Peoples’ Portrait by Zhang Ga

«Peoples’ Portrait»

In November 2004, «A People’s Portrait» by Zhang Ga simultaneously displayed the portraits of people taken in New York, Singapore, Rotterdam, Linz, and Brisbane on the Reuters electronic billboard in Times Square and other sites in the connected cities, as well as online, transforming the public plazas into translocal sites.

Ga Zhang «Peoples' Portrait» | Ars ElectronicaGa Zhang «Peoples' Portrait» | Ars ElectronicaGa Zhang «Peoples' Portrait» | Times Square, New YorkGa Zhang «Peoples' Portrait» | Times Square, New York

‘사람들의 초상’은 세계 곳곳의 사람들의 표정을 인터넷으로 연결시키는 공공예술 프로젝트입니다. 미디어 아티스트 장가에 의해 2004년에 이어 두 번째로 기획된 ‘사람들의 초상’은 다양한 인종과 문화의 사람들을 연결시키며 시공간을 초월한 전지구적 소통을 추구합니다. 사람들은 거리를 지나다가 서울과 대전의 COMO 키오스크에서 자신의 얼굴 사진을 찍어 호주의 아들레이드, 미국 뉴욕, 오스트리아 린츠, 중국 베이징으로 전송할 수 있습니다. 이들의 얼굴 사진은 다른 곳에서 전송된 얼굴 사진들과 연결되어 각 지역의 대형 화면 위에서 실시간으로 보여집니다. 나는 서울에 있지만 나의 초상은 전세계에 동시에 존재하면서 거리의 시민들과 만나게 되는 것입니다. 사람들은 사적 영역에서의 고정된 순간의 묘사가 아니라 세계로 확장된 공공 장소에서 시시각각 변화하는 초상화를 공유함으로써 새로운 네트워크 미디어를 경험하게 됩니다.

Artist statement

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Peoples’ Portrait by Zhang Ga에 댓글 닫힘 게시됨: Interactions

Telematic Dreaming by Paul Sermon

«Telematic Dreaming»

«Telematic Dreaming» (1992) turns a bed into the support of high-resolution images that might show a partner, intimately alive although being thousand kilometers away. The light-intense projection of the other results in a remarkable suggestion which turns the touch of the projected body into an intimate action. Sermon aims at expanding the senses of the user, while it is obvious that the other cannot really be touched but that only swift, decisive, possibly tenderly reactive movements can experience the suggestion of touch—a moment of contemplation, as many users observed. The synaesthetical, sensual impression lets the hand and the eye fuse, and it is this effect that characterizes this work as well as the works to come in the following years, in collaboration with Andrea Zapp.


Paul Sermon «Telematic Dreaming» | Telematic Dreaming (installation view)Paul Sermon «Telematic Dreaming»Paul Sermon «Telematic Dreaming»

Paul Sermon «Telematic Dreaming» | Telematic Dreaming (sketch)

Paul Sermon «Telematic Dreaming»


Telematic Dreaming was originally produced as a commission for the annual summer exhibition curated by the Finnish Ministry of Culture in Kajaani, with support from Telecom Finland, in June 1992. The title and theme of the exhibition was derived from the notion of “home” as Jean Baudrillard understands it in his essay “The Ecstasy of Communication”. In describing my installation I begin with a quote from another Baudrillard essay that presents the starting point for “Telematic Dreaming”, through which it interprets itself as a critique of the essay.

The celibacy of the machine brings about the celibacy of “Telematic Man”. Exactly as he grants himself the spectacle of his brain and of his intelligence as he sits in front of the computer or word-processor, the “Telematic Man” gives himself the spectacle of his fantasies and of a virtual “jouissance” as he sits in front of his “minitel rose”. He exorcises “jouissance” or intelligence in the interface with the machine. The Other, the sexual or cognitive interlocutor, is never really aimed at – crossing the screen evokes the crossing of the mirror. The screen itself is targeted as the point of interface. The machine (the interactive screen) transforms the process of communication, the relation from one to the other, into a process of commutation, ie. the process of reversibility from the same to the same. The secret of the interface is that the Other is within it virtually the Same – otherness being surreptitiously confiscated by the machine.”

Jean Baudrillard “Xerox and Infinity” pages 5. 6. ISBN 0-33701-88-9 Touchepas. Originally published as Le Xerox et L´Infini, Paris 1987

Telematic Dreaming is an installation that exists within the ISDN digital telephone network. Two separate interfaces are located in separate locations, these interfaces in themselves are dynamic installations that function as customized video-conferencing systems. A double bed is located within both locations, one in a blacked out space and the other in an illuminated space. The bed in the light location has a camera situated directly above it, sending a live video image of the bed, and a person (“A”) lying on it, to a video projector located above the other bed in the blacked out location. The live video image is projected down on to the bed with another person (“B”) on it. A second camera, next to the video projector, sends a live video image of the projection of person “A” with person “B” back to a series of monitors that surround the bed and person “A” in the illuminated location. The telepresent image functions like a mirror that reflects one person within another persons reflection.

