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Contents © 2020 Golan Levin and Collaborators
Golan Levin and Collaborators
Projects
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- Installations
- Ghost Pole Propagator II
- Augmented Hand Series
- Eyeshine
- Re:FACE, Anchorage Version
- Merce's Isosurface
- Double-Taker (Snout)
- Opto-Isolator
- Eyecode
- Interstitial Fragment Processor
- Reface [Portrait Sequencer]
- Ghost Pole Propagator
- Footfalls
- Scrapple (Installation)
- The Manual Input Workstation
- Interactive Bar Tables
- Messa di Voce (Installation)
- Hidden Worlds of Noise and Voice
- Re:MARK
- Introspection Machine
- Audiovisual Environment Suite
- Dakadaka
- Rouen Revisited
- Performances
- Ursonography
- Scrapple (Performance)
- The Manual Input Sessions
- Messa di Voce (Performance)
- Dialtones (A Telesymphony)
- Scribble
- Net.Artworks
- Terrapattern
- Moon Drawings
- Free Universal Construction Kit
- QR Codes for Digital Nomads
- The Dumpster
- Axis
- JJ (Empathic Network Visualization)
- The Secret Lives of Numbers
- Alphabet Synthesis Machine
- Obzok
- Sketches
- Stria
- Dendron
- Slamps
- Banded Clock
- Floccus
- Stripe
- Meshy
- Directrix
- Yellowtail
- Streamer
- Blebs
- Self-Adherence (for Written Images)
- Poster design for Maeda lecture
- The Role of Relative Velocity
- Segmentation and Symptom
- Floccular Portraits
- Curatorial
- Mobile Art && Code
- ART AND CODE
- Code, Form, Space
- IEEE InfoVis 2008 Art Exhibition
- Solo exhibition at bitforms gallery
- IEEE InfoVis 2007 Art Exhibition
- Signal Operators
- Commercial / Industrial
- Motion Traces [A1 Corridor]
- Civic Exchange Prototype
- Amore Pacific Display
- Interactive Logographs
- Interval Projects
- Media Streams Icons
- Miscellaneous
- NeoLucida
- Rectified Flowers
- GML Experiments
- New Year Cards
- Admitulator
- Glharf (or Glarf)
- Finger Spies
Finger Spies
2004 | Golan Levin & Andrea Boykowycz
In early 2004 I was invited to create a new work for an exhibition at an art foundation in Holland. The subject of the exhibition was humor. I decided to depart from the field of new-media experiments, while remaining in the 'digital' realm, by having some fun with the great Dutch Masters — Rembrandt, Vermeer, and Van Eyck. My partner Andrea made all of the costumes and spent a long time crouched underneath a cardboard box while I carefully positioned and photographed her fingers. It was a new experience for me when the show's curator refused to exhibit the work he had commissioned, even though it was already listed in the catalogue. The explanation he provided was that the photos "weren't funny". About a week later I received an even more puzzling request to exhibit the project in a Taiwanese digital art festival.