{"id":17518,"date":"2017-01-16T15:39:03","date_gmt":"2017-01-16T07:39:03","guid":{"rendered":"http:\/\/benayoun.com\/moben\/works\/"},"modified":"2024-06-23T17:44:28","modified_gmt":"2024-06-23T09:44:28","slug":"works","status":"publish","type":"page","link":"https:\/\/benayoun.com\/zh-hans\/works\/","title":{"rendered":"ARTWORKS"},"content":{"rendered":"<h4>2023<\/h4>\n<ul>\n<li><strong><em>Reified Absences<\/em><\/strong>, 3D printed sculptures<\/li>\n<li><strong><em>In-Hibitions<\/em><\/strong>, Social Network AI narrative<\/li>\n<li><strong><em>Emotion Winds, \u201cLight Year 98: Caution: Beautification in Progress\u201d, <\/em><\/strong>video projection on Manhattan Bridge<\/li>\n<\/ul>\n<h4>2022<\/h4>\n<ul>\n<li><strong><em>The Unbelievable Story of Flo D\u2019Am,<\/em><\/strong> AI narrative, artist book, MoBen editions<\/li>\n<li><strong><em>HKRUNWAY, <\/em><\/strong>Music and choreography performance, Marfin A., HKDI Fashion Designers, Benayoun, M., Fashion design, choreography, and VR<\/li>\n<li><strong><em>VoV Trading Room<\/em><\/strong>, Benayoun, M., interactive installation, 2 touch screens, Internet, data visualisation<\/li>\n<li><strong><em>Crypto-characters of Values, <\/em><\/strong>Benayoun, M., 14 pigment prints on photo rag Hahnemuhle paper, 80 x 80cm<\/li>\n<li><strong><em>The Footprint of Freedom<\/em><\/strong>, Benayoun, M. AI generative art<\/li>\n<li><strong><em>The Conceptual Table<\/em><\/strong>, Benayoun, M. 40 years of creation and concepts as a subway map.<\/li>\n<li><strong><em>City Ads Values<\/em><\/strong>, Video, Benayoun, M., Video shooting: Kwok, D., Wu, C.. Video editing: Furqan Ali Shah and Eleanor Benayoun, sound design: Tim Chan, production: Osage Art Foundation<\/li>\n<li><strong><em>Periodic Table of Values<\/em><\/strong>, Benayoun, M., Chan S., Wang X., Interactive installation<\/li>\n<li><strong><em>The Interpreter<\/em><\/strong>, Benayoun, M. with Chan, S., Visual and textual AIs, video recording<\/li>\n<li><strong><em>The Reader,<\/em><\/strong> Benayoun, M., Chan S., AI, video installation<\/li>\n<\/ul>\n<h4>2021<\/h4>\n<ul>\n<li><strong><em>Power Chess: Cork Opening,<\/em><\/strong> Benayoun, M., Video, GARDEN HONG KONG @ OSAGE, Exhibition, Ars Electronica Garden Hong Kong, 2021.<\/li>\n<li><strong><em>Artificial Intentionalities: Post-human humanities in the age of the art-subject, <\/em><\/strong>Benayoun, M., Chief Curator, Park, L. S.Y., Co-curator, Ars Electronica Garden Hong Kong, Neuro-Design Lab, ACIM, School of Creative Media, City University of Hong Kong, Hong Kong, Ars Electronica 2021, Linz, Austria, 08-12 Sept 2021.<\/li>\n<li><strong><em>Galactic Wine Sharing Party<\/em><\/strong>, Benayoun, M., Park, L.S., Curators, online showcase, Ars Electronica Garden Hong Kong, 2021.<\/li>\n<li><strong><em>D\u00efaloG, The First Aliens\u2019 Encounter<\/em><\/strong>, Benayoun, M., Introduction video, 2021.<\/li>\n<li><strong><em>Power Chess<\/em><\/strong>, Benayoun, M., Ray LC, Lindborg, PM., Kook, Vv., interactive, robotic art installation 2021, produced by the Neuro Design Lab, SCM CityU. Commissioned by Focal-Naim.<\/li>\n<li><strong><em>D\u00efaloG, The First Aliens\u2019 Encounter<\/em><\/strong>, Benayoun, M., Anadol, R., exhibition Constructing Contexts, curated by Klein, T., Guzman S.-R., Art Machines 2: International Symposium on Machine Learning and Art 2021 (AM2), School of Creative Media, Creative Media Centre, City University of Hong Kong, 10 \u2013 20 Jun. 2021.<\/li>\n<li><strong><em>Giving shape to human values. Real-time short cut from the brain to the blockchain<\/em><\/strong>, Benayoun, M., Video &#8211; Closing Real Time Performance, Real Time Conference, April 29, 2021.<\/li>\n<li><strong><em>Art Spaceship<\/em><\/strong>, Benayoun, M., et al, Curators and Art Jury, Virtual Exhibition, V.Art, 2021.<\/li>\n<\/ul>\n<h4>2020<\/h4>\n<ul>\n<li>Twodees, a series of printable 2D images produced out of the VoVs EEG-generated. (multiple exhibitions planned 2021-2022). Benayoun, M., 2020-2021<\/li>\n<li><strong><em>Points de vue Irreconciliables, <\/em><\/strong>Benayoun, M., Buren D., video triptych, 1993-2020.<\/li>\n<li><strong><em>Hong Kong Escape Views, Panoptical Memories, <\/em><\/strong>360 interactive online installation, VR binoculars, 3 channels video projection, for Art Machines, Past \u2013 Present, Exhibition, 2020<\/li>\n<li><strong><em>Planetary Wine Tasting Party<\/em><\/strong>, Hybrid performance, Osage Gallery, Ars Electronica, 13 September 2020<\/li>\n<li><strong><em>City in Fusion<\/em><\/strong>, Online Exhibition, Hong Kong Garden, for Ars Electronica, 2020<\/li>\n<li><strong><em>Hong Kong Escape Views, <\/em><\/strong>360 interactive online artwork for Ars Electronica 2020<\/li>\n<li><strong><em>Alien Life in the Telescope, <\/em><\/strong>generative online artwork, together with Refik Anadol, for Ars Electronica 2020<\/li>\n<li><strong><em>Morphogenesis of Values, (Video)<\/em><\/strong>, Benayoun, M., Yip, Ch.