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2018 — 2014
Article 17 (2018)

Article 17 Screenshot
web

Article17 is an online audio poem based on Michaela Lakova's ongoing research into the Right to erasure formally known as the Right to be forgotten – a legislation allowing individuals to request search engines to delist their personal data. Lakova uses the official legislation of Article 17, part of General Data Protection Regulation (GDPR) accepted in May 2018. GDPR introduces a new set of rules and regulations which aim to control how private companies collect, store, and use personal data. However this legislation remains difficult to comprehend outside of the world of law enforcement. With Article 17, developed during her residency at x-temporary.org, Lakova is interested in ‘translating’ this rather complex text and set of definitions which will ultimately enable the viewer to experience a new form of ‘uneasy’ reading. Evoking, over-sized text where words are passing sometimes too quickly, lure the visitor to constantly pay attention to the screen.


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* Part of the online residency x-temporary, x
* Featured at Curating Contemporary


Memories of Slavutych (2018)

Memories of Slavutych
sound installation in public space, speakers, white ribbon, LED lights

It’s an episode still out of our culture. Too traumatic for our culture. And our only answer is silence. We just close our eyes, like little children and think we can hide. Something from the future is picking out and it’s just too big for our minds. Too huge for us to handle.
– Chernobyl Prayer: A Chronicle of the Future by Svetlana Alexievich

Memories of Slavutych is a spacial sound installation composed by different range of field recordings which Michaela collected during her residency in Slavutych (April-May). This project is a result of her ongoing research into nuclear power, Chernobyl accident and the notion of memory; from everyday' life soundscapes recorded in Slavutych to Julia's narrative voice during obscure trip to the Exclusion Zone. All of which resonate under a white ribbon inviting the passersby to listen. Preview at → video


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* Part of art residency at International Festival of Film and Urbanism “86”, Slavutych, ua



A manuscript of erasure (2017)

A manuscript of erasure
HD video, loop

I still have a visual and acoustic memory of experiences that I can not explain. Sentences and languages I do not know have remained in my memory...etched like a magnetic tape… memories which I can not forget or erase.
— Mchaela Lakova, A manuscript of erasure

A manuscript of erasure is an immersive video which explores themes of memory, absence and presence; what’s to be forgotten and/or remembered oscillating between city landscapes and a desert located in the Middle East. The video depicts a larger question of how history operates and its complex apparatus of being erased and then reinvented again.


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* Video installation, Plan for action, the fridge, Sofia, bg
* Artist talk & screening, Wolfart Project Space, Rotterdam, nl
* Featured at Unknown Quantities 5 publication by Central Saint Martins College of Art and Design, London, uk


Allow Me To Forget (2016-оngoing)

Allow Me To Forget
website


Аllow Me Тo Forget is an ongoing research and project develop- ment based on the right to be forgotten (RTBF). In May 2014, the European Court of Justice ruled that individuals can request search engines like Google, Bing and Yahoo to remove content which is linked to one’s name if the information is outdated, inadequate, irrelevant or devoid of purpose and there is no public interest.
Allow Me To Forget is a website which depicts larger questions about our digital rights and the online ethics of tech companies as a symbolic attempt to gain agency.
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* Allow Me To Forget was developed during residency at Intercambiador (ACART), Madrid, es
* Presentation at Café Chercher in Willem De Kooning Academy, Rotterdam, nl


The Blue Print (2016)

The Blue Print
artist publication

The publication The Blue Print is a result of an archive of images, recovered from a collection of hard disks. They explore questions like: What can be digitally excavated from a computer memory? What appears and disappears in the recovery process? The images in the publication The Blue Print derive from a series of images which the audience has decided to save as part of the interactive installation Delete? No, Wait! Rewind (2014).

