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.

Ursula Damm, Transits, 2012, still

Transits, Ursula Damm

The installation Transits, produced for the HeK exhibition Sensing Place in 2012, uses 24 hours of video footage of Aeschenplatz in Basel to record traces of passers-by at an urban traffic intersection, and to make their characteristics visible.

Christina Kubisch, Electrical Walks Basel, 2012. Photo: Lukas Zitzer

Electrical Walks Basel, Christina Kubisch

Christina Kubisch’s Electrical Walks lead to a city’s electromagnetic hotspots and enable us to view our daily environment anew. 

Jodi, div. [property], 2013, screenshot

div. [property], Jodi

The Website div.[property] consists of an animation in which the two standard desktop background images of the Mac Leopard and Windows XP operating systems intersect horizontally, vertically and diagonally in a constant rotation.

Alexis O’Hara, Squeeeeque A.K.A. the improbable Igloo, 2009-2011. Photo: Stefan Hollenstein

Squeeeeque A.K.A. the improbable Igloo, Alexis O’Hara

The Canadian artist Alexis O’Hara has been active as a slam poet and experimental musician since the end of the 1990s. With the Squeeeeque igloo, she has built an interactive audio sculpture consisting of inward-facing, recycled speaker boxes.

Lauren Huret, Face Swap (past), 2016, screenshot

Face Swap (past), Lauren Huret

In her works, Lauren Huret takes on such issues as the impact of artificial intelligence. On her Website she only shares a disclaimer with users, since – as she writes – she’s quite mistrustful of the WWW.

Marc Lee, TV-Bot 2.0, 2010, screenshot

TV-Bot 2.0, Marc Lee

Since the end of the 1990s, the Swiss artist Marc Lee has been an important representative of net-based art. He is known for his experiments with digital-information and communication-technology strategies and also, increasingly, with user-generated content.

Christoph Wachter / Mathias Jud, New Nations, 2009–2011, screenshot

New Nations, Christoph Wachter / Mathias Jud

Like many of the net-based works of the Swiss artist duo Wachter and Jud, New Nations illustrates the power structures of the Internet. The work is a router designed to display the limits of the freedom of the digital-communications community.

UBERMORGEN, Sound of eBay, 2008/2009, screenshot

Sound of eBay, UBERMORGEN

Since 1995, the Austrian artist duo UBERMORGEN has been working in the fields of digital fine art, media activism, programming and media hacking. 
The Sound of eBay is a website that generates MP3 tracks from eBay user data and presents them in the form of teletext sex ads.

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.

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.

Philipp Madörin, Allebildergenerator, 2011, installation view at HeK. Photo: Stefan Holenstein

Allebildergenerator, Philipp Madörin

For the work Allebildergenerator, the Basel artist Philipp Madörin, who originally worked in the field of medical-diagnostic imagery, developed an algorithm that can generate all the images that can be made on a b/w monitor with 480 x 360 pixels.

Aline Veillat, Sada el-Kawn, 2011, installation view at HeK. Photo: Stefan Holenstein

Sada El-Kawn, Aline Veillat

A ceiling-high papyrus plant is festooned with numerous loudspeakers and megaphones, through which a buzz of Arabic poems, revolutionary songs, muezzin calls to prayer or the twittering of birds can be heard. 

Denis Handschin / Michel Winterberg, Um die Ecke, 2012, still

Um die Ecke, Denis Handschin / Michel Winterberg

With their installation Um die Ecke (Around the Corner), the Swiss artists Denis Handschin and Michel Winterberg have created a multiperspective portrait of Basel’s Dreispitz area. Film footage of the site is projected onto an assemblage of four prism-like triangular surfaces, while its acoustic and electronic characteristics are also provided, along with information relating to Basel’s archaeological soil research. 

Beat Brogle und Philippe Zimmermann, onewordmovie, 2003 / 2018, screenshot

onewordmovie, Beat Brogle / Philippe Zimmermann

Beat Brogle and Philippe Zimmermann have developed software for their participatory Web art onewordmovie that – via a connection to a common Web browser such as Netscape or Internet Explorer – compiles all pictures linked under a search term into one film. 

Studer / van den Berg, filter: four letter words, 1997 – 1998

filter: four letter words, Studer / van den Berg

Monica Studer and Christoph van den Berg are among Switzerland’s pioneers of media art; they have been addressing the artistic possibilities of this new platform since the mid-1990s. The three so-called filter works, which were created between 1996 and 1998, can be seen today as historical snapshots. According to the artists themselves, they "deal with the then totally new artistic instrument of hypertext at the level of pictorial translations."

