Present Memory and LIveness in Delivery and Reception of Video Documentation during Performance Art Events

This project is based on an hypothesis that notions of liveness and presence can be questioned by allowing manipulation of documentation in the live event to be the performance's opening stage rather than its point of closure thus generating a form of present memory. The practical work will partially draw on Derrida's notion of 'supplement' and theoretical collaboration with Prof. Thomas Suddendorf (Cognitive Psychology).

The Mexico Project

The Mexico Project looks at introducing modified plants into ‘pristine wilderness’ revolving around stories and discourses of bio-invasion, landscaping with genetics, borders of belonging and biopollution. This (a)live disturbance involved a journey and two transplantations with the releasing of transgenic cacti into the wild into two different domains of nature in Mexico.

The Cactus Project

The Cactus Project entailed the use of agrobacterium-mediated gene transfer introducing keratin genes into cells of cacti. The transformed cells were used to regenerate engineered transgenic cacti. The aim of the experiment was having the keratins expressed in cactus cells morphologically similar to hair and for the cactus to produce it externally.


The First Artist’s Residency at the Royal Geographical Society, London
Residncy: January 2007-May 2008
Exhibition: 4 April, 9 May 2008
Panel Discussion 9 May 2008, 6-9pm

The Arts Catalyst

The Arts Catalyst, the UK-based science-art agency, was founded in 1993. The Arts Catalyst commissions art that experimentally and critically engages with science. We bring together people across the art/science divide and beyond to explore science in its wider social, political and cultural contexts. We produce provocative, playful, risk-taking projects to spark dynamic conversations about our changing world.

Moving Forest

Collaborative project with Shu Lea Cheang & Martin Howse, 'Moving Forest'; a 12 hour 5 act sonic and visual performance intervened by an expandable citywide operatic manoeuver with public wifi and mobile technology. Derived from Kurosawa's film version of Macbeth (Throne of Blood, 1957).
Linda works with Processing (open source software) to generate flying arrows from mobile phone and web connections and splattered blood stains from input from scrying boards that pick up the invisible ever present electro magnetic fields our appliances and devices produce.


Barbican Centre, London, UK

Commissioned for Centre Pompidou, oZone is a survey of recent Australian digital art presented as part of Tour du Monde du Web (l'Australie), a Cinemas de Demain program. The moving image component toured to the UK and it was screened as part of the London Australian Film Festival at The Barbican Centre.

Executive Producer and Presenter: Antoanetta Ivanova; Guest Curator: Alessio Cavallaro


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