<\/li>\n<li><strong><em>High-Frequency Trading of Values<\/em><\/strong>, video, urban screen, editing Yip, Ch.<\/li>\n<li><strong><em>Value of Values, Transactional Poetry<\/em><\/strong>, video presentation of Values artwork.<\/li>\n<\/ul>\n<h4>2019<\/h4>\n<ul>\n<li><strong><em>Transactional Poetry<\/em><\/strong>, Generative poetry based on value of Values real time transactions.<\/li>\n<li><strong><em>VoV IVO<\/em><\/strong>, Official launching of \u201cValue of values\u201d, IVO stands for Initial Value Offering, an ironic tribute to ICO, Initial Coin Offering. Hosted by Art Center Nabi, on June 5 in the Tazak Madang Center.<\/li>\n<li><strong><em>VoV App<\/em><\/strong>, Mobile based application, that allow crypto trading on the blockchain.<\/li>\n<li><strong><em>Value of Values<\/em><\/strong>, produced out of the Brain Factory, Blockchain-based Transactional Art project<\/li>\n<\/ul>\n<h4>2018<\/h4>\n<ul>\n<li><strong><em>Abstract Shots<\/em>, <\/strong>3D CG, pigment prints, (Tashkent Biennial, Uzbekistan, Microwave Festival HK)<\/li>\n<li><strong><em>Astrilab, <\/em><\/strong>Combine work Brain Cloud, Hypercube, Gateway, ASTRI Center, Hong Kong.<\/li>\n<li><strong><em>The Dice interface<\/em><\/strong>, inspired by the \u201chypercube\u201d interface patent (Benayoun M.) for the Gateway\/Astrilab.<\/li>\n<\/ul>\n<h4>2017<\/h4>\n<ul>\n<li><strong>Hypercube<\/strong> (completed Nov 2017), Large scale LED Balls Cube display, Voxeliser<\/li>\n<li><strong>Brain Cloud <\/strong>(completed Sept. 2017), EEG, interactive music<\/li>\n<li><strong><em>Brain Factory Prototype Delta, <\/em><\/strong>Interactive EEG \/ 3D Printing installation (premiere in Brisbane)<\/li>\n<li><strong><em>Brain Factory Prototype Beta<\/em><\/strong>, Interactive EEG \/ 3D Printing installation (Premiere in Seoul)<\/li>\n<\/ul>\n<h4>2016<\/h4>\n<ul>\n<li><strong><em>Brain Factory Prototype Alpha, <\/em><\/strong>Interactive EEG \/ 3D Printing installation (Premiere in Enghien les Bains, France)<\/li>\n<li><strong><em>Colors Tunnel<\/em><\/strong>, Interactive VR installation. Steel structure, 3D camera, video projections, real time 3D graphics, interactive sound, Internet data and pictures.<\/li>\n<li><strong><em>Borders Tunnel<\/em><\/strong>, Interactive VR installation. 2 x Steel structure, 3D camera, video projections, real time 3D graphics, interactive sound, 2 XVideo cameras and microphones, Internet data and pictures<\/li>\n<\/ul>\n<h4>2015<\/h4>\n<ul>\n<li><strong><em>Dildomatic Opera in Action<\/em><\/strong>, Interactive sound installation<\/li>\n<li><strong><em>Inside the Tunnel under the Atlantic<\/em><\/strong>, video, 22h 30mn<\/li>\n<li><strong><em>Inside the Tunnel under the Atlantic<\/em><\/strong>, video trailer, 4mn 35s<\/li>\n<li><strong><em>Inside the Paris New Delhi Tunnel<\/em><\/strong>, video, 13h<\/li>\n<li><strong><em>WHITE CUBE Alpha 11-20, L\u2019essence de I\u2019art contemporain, Perfume installation 2014<\/em><\/strong><\/li>\n<li><strong><em>WHITE CUBE Alpha 0-10<\/em><\/strong>, Perfume installation<\/li>\n<li><strong><em>Emotion Winds, 4 emotions 4 Colors<\/em><\/strong>, video installation<\/li>\n<li><strong><em>Emotions in Space<\/em><\/strong>, interactive installation, 3D VR, interactive motion capture<\/li>\n<li><strong><em>Political Shift in Hong Kong<\/em><\/strong>, video and Furtive video<\/li>\n<li><strong><em>Happy winds<\/em><\/strong>, Furtive Video<\/li>\n<li><strong><em>Political Shift in France<\/em><\/strong>, Furtive Video<\/li>\n<li><strong><em>Falling Pixels<\/em><\/strong>, Furtive Video<\/li>\n<li><strong><em>Emotion Winds, Mumba\u00ef<\/em><\/strong>, video installation<\/li>\n<\/ul>\n<h4>2013<\/h4>\n<ul>\n<li><strong><em>Emotion Winds<\/em><\/strong>, video<\/li>\n<li><strong><em>HK Roots<\/em><\/strong>, photo prints<\/li>\n<li><strong><em>Political Shift<\/em><\/strong>, video<\/li>\n<li><strong><em>Color Shift<\/em><\/strong>, Interactive Ipad<\/li>\n<\/ul>\n<h4>2012<\/h4>\n<ul>\n<li><strong><em>E-SCAPE Today<\/em><\/strong>, Urban screen installation<\/li>\n<li><strong><em>911 BAD MAD GLAD SAD<\/em><\/strong>, prints<\/li>\n<li><strong><em>MUSEALL<\/em><\/strong>, interactive museum installation<\/li>\n<li><strong><em>Tunnels around the World<\/em><\/strong>, interactive motion sensor installation<\/li>\n<li><strong><em>Ecologic