“Telematic Dreaming” deliberately plays with the ambiguous connotations of a bed as a telepresent projection surface. The psychological complexity of the object dissolves the geographical distance and technology involved in the complete ISDN installation. The ability to exist outside of the users own space and time is created by an alarmingly real sense of touch that is enhanced by the context of the bed and caused by an acute shift of senses in the telematic space. The users consciousness within the telepresent body is controlled by a voyeurism of its self. The cause and effect interactions of the body determine its own space and time, by extending this through the ISDN network, the body can travel at the speed of light and locate itself wherever it is interacting. In “Telematic Dreaming” the user exchanges their tactile senses and touch by replacing their hands with their eyes.





Telematic Dreaming by Paul Sermon에 댓글 닫힘 게시됨: Interactions

The Letter Writing Project

Lee Mingwei – The Letter Writing Project (Kneeling Booth)

The exhibition Mind Space focuses on ‘mind’ as the junction between the spirit and the body, rationality and emotionality. Mind is a space of inner experience, situated in the midpoint between matter and spirit and embracing both body and soul, and is also something we must always examine and cultivate. To awaken mind is yet one more crucial role contemporary art must not sacrifice, and especially today, when all of our senses are wired like conduits to the outside world, to claim an inwardly-oriented perspective is absolutely necessary in order to attain a sense of unity and balance.



When my maternal grandmother passed way, I still had many things to say to her but it was too late.  For the next year and a half I wrote many letters to her, as if she were still alive, in order to share my thoughts and feelings with her.

For The Letter-Writing Project, I invited visitors to write the letters they had always meant to but never taken time for.  Each of three writing booths, constructed of wood and translucent glass, contained a desk and writing materials.  Visitors could enter one of the three booths and write a letter to a deceased or otherwise absent loved one, offering previously unexpressed gratitude, forgiveness or apology.  They could then seal and address their letters (for posting by the museum) or leave them unsealed in one of the slots on the wall of the booth, where later visitors could read them.  Many later visitors come to realize, through reading the letters of others that they too carried unexpressed feelings that they would feel relieved to write down and perhaps share.  In this way, a chain of feeling was created, reminding visitors of the larger world of emotions in which we all participate.  In the end, it was the spirit of the writer that was comforted, whether the letter was ever read by the intended recipient or others.

(Commisioned by Whitney Museum of American Art, 1998)


‘마인드 스페이스’전


물질만능 시대에 살고 있는 현대인들에게 삶과 죽음, 사람 사이의 관계, 마음의 평안 등 내면 성찰의 기회를 제공하는 ‘마인드 스페이스(mind space)’전이 호암갤러리에서 열리고 있다.

제목에서도 알 수 있듯 이번 전시는 현대미술에서 소외된 정신의 문제, 다시 말해 정신과 육체, 이성과 감성의 조화를 꾀하고자 ‘마음’에 초점을 맞추고 있다.







리 밍웨이(Lee Mingwei)의 '편지쓰기 프로젝트'


미국 추상표현주의의 대가이자 숭고함의 감정을 고양시키는 색면회화로 유명한 마크 로스코, 빛과 공간을 이용해 관람객을 묵상의 세계로 인도하는 제임스 터렐을 비롯해 세계 주요 비엔날레에서 주목받고 있는 라니 마에스트로, 리 밍웨이 등 국내외 작가 8인이 회화, 비디오, 설치, 조각 등 다양한 장르의 작품 15점을 선보인다.
부드러운 빛이 스며드는 반투명 유리벽으로 만들어진 방안에서 친구나 가족, 또는 자신에게 편지를 쓰는 리 밍웨이의 ‘편지쓰기 프로젝트(The Letter Writing Prject)’, 희미한 전등 아래 밀랍으로 만들어진 벽 사이의 좁은 복도를 지나가도록 만들어져 있는 볼프강 라이프의 ‘밀납으로 만든 방(Beeswax Chamber)’등 작품 하나 하나가 관람객의 참여를 유도하고 있는 것도 이번 전시의 특징이다.
‘빛과 무한의 공간’ ‘생성과 소멸의 공간’ ‘기억과 치유의 공간’ 속에서 자기 내면으로 떠나는 색다른 여행을 경험할 수 있을 것이다.



Interactive dressing rooms

Rem Koolhaas & IDEO – Interactive dressing rooms

In December 2001 the Italian haute couturier Prada opened its groundbreaking new “epicenter” store in New York City, designed by the Dutch architect Rem Koolhaas. IDEO, working with Koolhaas and his architecture and research firm OMA/AMO, created the invisible technology that allows Prada staff members to choreograph the in-store sales experience.