Studer / van den Berg, filter: mille miglia, 1997 – 1998

filter: mille miglia, Studer / van den Berg

Monica Studer and Christoph van den Berg are among Switzerland’s pioneers of media art. The three so-called filter works were created between 1996 and 1998. "Filters are snippets," the artists explain, "whose subject is the changing perspectives when moving in and through the Internet. Like a toddler who learns that moving forwards can mean more than simply following a straight line to reach a goal, we should find different terms for different ways of moving in a nonlinear system." 

Studer / van den Berg, filter: mixed double, 1997 – 1998

filter: mixed double, Studer / van den Berg

Monica Studer and Christoph van den Berg are among Switzerland’s pioneers of media art. The three so-called filter works were created between 1996 and 1998. "These filters can be used to cool down from the search for meaning in the www and to move on aimlessly – like in a road movie," the artists explain.

./LOGICALAND V0.1, Maia Gusberti, Michael Aschauer, Nik Thoenen, Sepp Deinhofer, 2002

./LOGICALAND V0.1, Maia Gusberti, Michael Aschauer, Nik Thoenen, Sepp Deinhofer

The long-term strategy game ./Logicaland V0.1 is based on a world simulation developed in the USA in the mid-1970s. The model reflects global interdependencies between 185 countries and was fed with specific starting data from the "CIA World Fact Book 2001." 

Mélodie Mousset, We were looking for ourselves in each other, 2015

We were looking for ourselves in each other, Mélodie Mousset

Mélodie Mousset uses her own body as the starting point for her work, in which high-resolution imaging methods of medical diagnostics play an important role. Mousset has used them to create virtual animations of her own bodily organs, which float down to the user in a paradisiacal island setting, complete with blue sky and sounds of the sea.

!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.

knowbotic research, macghillie_just a void, 2008 – 2012

macghillie_just a void, knowbotic research

knowbotic research deals with phenomena of visibility and presence as well as with the translation between different systems of meaning: Performative and installative works in the public space confront real-world scenarios with semi-fictional test cases. The figure MacGhillie – clothed in a typical camouflage suit and without attracting attention either as an individual or as a person at all - seeks out urban locations.

knowbotic research, minds of concern (New York Version), 2002

minds of concern (New York version), knowbotic research

Minds of concern, a project originally conceived as an exhibition for the New Museum, New York, 2002, consists of an installation and a Net-based work. Using the Web interface of the Public Domain Scanner, visitors to the exhibition can select from certain groups on the project Website, such as movements or NGOs like Oxfam, the Freedom from Debt Coalition and COSATU, or media activists and artists who express critical views of global activities of the Internet community. 

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.

collectif_fact, Circus, 2004, screenshot

Circus, collectif_fact

The video installation Circus lives from the tension between the simple, static recording of images using digital photography, and their technically high-quality animation. Against an undefined black ground, various micro-scenarios of the eponymous plaza in Geneva float in and out of view, as the different components expand into numerous layers.

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. 

Jan Voellmy, Schnur, 2008, installation view

Schnur, Jan Voellmy

With Schnur [string], his interactive installation, Basel artist Jan Voellmy transforms sound into playful movement. The projection of a piece of string stuck on a wall with red tape channels the sounds of visitors via a microphone, causing a dancing movement in the string, which otherwise swings back and forth gently to the background noise of visitors.

Atelier Hauert-Reichmuth mit Volker Böhm, LUMO LED, 2009

LUMO LED, Atelier Hauert-Reichmuth mit Volker Böhm

Each Multiple has 16 luminous chambers, which can be individually controlled. Although – and precisely because – the number of pixels is greatly reduced, it is possible, when they are set in motion, to trigger a variety of image worlds and incredibly complex processes. Cellular automata are infiltrated by chaotic systems; random structures unexpectedly develop a symmetrical function. 

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. 

Alexander Hahn, A Young Person’s Guide To Walking Outside The City, 1983, screenshot

A Young Person’s Guide To Walking Outside The City, Alexander Hahn

The computer animation that Swiss artist Alexander Hahn created in 1983 at the start of his career depicts a surreal country walk. After the main protagonist, a small blue man, is shot at by fish flying out of a cannon, he makes a bicycle for himself out of the cannon.

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.

Birgit Kempker, Sphinx, 2004 – ongoing, screenshot

Sphinx, Birgit Kempker

Sphinx is an interactive literary platform that went online in 2004. Users can pose the  most diverse questions and expect an individual, oulipoetic response. Oulipoetic is short for Ouvroir de Littérature Potentielle, a workshop for potential literature in which Birgit Kempker has found the basic verse form for her responses: The sestina verse of Baroque lyrics, with its six stanzas of six lines each.