Serendipity<\/em><\/strong>, video<\/li>\n<li><strong><em>Osmotic World<\/em><\/strong>, interactive installation, Ecosmosis exhibition<\/li>\n<li><strong><em>Occupy Wall Screens<\/em><\/strong>, Internet and Urban Screens, Big Screen Plaza, Streaming Museum 4th Anniversary, NYC, NY, USA<\/li>\n<\/ul>\n<h4>2011<\/h4>\n<ul>\n<li><strong><em>Emotion Forecast<\/em><\/strong>, DropStuff giant screen, Show Off, La FIAC, Pont Alexandre III, Paris, octobre<\/li>\n<li><strong><em>OUT OF THE DUMP<\/em><\/strong>, exposition monographique, installations et \u0153uvres r\u00e9centes, Centre des Arts, Enghien les Bains, May \u2013 July, France<\/li>\n<\/ul>\n<ol>\n<li><strong><em>Quarxs, Dessins et Vid\u00e9os<\/em><\/strong>, exposition monographique r\u00e9trospective, M\u00e9diath\u00e8que Georges Sand, Enghien les Bains, May \u2013 July, France<\/li>\n<\/ol>\n<ul>\n<li><strong><em>Back to Back<\/em><\/strong>, installation video, interactive, 2 screens, 2 computers, cabin.<\/li>\n<li><strong><em>White Cube<\/em><\/strong>, l\u2019essence de l\u2019art contemporain, parfum d\u2019artiste, atomiseur, flacon testeur<\/li>\n<li><strong><em>Dildomatic Opera<\/em><\/strong>, modified dildo, music instrument box<\/li>\n<li><strong><em>Sans Armes Citoyens<\/em><\/strong>, video installation, website, production Arte Creative.<\/li>\n<li><strong><em>Daltonisme cocardier<\/em><\/strong>, video loop<\/li>\n<li><strong><em>Appartement t\u00e9moin<\/em><\/strong>, installation, mobilier, papier peint<\/li>\n<li><strong><em>Le Cafard de la pleine lune<\/em><\/strong>, silver print, diasec, 75 x 75cm<\/li>\n<li><strong><em>Arty Wall Paper<\/em><\/strong>, installation<\/li>\n<li><strong><em>Emotion Forecast<\/em><\/strong>, commande FAME, Fond de soutien \u00e0 la cr\u00e9ation artistique, Dispositif interactif, Installation, Internet<\/li>\n<li><strong><em>Titrisme<\/em><\/strong>, photographic series<br \/>\n<strong><em>Sans titre<\/em><\/strong>, two silver prints Diasec 80 x 80 cm and captions<strong><em><br \/>\nDiscrimination positive,<\/em><\/strong> two silver prints Diasec 80 x 80 cm and captions<br \/>\n<strong><em>Missing the Point<\/em><\/strong>, two silver prints Diasec 80 x 80 cm and captions<\/li>\n<li><strong><em>Stolen Life<\/em><\/strong>, Interactive installation, video, close circuit video, tree, water, fan.<\/li>\n<\/ul>\n<h4>2010<\/h4>\n<ul>\n<li><strong><em>Step and Shoot<\/em>,<\/strong> s\u00e9rie photographique, FIAC 2010, 16 x 37x25cm et 9 x 37x25cm<\/li>\n<li><strong><em>The Dump, recycling of thoughts<\/em><\/strong>, s\u00e9lection de projets du blog The-Dump.net realis\u00e9s par 9 artistes sous la direction d\u2019Agnieska Kulazinska, LAZNIA Center for contemporary art, Gdansk, Pologne. 5 Tirages photographique Diasec.<\/li>\n<li><strong><em>The Art Collider,<\/em><\/strong> dispositif en r\u00e9seau, adaptation d\u2019IN OUT, exposition [UNCURATABLE (ART] INCURABLE), avril<\/li>\n<li><strong><em>Le March\u00e9 des \u00e9motions<\/em><\/strong>, exposition Drouot Montaigne, Paris<\/li>\n<li><strong><em>World Skin, a photo Safari in the Land of War, <\/em><\/strong>V2, Rotterdam, janvier \u2013 mars<\/li>\n<li><strong><em>Last Life<\/em>,<\/strong> participative video game on attention economy, La Bellevilloise, January<\/li>\n<\/ul>\n<h4>2009<\/h4>\n<ul>\n<li><strong><em>World Skin<\/em><\/strong>, Sk-Interface exhibtion, Centre d\u2019art Le Casino, Luxembourg, Nov.-Dec.<\/li>\n<li><strong><em>World Skin, a photo Safari in the Land of War<\/em><\/strong>, Game Play exhibition, Itau Cultural, Sao Paulo, Brasil, July-Aug.<\/li>\n<li><strong><em>TelescopeRA, <\/em><\/strong>AR Telescope, prototype for Futur en Seine, Arc de Triomphe rooftop, Paris, June<\/li>\n<\/ul>\n<h4>2008<\/h4>\n<ul>\n<li><strong>IN OUT<br \/>\n<\/strong>Architecture et conception du premier r\u00e9seau de cr\u00e9ation connective pair \u00e0 pair (Peer to Peer).<\/li>\n<li><strong>eMoving Stills<br \/>\n<\/strong>Tirages num\u00e9riques. S\u00e9quences photographique narrative sur la <em>M\u00e9canique des \u00e9motions<\/em>.<\/li>\n<li><strong><em>Still Moving<\/em><\/strong>, sculpture interactive, <em>Frozen Feelings<\/em> g\u00e9ant (3,5m de diam\u00e8tre), produisant une musique faite d\u2019infrasons au contact du public qui semble la r\u00e9veiller de sa l\u00e9thargie. Commande publique de la CNAP, l\u2019\u00e9tude entre dans la collection du Fond National d\u2019Art Contemporain. Premi\u00e8re pr\u00e9sentation \u00e0 l\u2019entr\u00e9e du Grand Palais ouvrant l\u2019exposition du minist\u00e8re de la recherche le 14 novembre 2008.