IMAfiction 2018

IMAfiction is the Institute’s portrait series dedicated to female media artists with a focus on sonic art. So far portraits of Liesl Ujvary, Rebekah Wilson aka Netotschka Nezvanova, Heidi Grundmann, Eliane Radigue, Andrea Sodomka, Maryanne Amacher, Anne La Berge, and Electric Indigo have been released.

© Archiv Eliane Radigue

06 04 2018 5:30 pm
Presentation of portrait #03 Heidi Grundmann | #06 Maryanne Amacher in cooperation with Victoria University of Wellington, Room SU310, Wellington

16 05 2018 8:00 pm
Presentation of portrait #04 Eliane Radigue in cooperation with EM4 Nr. 12 (UdK Berlin), Akademie der Künste, Hanseatenweg 10, Studiofoyer, Berlin

06 09 2018 – 10 09 2018
Presentation of the portraits #01 – #10
Ars Electronic Festival

We Have A choice

IMAfocus 2018 is inspired by the centennial anniversary of women’s suffrage in Austria.

Our motto is

IMA’s voting office XX tèchne 6.0 will be open from October 2018 to May 2019.

Idea: Tamara Wilhelm, Elisabeth Schimana
Concept: Tamara Wilhelm, Elisabeth Schimana, Seppo Gründler, and Norbert Math

We plan to rent a vacant business space with daily office hours, preferably in downtown St. Pölten as close to the town hall as possible.

read more


A cooperation with LIMA (Amsterdam) und der Medienwerkstatt Wien

Exhibition entfaltet 12 01 2018 – 29 01 2018 | Medienwerkstatt Wien
curators: Gerda Lampalzer und Elisabeth Schimana
Symposium Entfalten 18 12 2017 | Medienwerkstatt Wien 11:00 – 19:00

Network Meeting 07 02 2017 | LIMA Amsterdam
Symposium Future Proof ?! 08/09 02 2017 | Stedelijk Museum Shiedam

Reinterpretation as a radical strategy to preserve and mediate timebased media art.

The project was initiated by LIMA and further developed during several interdisciplinary network meetings in 2016. The fundamental question is how do we catapult ephemeral analogue/digital art into the next millennium?

Media are in danger of extinction. Data can no longer be sorted out and our culture is drowning in digital Nirvana. In addition to the permanent migration of data and the preservation and maintenance of obsolescent hardware, one highly promising strategy is reinterpretation, or simply interpretation, which has been a common practice in music for ages.

What does this mean in the museum context, in matters pertaining to preservation? And in the case of reinterpretation when do we speak of a new work? These and other questions will be pursued in future interdisciplinary network meetings and implemented and analyzed in practice by commissioning artists to interpret media artworks.

Mediation by reinterpretation