the (re)formation of preconceived notions & concepts of value. Her work uses deceptive camouflage to infiltrate systems through mediums both digital & ‘IRL’, and expose the ways power constructs understanding, mediates perception, and prescribes limits to reality. She uses viral media hybridized with art historical references across her performance-based works to provide a pause in the understanding of what we take seriously and what we choose to ignore.

Her work has been exhibited nationally and internationally at venues such as Catskills NY Gallery in Tribeca (A Gathering), Hauser & Wirth in Chelsea (We Were Already Gone), Ikattha Space in Mumbai, and online spaces including Transfer Gallery &’s exhibition, Pieces of Me.

Shavers lives and works in New York City.

Molly Soda  is an artist based in Brooklyn, New York. Nearly all of her work lives online, as she uses a variety of social media platforms to host her work, allowing the work to evolve and interact with the platforms themselves. Soda makes video, .gifs, installations, websites, and video games that touch on concepts around performing the self, memory, aspiration, and consumer culture.

Desktop Dump (2020-ongoing) is an ongoing practice and archival project in which Soda uploads the contents of her desktop onto a webpage before cleaning/organizing her desktop. Each desktop dump, generally happening every month to every few months, becomes a collage/diary. The desktop is an intimate space, a back-end that no one else ever gets to see. What do the contents of our desktops reveal about us?

Kate Steciw  works in collage both digital and analogue.

Solo exhibitions of her work have been presented at Neumeister Bar-Am in Berlin (Things of Shapes, 2016), Brand New Gallery in Milan (Shapes of Things, 2016), and Retrospective Gallery in Hudson, New York (2015). Her work was also included in Dense Mesh (2016) at Caroll/Feltcher in London, Not A Photo (2015) at The Hole in New York, and Under Construction – New Positions in American Photography (2014–15) at Pioneer Works in New York and Foam in Amsterdam. Kate Steciw has had two solo exhibitions with Higher Pictures (2014 and 2016). Steciw’s work is featured on the cover of Charlotte Cotton’s defining publication Photography is Magic published by Aperture in 2015.

She lives and works in the woods.

If places of the internet are artifice, then language is the substitute and it is mutated, it is art.

Art is to traverse the dreams that others offer us.

Make a sound, it is a place. A place named is a place created. We sing and name ourselves into existence and codify our experience into dreams, into parallel realities.

Language is codified and hidden, creative and illusory, present and in flux.

The word is the place you carry with you.

We name and sing our worlds into existence.

The amplitudes and frequencies of our words, our songs, become place and time.

It is utterance given form.

Jan Swinburne’s intermedia practice processes digital and physical media. Her interests focus on pattern recognition as paths to meaning by materialized audio-visualization, as objects and moving-image, in various forms of de/re/generation.

Cynthia   began drawing at the age of 2. While in high school, her art teacher gave her one sentence of instruction: "Hold the pencil like you would sign your name."

Her teachers noticed her unique style and dubbed it Lundism giving her her first solo show when she was 16.

Initially Cynthia sought employment in social work, but creating art was always somehow still a part of her life. At her job as a psychiatric assistant, she started doing portraits of her clients. Many of these people were non-speaking and cognitively challenged. But they would happily sit for Cynthia and would react with pure joy and recognition at her results. The clinic she worked for challenged her by asking if she would design corporate advertisements. This eventually led to an outstanding career in commercial art.

She stopped drawing altogether for fifteen years and suddenly began again at the age of 33, when Heliotroped was created. She drew ten pieces that first year, all in that same style, when suddenly in 1991, she drew Cacophony where the features were more normalized. She's continued in that style ever since, though she’s been known to dive straight into other mediums she’s never used before, like paint, collage, sculpture and video.

Cynthia's art has been critically acclaimed, and has been exhibited, awarded and collected internationally. Her work focuses on her fascination of being both a physical and spiritual being simultaneously. In that delicate balance, she explores the magical energies and mysteries that result.


TTY  is a visual artist. He develops two thematics jointly : one of them is about the evolution of human species and the other one touches upon the nature of artistic act and its future by the integration of virtual creation tools. His main objective is to enquire about the physical dematerialization as a major trend in the contemporary world.

His work is focused on Virtual Photography, 3D Modeling Photography, Photography, Video, Sculpture/Ceramics, 3D Print, Virtual Reality and Computer Art.

He lives and works in France.

What is new is our representation of the representation itself. Being willing to enter into a virtual representation is similar to announcing the post-human era.

Luyuan Zhang  is a multidisciplinary artist based in Melbourne, Australia.

Born in 1995 in China, they then moved to Melbourne, Australia in 2014.

Ig Advert  (2020-21.1) is a continuation of my honors grad show work Ig Advert  (2020). Ig Advert  (2020-21.1) is a video documentation and appropriation of Instagram advertisements collected throughout 2020 till mid 2021.

The selection criteria for these advertisements was based on the intentions behind their construction and how they might be consumed in a neo-liberal market. This project investigates how we are exposed to and interact with complicated marketing algorithms.

Sometimes these interactions feel manipulative, offering misleading promises of virtual rewards. Sometimes sponsored advertising can interrupt the audience and demand our full attention, being unskippable or requiring a small amount of time before ending.

Alternatively, some instagram advertisements allow public comment threads or direct contact with the uploader, spawning unique virtual networks.

The work gathers this type of advertising content and removes them from the original context, shining light on the hollowness of their creation.

Ig Advert  (2020-21.1) includes a more concentrated presentation of social media ads in 2020 to showcase a shift of advertising strategy from beginning of a panic to post-covid mentality.

Andres Manniste, curator

Andres Manniste  has been working with the communications technologies since 1993. He has consistently factored these technological and critical environments into his projects. He has participated in many solo and group exhibitions over his career. He has been the recepient of several important prizes including grants from the Canada Council for the Arts. His work can be found in public collections including the Montreal Museum of Contemporary Art, the Heritage Collection of the Quebec Archives, and the Canada Council Art Bank.

Previous curatorial projects include, Peregrination (2019) for the Wrong Biennale, Trade/Gift/Purchase: Artists Collect (2015), Warren G. Flowers Gallery, Montreal; Interference: Audrey Davis, Jinny Yu and Christina Mancuso (2004), Warren G. Flowers Gallery, Montreal.