<\/li>\n<li><strong><em>NeORIZON<\/em><\/strong>, installation urbaine sur la place de l\u2019indidu dans la ville, A l\u2019image des produits de consommation courante, il est converti en code barres 2D (QRCodes) qui finissent par construire les villes. Premi\u00e8re pr\u00e9sentation: Century avenue, eArts Festival, Shanghai, octobre 2008.<\/li>\n<li><strong><em>Le Distributeur Automatique d\u2019\u00e9motion<\/em><\/strong><strong> (<em>Emotion Vending Machine<\/em>)<\/strong>, d\u00e9riv\u00e9 du concept de merchandizing appliqu\u00e9 au flux des \u00e9motions, fournit automatiquement un cocktail musical (J.B. Barri\u00e8re) \u00e0 partir du mixage d\u2019une s\u00e9lection de trois \u00e9motions interpr\u00e9t\u00e9 par lecture des cartes appropri\u00e9es. Le \u00abconsommateur\u00bb peut repartir avec le cocktail charg\u00e9 sur sa clef USB. Pr\u00e9sent\u00e9e pour la premi\u00e8re fois durant l\u2019exposition <em>Smile Machines<\/em> (Berlin 2006) la Machine \u00e0 \u00e9t\u00e9 ensuite expos\u00e9e l\u00e0 l\u2019Espace Paul Ricard \u00e0 Paris, puis \u00e0 la Galerie des Beaux Arts de l\u2019Eesi \u00e0 Poitiers et enfin au Cube (Issy les Moulineaux) en version <em>Emotional Ringtones<\/em> distribuant des sonneries t\u00e9l\u00e9phoniques \u00ab\u00e9motionnelles\u00bb.<\/li>\n<li><strong><em>Sc\u00e9nographie permanente de l\u2019Arc de Triomphe<\/em><\/strong>, Paris. En collaboration avec Christophe Girault, architecte, conception et r\u00e9alisation de l\u2019exposition permanente \u00e0 l\u2019occasion du 200\u00e8me anniversaire du monument. Approche et technologies innovantes, permettent une relecture de la symbolique du monument.<\/li>\n<li><strong><em>World Skin, un safari photo au pays de la guerre,<\/em><\/strong><strong><br \/>\n<\/strong>(nouvelle version PC mono \u00e9cran) <strong>War Tourists<\/strong> Photos, Installation, visiteurs de World <em>Skin<\/em> \u00e0 FACT Liverpool exhibition sk-Interface.<\/li>\n<li><strong><em>Des Grandes Questions \u00e0 la D\u00e9charge<\/em><\/strong><br \/>\nExposition monographique pr\u00e9sentant 10 installations de 1994 \u00e0 2008. Incluant notamment:<\/li>\n<li><strong><em>Dump au m\u00e8tre<\/em><\/strong><strong><br \/>\n<\/strong>papier peint issu du <em>Dump<\/em><\/li>\n<li><strong><em>Blind Love Ready Made <\/em><\/strong><strong>(<\/strong><em>l\u2019Amour aveugle pr\u00eat \u00e0 l\u2019emploi<\/em><strong>)<br \/>\n<\/strong>Instance extraite du <em>Dump<\/em>. Extrait sonore de film pornographique + Windows Media Player 7.0. Ecran plasma, PC.<\/li>\n<li><strong><em>e-Stock 9-11<\/em><\/strong><strong><br \/>\n<\/strong>Trois \u00e9crans d\u00e9roulants de LEDs rouges, le cour de trois \u00e9motions, GLAD, MAD, SAD, le 11 septembre 2007, pour 3200 villes de la plan\u00e8te.<\/li>\n<\/ul>\n<h4>2007<\/h4>\n<ul>\n<li><strong><em>e-Spotting 9\/11<\/em><\/strong><br \/>\ne-Spotting 9\/11 (Emotion Spotting) installation musique, Internet et vid\u00e9o projection<\/li>\n<li><strong><em>Falling Pixels<\/em><\/strong> Installation vid\u00e9o, son, instance d\u2019un projet issu du Dump.<\/li>\n<li><strong><em>eSpotting<\/em><\/strong><strong>,<\/strong> tout d\u2019abord pr\u00e9sent\u00e9 comme performance musicale en collaboration avec Jean-Baptiste Barri\u00e8re, durant le festival DEAF de Rotterdam, eSpotting est devenu une installation pour l\u2019exposition <em>Sistemi Emotivi<\/em>, au Palazzo Strozzi \u00e0 Florence, permettant au visiteur de mixer par le regard les \u00e9motions du monde.<\/li>\n<li><strong><em>Interactivity: the dead end of our artistic era<\/em><\/strong><br \/>\nVid\u00e9o, dialogue avec Steina et Woody Vasulka dans <em>So.So<\/em> \u00e0 Lugano, Suisse<\/li>\n<li><strong><em>\u00c9pid\u00e9mie<\/em><\/strong><strong><br \/>\n<\/strong>Avec Christophe Girault. Projet d\u2019exposition pour la Cit\u00e9 des sciences de la Villette<\/li>\n<\/ul>\n<h4>2006<\/h4>\n<ul>\n<li><strong><em>Le Match du Futur<\/em><\/strong><br \/>\nProjet pour la consultation parc th\u00e9matique d\u00e9veloppement durable EANA, Abbaye du Valasse, Haute Normandie, France.\u00a0Dispositif ludo-\u00e9ducatif sur les enjeux du d\u00e9veloppement durable et la responsabilit\u00e9 individuelle<\/li>\n<\/ul>\n<h4>2005<\/h4>\n<ul>\n<li><strong><em>Emotional Traffic (e-Traffic)<\/em><\/strong><strong>,<\/strong> Performance vid\u00e9o\/musique avec Jean-Baptiste Barri\u00e8re. En ouverture du festival Ars Electronica de Linz, o\u00f9 l\u2019on joue des \u00e9motions du monde comme autant d\u2019instruments de musiques.<\/li>\n<li><strong><em>Emotional Stock exchange (e-stock)<\/em><\/strong><br \/>\nInternet, \u00e9crans d\u00e9roulant de LED\u00a0le cour des \u00e9motions du monde.