Marc Lee, TV-Bot 1.0, 2004/2005, screenshot

TV-Bot 1.0, Marc Lee

TV-Bot 1.0 was – like its two current successors, TV-Bot 2.0 und 3.0 – a live-stream TV station that recombined current news stories in real time. Three short videos from the first version have been preserved using capture software.

collectif_fact, ce qui arrive, 2005, screenshot

ce qui arrive, collectif_fact

The video animation ce qui arrive is a virtual tour though a large office building, whose anonymous corridors and meeting rooms could be anywhere in the western world. As the camera moves through the building on a horizontal or vertical path, the configurations of people in each room change through overlapping still images.

Studer / van den Berg, travelogue, 2005, screenshot

travelogue, Studer / van den Berg

Travelogue, a Web game that Studer / van den Berg developed for the TV and Online-Project 56kTV bastard channel, is a first-person travelogue whose narrator is the user, trying to escape from the claustrophobic narrowness of an anonymous hotel room and the annoying background noise of a broken television.

John F. Simon Jr., Every Icon, 1997 – ongoing, screenshot

Every Icon, John F. Simon, Jr.

In his work Every Icon, the US American artist John F. Simon, Jr. has programmed software that runs through all possible combinations of black and white fields in a grid of 32 x 32 squares, at a rate of 100 variants per second, from top to bottom.

!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.

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".

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.

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.

Cod.Act, πTon/2, 2017, Installationsansicht HeK, Foto: Gina Folly

πTon/2, Cod.Act

πTon/2 is a sound installation that consists of a long rubber tube, driven by a motor, which resembles a mechanical snake. While the structure and materials of the organic-seeming form twine, push and bump against the walls that surround them, sounds are created, which are then amplified electronically.

Philipp Gasser, Clouds of the Second Kind, 2016, screen shot

Clouds of the Second Kind, Philipp Gasser

With the help of current computer programs, Philipp Gasser created a cloud that is completely digitally generated. Clouds of the Second Kind (2016) is based on general types of cloud formations such as stratus, cumulus, cirrus, cirrostratus and cirrocumulus.

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.

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.

Jonas Baumann, The Touch of Vacuum, 2014, still

A Touch of Vacuum, Jonas Baumann

In Jonas Baumann's A Touch of Vacuum, a loose series of short, digitally generated moving sculptures, set before neutral, indefinitely open visual spaces, moves past the viewer. One sees, for instance, a white cross, which is touched by a piece of cloth with a strictly geometric pattern of black and white cubes that then falls over it to the ground – and one thinks immediately of a mixture between Malevich, Suprematism and early Mondrian.

Studer / van den Berg, Hotel Vue des Alpes, 2000 –, screenshot

Hotel Vue des Alpes, Studer / van den Berg

Since March of 2000, in a down-to-the-last-stone fictional landscape of approximately 20 square meters that includes cable car, mountain lake and alpine hut, Monica Studer and Christoph van den Berg have operated a virtually livable hotel with nine rooms in the style of the 1960s. Each of the rooms can be booked for up to five days, which allows for free and exclusive access to the continually expanding leisure activities and hotel areas.

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. 

LAN, Trace Noizer, 2001, screenshot

TraceNoizer – Disinformation On Demand, LAN

TraceNoizer is a website that allows all registered users to conceal their own Internet identity by repeatedly cloning information from fake websites. Bit by bit, the cloned data is captured by the major search engines, so that it becomes indistinguishable from real information. With the help of the Clone Control Center, the cloned always have the chance to review a list of the concealed sites and, where appropriate, remove them.

Hervé Graumann, Raoul A. Pictor cherche son style, 1993, installation view

Raoul A. Pictor cherche son style, Hervé Graumann

On the tiny monitor of a Macintosh Colour Classic Computer, Hervé Graumann created a painstakingly detailed artist's studio for his protagonist Raoul A. Pictor, upon whose artistic activity he has continued to expand in subsequent years. 

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.

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.

Gilles Aubry / Stéphane Montavon, Cairo Talking Heads, 2006/2017

Cairo Talking Heads, Gilles Aubry / Stéphane Montavon

Cairo Talking Heads is an audio blog by Gilles Aubry and Stephane Montavon documenting their art residency in Cairo in 2007. During the course of six weeks, they acted as "acoustic mirrors" for individuals in the city, recording oral speech fragments by various activist bloggers faced with censorship.

Andreas Gysin / Sidi Vanetti, Altroparlanti, 2006/2017

Altroparlanti, Andreas Gysin / Sidi Vanetti

In the installation Altroparlanti, a video projector projects two beams of light on a wall, at the center of which two loudspeakers are hanged. The beams of light form two disks that move on the wall and when these touch the extremities of the wall on the sides and on the ground, the disks bounce back as if they encountered a physical obstacle.