|
©ovid’s metamorphoses |
2023 |
Belgium |
Bernd Herzogenrath |
meakusma |
|
Årets Bedste Bogarbejde 2017 |
2017 |
Denmark |
Mads Brunsgaard, Christian Kaaber |
Boghaandvaerk |
|
ŠUM#11: Hypersonic Hyperstitions |
2019 |
Slovenia |
(edited by) Marko Bauer, Andrej Škufca |
DRUŠTVO GALERIJA BOKS |
|
БРОЈЕВИ |
2015 |
Serbia |
VVAA |
CPN - Center for the Promotion of Science |
|
ВИДЕFOCUS - videofocus |
2014 |
Russia |
Karina Karaeva, Dasha Birukova |
National Centre for Contemporary Art (NCCA) |
|
Видеоформат [линейность] - Videoformat [Linearity] |
2009 |
Russia |
Karina Karaeva, Arjon Dunnewind |
National Centre for Contemporary Art (NCCA) |
|
Живопись кино - Movie Painting |
2009 |
Russia |
Karina Karaeva, Leonid Lerner |
National Centre for Contemporary Art (NCCA) |
|
РОБОТИ |
2012 |
Serbia |
VVAA |
CPN - Center for the Promotion of Science |
|
“Raw Data” Is An Oxymoron |
2013 |
USA |
Lisa Gitelman |
The MIT Press |
|
∞ |
2011 |
Greece |
Талос |
Талос |
|
再生運動 : 數位時代的科技反思 = Regeneration movement : rethinking technology in the digital age |
2016 |
China |
Chaojung Chen, Zhaoyi Cai, Huifen Liao |
National Taiwan Museum of Fine Arts |