<\/li>\n<li><strong><em>Emotional Market (e-Market)<\/em><\/strong><strong>,<\/strong> Internet, moteur de recherche et d\u2019analyse s\u00e9mantique du Web et sculpture num\u00e9rique \u2013 mat\u00e9riaux divers. <em>Le March\u00e9 des \u00e9motions<\/em> du monde pr\u00e9sent\u00e9 comme une boutique de luxe. Shanghai, Galerie Bund 18<\/li>\n<li><strong><em>Cosmopolis, Overwriting the City<\/em><\/strong> Exposition artistique et scientifique sur la ville et le d\u00e9veloppement urbain. Une des plus importantes installations interactives jamais r\u00e9alis\u00e9es. Cosmopolis utilise 12 lunettes de r\u00e9alit\u00e9 virtuelle et 12 \u00e9crans de projection pour une taille globale de 1000m\u00b2. R\u00e9alis\u00e9e dans le cadre de l\u2019ann\u00e9e de la France en Chine, cette installation constitue une nouvelle application du concept de m\u00e9moire r\u00e9tinienne collective. L\u2019exposition \u00e0 tourn\u00e9 en Chine rencontrant plus de 250 000 visiteurs.<\/li>\n<li><strong><em>SFEAR<\/em><\/strong><strong>,<\/strong> Internet, moteur de recherche et sculptures physiques. Le ballon g\u00e9ant de la carte de la peur (<em>World Emotional Mapping<\/em>) flotte dans l\u2019\u00e9glise Saint Pierre aux Nonnains, Metz alors que les Frozen Fellings, les \u00e9motions fig\u00e9es de la plan\u00e8te, sont pr\u00e9sent\u00e9es comme des reliques.<\/li>\n<li><strong><em>Frozen Feelings<\/em><\/strong>, S\u00e9rie de sculptures, instantan\u00e9s de la cartographie \u00e9motionnelle du monde. Transposition physique de la cartographie \u00e9motionnelle \u00e0 l\u2019aide d\u2019une fraiseuse num\u00e9rique. <em>World Emotional Mapping<\/em> Cartographie dynamique des \u00e9motions du monde. Analysant le syst\u00e8me nerveux mondial. A l\u2019origine de diff\u00e9rents projets: <em>Far Near E-motion, Frozen Feelings, SFEAR, Emotional Market<\/em>.<\/li>\n<li><strong><em>Simply<\/em><\/strong><br \/>\nPortfolio sur pied.<\/li>\n<li><strong><em>Vessel<\/em><\/strong><br \/>\nVaisselle empilable.<\/li>\n<li><em>La M\u00e9canique des \u00c9motions<\/em>, S\u00e9rie de cr\u00e9ations comprenant performances, expositions, actions autour de la <em>Cartographie \u00e9motionnelle du monde<\/em>..<\/li>\n<li><strong><em>Felix<\/em><\/strong><br \/>\nVentilateur \u00e0 voiles.<\/li>\n<\/ul>\n<h4>2004<\/h4>\n<ul>\n<li><strong><em>Emotional Slides (e-Slides)<\/em><br \/>\n<\/strong>Installation, sculptures, video (undone project). Vid\u00e9o projections r\u00e9fl\u00e9chies par la surface polie de plaques d\u2019aluminium distordues par les \u00e9motions du monde.<\/li>\n<li><strong><em>Watch Out ! The Eyes of the City<\/em><\/strong><br \/>\nInstallation urbaine pour les jeux olympiques d\u2019Ath\u00e8nes. Internet, SMS, vid\u00e9o projection dans les vitrines de magasins.<\/li>\n<li><strong><em>e-Box<\/em><\/strong><br \/>\nConditionnement des <em>Frozen Feelings<\/em>.<\/li>\n<\/ul>\n<h4>2003<\/h4>\n<ul>\n<li><strong><em>DECONversation<\/em><\/strong><br \/>\nPerformance dialogue: Pierre Levy, Maurice Benayoun et Steve Mann dans une baignoire, mod\u00e9r\u00e9e par Derrick de Kerckhove.<\/li>\n<\/ul>\n<h4>2002 <a href=\"http:\/\/www.moben.net\/projet.php?id=25\">\u00a0<\/a><\/h4>\n<ul>\n<li><strong><em>So.So. (Somebody, Somewhere, Some Time)<\/em><\/strong><strong>,<\/strong> installation de r\u00e9alit\u00e9 virtuelle et Internet pr\u00e9sent\u00e9e dans le cadre de l\u2019exposition Future Cin\u00e9ma au ZKM de Karlsruhe (2002-03), \u00e0 Intercommunication Center (Tokyo, 2003-04) et \u00e0 la Gait\u00e9 Lyrique de Paris (2003). Composition musicale de Jean-Baptiste Barri\u00e8re. Utilisant les m\u00eames jumelles de r\u00e9alit\u00e9 virtuelle, <em>So.So.So.<\/em> peut \u00eatre consid\u00e9r\u00e9e comme un prolongement narratif du concept de<em> M\u00e9moire R\u00e9tinienne Collective<\/em> d\u00e9velopp\u00e9 dans <em>Art Impact<\/em>.<\/li>\n<li><strong><em>La Machine \u00e0 id\u00e9es<\/em><\/strong><br \/>\nInterface ludo-marketing.\u00a0Une machine \u00e0 produire automatiquement des concepts de produits innovants.<\/li>\n<li><strong><em>Le SAS CUBE<\/em><\/strong><br \/>\nSalle immersive de RA.\u00a0Conception de la premi\u00e8re salle immersive sur PC, transportable.<\/li>\n<li><strong><em>Le Cybermodule<\/em><\/strong><br \/>\nsc\u00e9nographie.\u00a0Projet non r\u00e9alis\u00e9 pour la Cit\u00e9 des sciences.<\/li>\n<li><strong><em>Watch Out !<\/em><\/strong><br \/>\nInstallation urbaine, Internet, SMS, video projection. \u00a0Envoyez un message d\u2019alerte au monde. Commision Art Center NABI, Seoul, 2002, curator Dooeun Choi.