IDEO’s recent projects include hi-tech fitting rooms in the New York Prada epicentre, designed with Rem Koolhaas. Each dressing room is a simple booth with Privalite glass walls that switch from transparent to opaque for privacy

The interactive dressing rooms augment the experience of trying on clothes for the customer and enhances the relationship between the sales assistant and the customer. It is presented as a simple eight-foot-square glass booth. One wall forms the door, which the customer can make opaque for privacy during changing or clear to show off a garment to someone outside the booth. Another wall incorporates a “magic mirror,” a camera and display that adds a four-second delay so the customer can spin around and view all sides of the garment. The opposite wall has two interactive closets, one for hanging clothes and one with shelves. Sensors in the closets detect the electronic tags on store items and trigger a touch screen that displays the item and its related information, from availability to permutations of color, fabric, and size

IDEO’s recent projects include hi-tech fitting rooms in the New York Prada epicentre, designed with Rem Koolhaas. Each dressing room is a simple booth with Privalite glass walls that switch from transparent to opaque for privacy

Atelier Markgraph–designed showroom in Darmstadt

T-Online leaps into the future at an Atelier Markgraph–designed showroom in Darmstadt, Germany

Even in this virtual age, you can’t wrap your hand around the Internet. Which makes it a challenging product for a showroom. When Germany’s Internet service provider T-Online required a branded space to cater to partnership enterprises and investors, Atelier Markgraph presented a futuristic plan that actually managed to pin down the intangible.

A platform for the Web-based tools of today and tomorrow—DSL, photo developing, travel services—the T-Online Experience Center is a technological playground driven by interactive activities and the sense of discovery that they impart. “We entertain and educate at the same time, without giving people a headache,” principal Lars Uwe Bleher says.

Carved out of the ground floor of T-Online’s headquarters in the small city of Darmstadt, the showroom is divided in two—but not by choice. A fire wall splits the 3,300-square-foot space uncompromisingly in halves, and each half is further obstructed by a central structural column. Worse yet, the doorway in the fire wall is a narrow 4 feet, just wide enough for wheelchair regulations.

Bleher’s solution, a two-part journey, begins in what seems to be a standard corporate welcome area—until the floor starts moving beneath your feet. (You may have been so focused on the glowing constellation of ovals and circles cut out of the ceiling that you didn’t notice the large turntable set into the plum-colored carpet.) When the floor kicks into gear, the lights dim and a movie on T-Online rolls onto a white wall. The projector is built into a drywall partition standing in the center of the carpeted turntable, so the movie begins on that first wall and finishes, 180 degrees later, on the fire wall.

Another 30 degrees, and you’re dropped off at a 3-D version of the T-Online home page, a transition space where images of nodes and lines dance across translucent white polyester banners, and gelled incandescents bathe everything in magenta, the corporate color. The installation guides you through the gap in the fire wall and deposits you in the interactive Future Zone.

“That’s when you get to explore,” Bleher says. In the center of the moodier showroom, its walls plum and its ceiling black, stands a white linoleum-clad spatial inlay. It’s essentially a platform punctuated at the center by the inevitable structural column and at the edges by three vertically cantilevered integral canopies, one above each of three hands-on vignettes: Home, Home Office, and On the Road.

In the latter, which promotes T-Online’s travel capabilities, panoramic images of Antarctica, Rio de Janeiro, and other exotic locations drift across a 6-by-15-foot screen. You direct the images via user interfaces conceived as a field of giant flowers—white molded-polycarbonate disks mounted on flexible steel stems 4 feet high. To activate an interface, you have to lean on it. “We went immersive, involving the whole body,” Bleher explains.

A jaunt across the linoleum leads to Home Office, where a table of stained oak serves as a screen for overhead projections of everyday objects: a bank statement, a map of Berlin, a meal. Touch the food on the virtual plate, and the recipe pops up. Touch again, and the recipe connects to a wine suggestion.

In the Home vignette, Bleher paired leather-covered seating in beige and brown with a shag rug in ecru and a UFO of a white pendant fixture. Attached to the cantilevered focal wall, a screen displays a bubbling aquarium for “summer” or a flickering fireplace for “winter,” interchanged simply by pressing a button.

A horizon line of informative “thoughts” is Velcro’d to the dark purple walls outside the three vignettes. The blurbs pose and answer Internet trivia questions such as “What is a googol?” (The number 10 raised to the power 100.) Or “Who came up with the first Web cam?” (Students at the University of Cambridge.) How much fun is the T-Online showroom? Lots.


Cultivation Kitchen by INAX


[Figure 1] Foam Bath

[Figure 2] Cultivation Kitchen

In regards to bathing, we focused on elderly people who live alone. Japanese baths, which use large amounts of water even for a single person, may become outmoded in the coming age. The “Foam Bath” that we conceived provides the user with a warm bath by immersing them in foam bubbles, and uses only 1/20 the amount of water used in present-day bathing.