Adam Cruces, Patience, 2011, still

Patience, Adam Cruces

One of the American artist Adam Cruces’s main interests is the specific aesthetics of the digital world. In the video loop Patience, he shows the face of a computer-generated beauty. Her features remain immobile, while the hypnotic waves of a Mac-OS screensaver move up and down in her hollowed-out eyes.

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Aline Zeltner, Lideslied, 2011, still

Lideslied, Aline Zeltner

Lideslied is the first video work by the Swiss artist Aline Zeltner, who initially worked mainly with objects, installations and performances. In a larger-than-life projection, shown in slow motion against the backdrop of rhythmic string sounds, a woman rides on a gleaming brown horse from the depths of a summer-green meadow towards the viewer.

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Esther Hunziker, EHB 5866, 2012, still

EHB 5866, Esther Hunziker

EHB 5866 is the fictitious galaxy of the Basel artist Esther Hunziker, which consists of a hundredfold superimposition of a single real photograph of the Mars moon Phobus. Rather than around the red planet, the layers of the celestial body’s image rotate around themselves in changing constellations.

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!Mediengruppe Bitnik, Download Finished, 2006, still

Download Finished, !Mediengruppe Bitnik

For their Internet project Download Finished, the Zurich-based artistic duo !Mediengruppe Bitnik (Carmen Weisskopf and Domagoj Smoljo), known for the media-reflective application of hacking strategies, use films from P2P networks and online archives.

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knowbotic research, kotomisi un-inform, 2014 –2016

kotomisi un-inform, knowbotiq

Kotomisi is the name of a traditional 17th century garment that slaves wore in the former Dutch colony of Surinam, both before and after their liberation. The fabric for this multi-layered garment, consisting of skirt, jacket and headdress, was manufactured in trans-local production and distribution processes in Europe, Africa, Asia and America, representing the conditions and even the payment methods of a slave trade that was already quite globalized even then.

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collectif_fact, Loading, 2007, screenshot

Loading, collectif_fact

The animated video Loading by the artist group collectif_fact shows an endlessly looped, short sequence of identical, grey delivery vans that drive two by two into an equally grey parking garage. The monotonous flow of the vans never changes. The scenery appears to be made of cardboard and the plot is obviously set-up and unnatural. 

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Jodi, Max Payne Cheats Only, 2004, screenshot

Max Payne Cheats Only, Jodi

Max Payne Cheats Only concludes a series of video game appropriations by the Dutch-Belgian artist duo Jodi. The existing figure of Max Payne – the third person shooter – is dismantled and reconstituted into a meaningless juxtaposition of repetitive microtreatments, following all rules of programming art. 

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Esther Hunziker, Frequency, 2008, screenshot

Frequency, Esther Hunziker

In her video Frequency, Esther Hunziker compressed the found footage of a live concert so often that the band’s motions break down into constantly changing color fields. The fitting "electrospherical" soundtrack, as the artist herself aptly names it, consists of overlapping radio frequencies.

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!Mediengruppe Bitnik, CCTV – A Trail of Images, 2008 – 2014

CCTV – A Trail of Images, !Mediengruppe Bitnik

In their series of works titled CCTV – A Trail of Images, the artists known as the !Mediengruppe Bitnik intervene in urban surveillance systems. Using self-made signal receivers, they make hidden video-surveillance signals in the urban space visible to the viewer.

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Stefan Karrer, Cool clouds that look like they should be spelling something, but they don't, 2016, video still

Cool clouds that look like they should be spelling something, but they don't, Stefan Karrer

In Cool clouds that look like they should be spelling something, but they don't (2012/2016), Stefan Karrer searched in the Internet for pictures that were described using terms like "cloud', "wave" or "rock" combined with adjectives like "cool", "crazy" or "lonely".

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Marc Lee, Pic Me, 2014, Online Project

Pic-Me V1 (Version 1), Marc Lee

In his Internet work Pic-Me, the Swiss media artist Marc Lee links the social platform Instagram with a Google Earth browser plug-in, which allows him to pinpoint the location of Instagram users who have just posted a selfie under the hashtag #me.

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Yves Netzhammer, Formales Gewissen, 2013, still

Formales Gewissen, Yves Netzhammer

Formales Gewissen (2013) represents the end of the trilogy begun by Dialogischer Abrieb (2011) and continued in Vororte der Körper (2012), in which Yves Netzhammer studied possible forms of interaction between human beings and their environment.

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Philipp Gasser, Der moderne Mensch, 2000, still

Der moderne Mensch, Philipp Gasser

On the occasion of the new millennium, Philipp Gasser created Der moderne Mensch (The Modern Human) in order to address a new image of mankind that was supposed to accompany the change in millennium. In a normally lit exhibition room, a mirror is used to split a projection into two projections, onto both sides of a corner or two opposing walls.

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Philipp Gasser, Der, der kommt, ist nicht der, den du erwartet hast, 1999, installation view

Der, der kommt, ist nicht der, den du erwartet hast, Philipp Gasser

Since his beginnings as an artist, Philipp Gasser's focus has been on drawing. This is still the case today, when he mainly works as a media artist. Although his animations are staged as simple projections, they exert a physical "pull" on the viewer, reaching outside the image to draw us in.

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Yves Netzhammer, Dialogischer Abrieb, 2011, still

Dialogischer Abrieb, Yves Netzhammer

The metaphorically applied storyline of a dialogue in the form of a car crash, in which two subjects approach each other in slow motion and finally collide, provides the formal structure of the film. Mutual dependencies and influences are illustrated symbolically. 

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Hervé Graumann, My living room, 1993, screenshot

My living room, Hervé Graumann

With the help of a CAD program used at the end of the 1990s especially for visualizations of large-scale architectural projects, such as football stadiums, Graumann's My living room offers a glimpse into a highly personal work space and bedroom.

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Yves Netzhammer, Vororte des Körpers, 2012, still

Vororte des Körpers, Yves Netzhammer

Vororte der Körper is a consistent animation, which casts the film medium back on its origin, the image. Beginning with divers on an ocean platform, the viewer plunges simultaneously through pictorial spaces in pictorial worlds, whose associative inner logic collides with the routines of conventional narration.

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