<\/li>\n<li><strong><em>Architectures Parall\u00e8les<\/em><\/strong><strong>, : une s\u00e9rie de programmes interactifs con\u00e7ue par Odile Fillion<\/strong>. Chaque programme de 4 mn est r\u00e9alis\u00e9 dans un studio virtuel 3D (un CAVE) dans lequel l\u2019architecte peut explorer et commenter son \u00abutopie\u00bb. Le dispositif interactif existera en tant qu\u2019installation \u00e0 visiter tout en croisant les parcours de l\u2019auteur. Le pilote pr\u00e9sente Instant City de Archigram visit\u00e9 par Peter Cook. Production AMC Films, Canal+, Z-A. C\u2019est la premi\u00e8re application du concept de \u00abdocumentaire immersif\u00bb.<\/li>\n<li><strong><em>sloop<\/em><\/strong><br \/>\nDesign, biblioth\u00e8que textile, \u00e9tag\u00e8res souples.<\/li>\n<\/ul>\n<h4>2001<\/h4>\n<ul>\n<li><strong><em>softchair<\/em><\/strong><br \/>\nSi\u00e8ges dynamiques. Design comportemental.\u00a0Dynamic seats, behaving like friends.<\/li>\n<li><strong><em>Mus\u00e9e de Li\u00e8ge<\/em><\/strong><br \/>\nProjet de mus\u00e9ographie dynamique.\u00a0Projections et mobilier dynamique.<\/li>\n<\/ul>\n<h4>2000<\/h4>\n<ul>\n<li><strong><em>Labylogue<\/em><\/strong><br \/>\nR\u00e9alit\u00e9 Virtuelle mono \u00e9cran, Internet, musique interactive (Jean-Baptiste Barri\u00e8re), g\u00e9n\u00e9ration de texte (Jean-Pierre Balpe), reconnaissance vocale, t\u00e9l\u00e9virtualit\u00e9 reliant 3 lieux\u00a0: Lyon, Bruxelles, Dakar.\u00a0Rencontre dans le labyrinthe du dialogue.<\/li>\n<li><em>Sc\u00e9nographies interactives<\/em> impliquant aussi bien l\u2019espace physique (expositions, \u00e9v\u00e9nements) que le virtuel (interfaces Hypercube, HyperTV) impliquant 3D, <em>R\u00e9alit\u00e9 Virtuelle,<\/em> R\u00e9alit\u00e9 Augment\u00e9e (<em>tables panoramiques<\/em> EXPO2000 Hanovre), <em>Agents intelligents<\/em> (Gadevu, Z-A Profiler) et projections interactives. A ce titre, r\u00e9alisation de plusieurs dispositifs audiovisuels interactifs pour l\u2019exposition universelle de Hanovre (EXPO2000) notamment pour le pavillon <em>Planet of Visions<\/em> con\u00e7u par <em>Fran\u00e7ois Schuiten<\/em> et <em>Bleu Lumi\u00e8re<\/em>. R\u00e9alise la sc\u00e9nographie du <em>Parcours Multim\u00e9dia de l\u2019Abbaye de Fontevraud<\/em> et a con\u00e7u la membrane, dispositif organique constitu\u00e9 d\u2019un ensemble de surfaces virtuelles souples, mouvantes qui respirent au rythme de l\u2019exposition l\u2019<em>Homme transform<\/em>\u00e9 \u00e0 la Cit\u00e9 des Sciences sc\u00e9nographie de Zette Cazalas et ZendCo.<\/li>\n<li><strong><em>Planet of Visions<\/em><\/strong><br \/>\nAvec Fran\u00e7ois Schuiten, Bleu Lumi\u00e8re, et Jean-Baptiste Barri\u00e8re, vid\u00e9o et dispositifs interactifs pour le pavillon\u00a0de l\u2019exposition universelle de Hanovre. Et notamment\u00a0:<\/li>\n<li><strong><em>Les tables panoramiques<\/em><\/strong><br \/>\n11 dispositifs de r\u00e9alit\u00e9 augment\u00e9e, cameras vid\u00e9o et image de synth\u00e8se 3D temps r\u00e9el.<\/li>\n<li><strong><em>Les Mythes<\/em><\/strong><strong><br \/>\n<\/strong>5 vid\u00e9os en boucle dans une sculpture dynamique.<\/li>\n<li><strong><em>Les Gouttes d\u2019eau<\/em><\/strong><strong><br \/>\n<\/strong>Dispositif synchrone, vid\u00e9o sur un lac.<\/li>\n<li><strong><em>Le Livre<\/em><\/strong><br \/>\nCircuit ferm\u00e9 vid\u00e9o, traitement num\u00e9rique temps r\u00e9el.<\/li>\n<li><strong><em>Eden<\/em><\/strong><br \/>\nBoucle vid\u00e9o et vitre semi transparente.<\/li>\n<li><strong><em>La Membrane<\/em><\/strong><br \/>\nArchitecture organique. Dispositifs interactifs, capture et analyse de mouvement, base de donn\u00e9es informationnelle, , \u00a0Exposition <em>l&#8217;Homme transform\u00e9<\/em>, Cit\u00e9 des sciences et de l&#8217;industrie.<\/li>\n<li><strong><em>Art Impact, Collective Retinal Memory<\/em><\/strong>, installation interactive dans laquelle chacun, sur place ou sur Internet, participe par le regard au rafra\u00eechissement de la m\u00e9moire collective. Installation en collaboration avec Jean Baptiste Barri\u00e8re au Centre Pompidou (20 juin-4 juillet 2000) et Internet (ORAOS.com).<\/li>\n<li><strong><em>Art Trap<\/em><\/strong><br \/>\nProjet d\u2019installation interactive. Vid\u00e9o projection et Internet.<\/li>\n<\/ul>\n<h4>1999 <a href=\"http:\/\/www.moben.net\/projet.php?id=86\">\u00a0<\/a><\/h4>\n<ul>\n<li><strong><em>TATI bag<\/em><\/strong><br \/>\nSac d\u2019artiste pour les magasins TATI, commissaire Cyrille Putman.<\/li>\n<li><strong><em>Jardin Virtuel de Calais<\/em><\/strong><br \/>\nProjet de parc th\u00e9matique culturel.