"The Blue Print is an artist’s book and an introduction to themes of media art by capturing a techno-poetic and aesthetic syntax of unintentional archive. Its context stems from the prevalence of the digital technologies that are provoking us to shed data like we shed our skin, asking questions around how we store, delete, retrieve and share our personal histories as an ever-present community."
Liz Allan (Co-Editor)


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* The Blue Print is supported by Gaudenz B. Rufaward for new Bulgarian art Switzerland / Bulgaria
* Presented at Zine Camp Rotterdam, Rotterdam, nl
* Artist talk and Prenentation at Conversation Piece, Cosmos, Sofia, bg
* D Days (Open Design), group show, Zagreb, hr



Cold Storage (2015)

Cold Storage
vinyls, glass cubes, circuit boards, light table

Enlarged photographs of common data storage devices are placed on the windows of the exhibition space along with four glass cubes which create an optical illusion of disappearance of the circuit boards depicted in the photographs. While stored digital data might seem ephemeral or intangible, it does in fact have a physical presence in the real world.
Cold Storage investigates the architectural dimensions of our storage devices and how they are translated into the physical world. The work proposes a poetic overview of the material quality of memory asking what is the future of digital storage “a glass cold memory which lasts forever” or imperfect storage technology that can impart.
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* Cold Storage installation is supported by CBK (Centre for Visual Arts Rotterdam)
* What remains – Strategies of saving and deleting, group show esc medien kunst labor part of Steirischerherbst, Graz, at



Estimated Time to Recovery (2015)

Estimated_Time_to_Recovery
Raspberry pi, SATA/IDE enclosure box, hard drive, steal box, timer

Estimated Time To Recovery is completely automatized system, which recovers files from hard drives without the consent or the knowledge of the previous owners, who presume their content has been forever deleted. This metal box contains a mini computer which recovers and deletes data real time. The displayed numbers on the box show the estimated time to recovery until the process is completed. When the procedure is finished the machine starts the reversed process of erasing the recovered data. This feedback loop attempts to display processes which often remain hidden and run on the background of our machines.

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* Estimated Time To Recovery is supported by CBK (Centre for Visual Arts Rotterdam)
* What remains – Strategies of saving and deleting, group show esc medien kunst labor part of Steirischerherbst, Graz, at



JODI@STDLJK (2015)

JODI
video, duration: 1'16''

Together with six other artists and researchers I was invited to take part in the project “This folder Contains”, a diverse set of documentations produced on the occasion of JODI’s performance entitled “This Page Contains...” on October 1, 2015 at Stedelijk Museum. For this purpose I created JODI@STDLJK The Titles – an immersive video teaser combining more than 1475 still images of what might be my subjective interpretation of JODI's performance. → video

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* This project was initiated by Annet Dekker in association with LIMA as part of Capturing a Moment:
Where net art and performance meet
and it was supported by Stedelijk Museum.
* Prototype, pop-up exhibition at Societe Generale Bank, Sofia, Bulgaria


Delete?No, Wait!Rewind(2014)

DEL?No, wait!REW
interactive installation, custom software and hardware, hard drives, screens, steel controller, light table

Delete?No, Wait!Rewind is an interactive installation which recovers images from hard drives without the consent or the knowledge of the previous owners, who presume their content has been deleted forever. The audience is prompted to choose whether to delete a recovered file or save it by publishing it online. Whether our storage devices are locally present (hard drives) or dislocated (the cloud), can we ever be certain our data has been deleted permanently? In an ongoing conversation about the impossibility of erasing digital traces, what role do we play? Are we plunderers, interpreters or mediators? → video


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* free_art_-_source, group show, Galerija Galženica, Zagreb, hr
* Art Meets Radical Openness festival (AMRO), Kunstraum gallery, Linz, at
* >What remains – Strategies of saving and deleting , group show, esc (medien kunst labor), Graz, at
* PIKSEL Festival, Lydgallerit, Bergen, no
* New Horizon Festival, group show, Het Onderwijscentrum Erasmus MC, Rotterdam, nl
* Unlinked (Dislocations, Disappearances & Deprecations), graduation show of Piet Zwart Institute, MMDC, TENT gallery, Rotterdam, nl


Bibliotecha (2013 – ongoing)

bibliotecha
offline digital library, Raspberry Pi, Recoil, Calibre, book, login instructions
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| collaborations:
 Roelof Roscam Abbing, André Castro
 Yoana Buzova
 Lucia Dossin
 Michaela Lakova 
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Bibliotecha is a framework to facilitate the local distribution of digital publications within a small community. It relies on a microcomputer running open-source software to serve books over a local wifi hotspot. Using the browser to connect to the library one can retrieve or donate texts. Bibliotecha proposes an alternative model of distribution of digital texts that allows specific communities to form and share their own collections. Read more on the website of the project → http://bibliotecha.info/

