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COLOR PLATE A No. 1. LilianeLijn, Bride, expanded metal enclosure,board floor, epoxybonded micanite, blown glass, infra-redpassive detector controllingstrobe light, knitted stainlesssteel and enameledcop per wire, forged iron, feathers, lacqueredpapier mich6, and meshballs, 8 x 8 x 5 ft, 1988. (Photo: StephenWeiss)With both of the artists’works Brideand Elech-ic Bride, her intent was to create a mythical world of the archetypalfeminine. No.2. LiianeLijn, My Body My SeK castpatinated bronze, stainless steel, brass, ruby mica, argon light, 6 ft 7 in X 23 in x 23 in, 19911996 . (Photo: StephenWeiss)My Body My Selfis the largestsculpture in a series of the artist’sself-portraits.It is both fragmentedand luminousand is intended to conveythe tensionsthat inhabitboth body and soul. COLOR PLATE B No.1. Das SynthetischeMischgewebe, tmnsh'EUROsite, performance , 1996-1997. At the beginning of the performance tmnsNEUROsite, the audience sees one neuron, motionless but linked to other neural structures by long white threads. Because it wants to know more about its situation, it begins to speak with the brain and move virtuallywithin the brain's various areas. Avoice-recognitionsystem is the basis of the performance. (SeeArtists' Statement by Isabelle Chemin and Cuido Hiibner.) No. 2. VictoriaVesna, Virtual Concrete, installation at the Veered Science exhibition, Huntington BeachArt Center, California, electrostatic photographic prints bonded to concrete, motion sensors, audio, Macintoshcomputer, QuickCam connected to the Internet, 1995. (Photo: Sky Bergman) Electrostatic photographic prints of bodies covered with silicon implants and computer chip boards were bonded to concrete by the artist, along with names of sex chat rooms found on the Internet. The resultant pieces uncannily resemble sacred frescos. To read the texts, visitors to the exhibit had to get close to the concrete by bending or crawlingover it. The activityin the gallerywas recorded by a CUSeeMe camera and transmitted via the Internet. ...


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