\u00a0Conception des dispositifs interactifs, r\u00e9alit\u00e9 virtuelle, r\u00e9alit\u00e9 augment\u00e9e, robots\u2026<\/li>\n<li><strong><em>La Station Bleue<\/em><\/strong>: En f\u00e9vrier 2000, remporte avec <em>Jean Nouvel<\/em> le concours pour la nouvelle station de m\u00e9tro parisienne <em>Franklin D. Roosevelt<\/em> qui devrait devenir la premi\u00e8re station totalement interactive, reli\u00e9e \u00e0 Internet et faisant appel \u00e0 la r\u00e9alit\u00e9 virtuelle et \u00e0 l\u2019intelligence artificielle. L\u2019annonce en est faite par <em>Catherine Trautmann<\/em>, ministre de la culture, lors de la remise de la m\u00e9daille de chevalier des arts et lettres pour l\u2019ouverture de la f\u00eate de l\u2019Internet le 17 mars 2000. Le projet a \u00e9t\u00e9 abandonn\u00e9 par la RATP suite \u00e0 la campagne de r\u00e9novation de la ligne 1 impliquant une refonte compl\u00e8te des stations.<\/li>\n<li><strong><em>Crossing Talks, Communication rafting<\/em><\/strong>, avec Jean-Baptiste Barri\u00e8re, installation CAVE\/R\u00e9alit\u00e9 Virtuelle et Internet, \u00e0 \u00e9t\u00e9 cr\u00e9e pour la Biennale de l\u2019ICC (NTT Inter-Communication Center, Tokyo octobre-novembre 1999) o\u00f9 le visiteur tente de survivre dans un univers satur\u00e9 de non-communication.<\/li>\n<\/ul>\n<h4>1998<\/h4>\n<ul>\n<li><strong><em>Missing Matter<\/em><\/strong><br \/>\n2 Kakemonos\u00a0et un texte pour l&#8217;exposition itin\u00e9rante Transarchitectures 03 organis\u00e9e par Odile Fillion.<\/li>\n<li><strong><em>Le Tunnel Paris-New Delhi<\/em><\/strong><strong>,<\/strong> Un nouveau tunnel virtuel entre les deux continents (Cit\u00e9 des Sciences et de l\u2019Industrie de la Villette et la Virtual Gallery New Delhi) janvier 98. Composition musicale de Jean-Baptiste Barri\u00e8re.<\/li>\n<\/ul>\n<h4>1997<\/h4>\n<ul>\n<li><strong><em>Cosmogonie<\/em><\/strong><br \/>\ndocumentaire fiction sur la R\u00e9alit\u00e9 Virtuelle. Conception et r\u00e9alisation du documentaire pour Canal+, vid\u00e9o haute d\u00e9finition<\/li>\n<li><strong><em>Salle de navigation<\/em><\/strong><strong>,<\/strong> exposition <em>Nouvelle image, nouveaux r\u00e9seaux<\/em>, Cit\u00e9 des Sciences et de l\u2019Industrie de la Villette. Cr\u00e9ation du premier espace d\u2019exposition enti\u00e8rement en r\u00e9seau (concept, sc\u00e9nographie et contenu) avec suivi personnalis\u00e9 du parcours du visiteur et d\u2019une interface de navigation 3D\/2D (Cf. Hypercube).<\/li>\n<li><strong><em>World Skin, un Safari photo au pays de la guerre.<\/em><\/strong> Installation CAVE pr\u00e9sent\u00e9e pour Ars Electronica (Linz), septembre 97, Imagina 98 et SIGGRAPH 98 (Orlando). Stockholm 98, Aalborg (Danemark) 2000. Grand Prix (Golden Nica) de l\u2019art interactif, Ars Electronica 1998, ISEA 2000 Paris.<\/li>\n<\/ul>\n<h4>1996<\/h4>\n<ul>\n<li><strong><em>Far Near (e-motion)<\/em><\/strong><br \/>\nVR, Internet, musique interactive music et agents.\u00a0Le syst\u00e8me nerveux mondial \u00e0 l\u2019origine de la M\u00e9canique des \u00e9motions (projet).<\/li>\n<\/ul>\n<h4>1995<\/h4>\n<ul>\n<li><strong><em>Le Tunnel sous l\u2019Atlantique<\/em><\/strong>, \u00e9v\u00e9nement de t\u00e9l\u00e9virtualit\u00e9 pr\u00e9sent\u00e9 parall\u00e8lement au Centre Georges Pompidou et au Mus\u00e9e d\u2019Art Contemporain de Montr\u00e9al du 18 au 24 septembre 1995.<\/li>\n<li><strong><em>Et moi dans tout \u00e7a ?<\/em><\/strong><strong> 1 et <em>2<\/em><\/strong> Dispositif interactif sur Internet. La version \u00ab1\u00bb a \u00e9t\u00e9 pr\u00e9sent\u00e9e \u00e0 Sidney, Australie, exposition <em>Kahanamoku and Beyond<\/em> en 95. Et moi ans tout \u00e7a ? 2 a \u00e9t\u00e9 pr\u00e9sent\u00e9e \u00e0 partir du 7 juillet 1997 au Mus\u00e9e d\u2019Art contemporain de Lyon (exposition \u00abVersion Originale\u00bb).<\/li>\n<li><strong><em>Le Diable est-il courbe ?<\/em><\/strong> (<em>Les Grandes Questions<\/em>: s\u00e9rie d\u2019installations interactives. R\u00e9alit\u00e9 Virtuelle et Internet) Figures \u00e9minemment volumiques de la s\u00e9duction \u00e0 traquer dans le ciel de nos d\u00e9bordements. Pr\u00e9sent\u00e9 \u00e0 Imagina, Monte Carlo,1995.<\/li>\n<li><strong><em>Le Diable est-il courbe ? version \u00abPC\u00bb<\/em><\/strong>. Version \u00abPolitiquement Correcte\u00bb. \u00c9tats g\u00e9n\u00e9raux de l\u2019\u00e9criture interactive.<\/li>\n<\/ul>\n<h4>1994<\/h4>\n<ul>\n<li><strong><em>Dieu est-il plat ?<\/em><\/strong><strong> (<\/strong>Les<em> Grandes Questions<\/em>: s\u00e9rie d\u2019installations interactives. R\u00e9alit\u00e9 Virtuelle et Internet) Qu\u00eate ludique et labyrinthique de l\u2019image de Dieu dans les m\u00e9andres des errances individuelles, installation de r\u00e9alit\u00e9 virtuelle cr\u00e9\u00e9e pour la biennale Artifices 3 en novembre 1994.