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* Presented at The Autonomous Fabric Symposium, V2_ – Institute for Unstable Media, Rotterdam, nl
* Presented at Radical NetworksR, conference, NYU Polytechnic School of Engineering, New York, us
* Workspace for the New World, Bureau Europa, group show, Het Niuewe Instituut, Maastricht, nl
* Workshop at Art Meets Radical Openness festival (AMRO), Linz, at
* Presented at Are you being served? VJ14, Constant – Association for Art and Media, Brussels, be
* Developed during Free book for every soul, workshop Impakt festival, Utrecht, nl


2013 — 2010
VGA_ha(c)k (2013)

vga_hack
CRT TV, custom VGA adapter, Arduino, MAX/MSP

VGA_ha(c)kis a customized VGA adapter / controller which scans the digital signal of an old CRT TV. The abstract lines move fast systematically back and forth across the screen, drawing line by line, "flickering" the picture over and over again almost like invisible electronic paintbrush. The adapter takes as input digital signal (RGB) and via arduino converts the signal into hi frequency lines displayed on CRT TV. A Max/MSP patch is used to communicate with the Arduino through the Serial port, syncing the rgb signal to the frequencies of the played audio file. → video


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* Glitch Moment/ums – an online exhibition curated by Rosa Menkman & Furtherfield, Furtherfield Gallery, London, uk



Creativity Profiling Test Cq7 (2013)

worm worm
interactive installation, Processing, Kinect, print
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| in collaboration with Nicole Hametner 	 
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Cq7 Creativity Profiling Test is an interactive installation, which allows users to test their creativity through a series of ubiquitous questions and answers by standing in different zones on the floor. Then the user is given a printed badge with final score. The content of the questions evolves from the most common job interview questions to more discomfort ones, concerning supervision, deadline, pressure, work-life balance and privacy. The final rating is not based on the actual answers instead it is randomly generated. However most users see the test as a serious assessment of their own creativity. → docs

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* Startup CAMP - a group show & presentation, WORM, Rotterdam, nl





Untitled (2013)


gifs
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* gif Archive - an online exhibition & discussion → eXAF foundation the fridge (Sofia) & Kino Kosmos (Plovdiv), bg



Urban_Planting (2012)

Urban_plantings
intervention in public space, plant, go pro camera, photos&video documentation

Urban planting is an attempt to explore and interact with the rhythm of the city of Rotterdam. It is my first personal observation of how and to what extent I can provoke a reaction from a small action: a type of social intervention in a public space. I placed a plant – a common interior feature but in this case, out of its context – at the Rotterdam metro station. I intentionally positioned it in the middle of the sidewalk, in the way of the passersby where it frequently became an object of illumination by numerous fluorescent lights and CCTV cameras.
I found myself and my non-descript form of intervention in the spotlight, overexposed, monitored and investigated. Thereby neither the absurdity of the object by itself, nor the audience’s bare reaction were central; instead it was the authority’s, in particular the security’s response that became the main event of the action.

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* Open day / group show, screening, ZK/U – Center for Art and Urbanistics, Berlin, de



WAVes (2012)

WAVes WAVes
digital videos: 2'27'' & 1''46''
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| in collaboration with Qvor Milanov and Yoana Buzova,	            
  Giovanny Conte - violin and Dmitri Yagodin - drums & percussions          
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WAVes expore a common physical reactions of magnetizing a ferro fluid and iron sand - both highly conductive materials. We recorded slow motion videos of the physical processes that occured and then asked the musicians Giovanny Conte and Dmitri Yagodin to play and experiment on the source material, while watching it. The visuals play a role of a fictional conductor, providing a ground for sound improvisations. → videos





Web banners (2010)

Research on Spam
gifs

Web banners are the junk of the web; The Unwanted; Often classified as everything that is not asked by the visitor. This visual research focuses on creating visual patterns, which aim to personalize your own web banner. I used basic structure of Printed Circuit Board (PCB), which is primary used to connect electronic componets and consists of unique visual code.

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*gif Archive - an online exhibition & discussion → eXAF foundation the fridge (Sofia) & Kino Kosmos (Plovdiv), bg