<\/li>\n<\/ul>\n<h4>1993<\/h4>\n<ul>\n<li><strong><em>Les Quarxs<\/em><\/strong> Une des toutes premi\u00e8res s\u00e9ries d\u2019animation en images de synth\u00e8se3D. 12 x 3mn, film 35mm.<\/li>\n<\/ul>\n<h4>1992<\/h4>\n<ul>\n<li><strong><em>Art After Museum<\/em><\/strong><br \/>\nVirtual Reality Art Collection\u00a0Virtual Reality contemporary art collection, villa Medicis hors les murs 1993<\/li>\n<\/ul>\n<h4>1991<\/h4>\n<ul>\n<li><strong><em>Les Quarxs<\/em><\/strong><strong>, video, 3D animation, <\/strong>pilote,<\/li>\n<\/ul>\n<!-- Begin Yuzo --><div class='yuzo_related_post style-1'  data-version='5.12.81'><!-- without result --><div class='yuzo_clearfixed yuzo__title yuzo__title'><h3>Related Works<\/h3><\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/1997\/01\/01\/1997\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2017\/01\/MB_LOGO_ICO-150x150.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover; 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 border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">un G\u00e9n\u00e9rateur de Failles Psychologiques Integr\u00e9<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/2019\/06\/05\/value-of-value-vov-ivo-initial-value-offering\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2019\/07\/E-DSC02785compo-150x150.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover;  border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">Value of Value official IVO<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/2008\/07\/06\/the-pavillion-of-post-contempary-curating-mupca\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2008\/07\/MUPCA-1-150x150.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover; 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 border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">Reified Absence<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/2020\/09\/09\/ars-electronica-hong-kong-garden\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2020\/10\/HK-GARDEN-BANNER-ICO-IMG_8971c-V2-1440x810-150x150.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover;  border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">Ars Electronica Hong Kong Garden<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n<\/div> <style>\n\t\t\t\t\t\t\t\t.yuzo_related_post img{width:130px !important; height:120px !important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb{line-height:15px;background: !important;color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb:hover{background:#ffffff !important; -webkit-transition: background 0.2s linear; -moz-transition: background 0.2s linear; -o-transition: background 0.2s linear; transition: background 0.2s linear;;color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb a{color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb a:hover{ color:}!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb:hover a{ color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .yuzo_text {color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb:hover .yuzo_text {color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb{  margin: 0px  0px  0px  0px;   padding: 5px  5px  5px  5px;  }\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/style> <script>\n\t\t\t\t\t\t  jQuery(document).ready(function( $ ){\n\t\t\t\t\t\t\t\/\/jQuery('.yuzo_related_post').equalizer({ overflow : 'relatedthumb' });\n\t\t\t\t\t\t\tjQuery('.yuzo_related_post .yuzo_wraps').equalizer({ columns : '> div' });\n\t\t\t\t\t\t   })\n\t\t\t\t\t\t  <\/script> <!-- End Yuzo :) -->","protected":false},"excerpt":{"rendered":"<p>2023 Reified Absences, 3D printed sculptures In-Hibitions, Social Network AI narrative Emotion Winds, \u201cLight Year 98: Caution: Beautification in Progress\u201d, video projection on Manhattan Bridge 2022 The Unbelievable Story of Flo D\u2019Am, AI narrative, artist book, MoBen editions HKRUNWAY, Music and choreography performance, Marfin A.,&#8230;<\/p>\n","protected":false},"author":1,"featured_media":16133,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"blog-gallery.php","meta":{"footnotes":""},"class_list":["post-17518","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/pages\/17518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/comments?post=17518"}],"version-history":[{"count":2,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/pages\/17518\/revisions"}],"predecessor-version":[{"id":28224,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/pages\/17518\/revisions\/28224"}],"wp:attachment":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/media?parent=17518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}