Dedicated Institutions

Open 365 days a year, 24 hours a day, and accessible everywhere, AMDM is a place to reflect on the importance and impact of digital media in our lives. The museum is an ever-changing repository of eclectic exhibits. Shows will be curated by leaders in art, technology, and business to inspire fresh conversation about our constantly evolving digital landscape.

ANAT- Australian Network for Art and Technology supports artists and creative practitioners engaging with science and technology, within Australia and beyond. Immersive residencies, professional development labs, online research tools, publications, seminars and workshops are part of the program. For over two decades ANAT has incorporated cross discipline collaborations into its programming to increase the benefits for the artists’ supports.

A unique institution at the heart of Melbourne’s iconic meeting place, Federation Square, the Australian Centre for the Moving Image (ACMI) celebrates, explores and promotes the cultural and creative richness of the moving image in all its forms – film, television and digital culture.

Through a vibrant calendar of award-winning Australian and international exhibitions, films, festivals, live events, creative workshops, education programs and Collection resources, ACMI provides diverse audiences with unsurpassed ways to engage with the moving image.

As one of Victoria’s major cultural, tourism and learning attractions, ACMI is an integral element in Melbourne’s position as one of the world’s truly creative cities.

Starting life as the State Film Centre in 1946, ACMI evolved from being a Collection based institution to an internationally recognised national hub for screening and advocacy, screen education, industry engagement and audience involvement.

BAC is a production office and work place for artists, curators and contemporary art writers. We run a variety of different production- and residency programs. BAC is a flexible organization placing the artistic process at the centre of our activities. We have no permanent studios or exhibition rooms.

Artists are given an open invitation to give room for experimentation. Instead of BAC formulating a fixed framework – temporally, economically or spatially – for artistic production, each artist is invited to formulate the conditions for their working process in dialogue with the organization.

Founded in 1933 by the University of Alberta, Department of Extension, with a grant from the U.S.-based Carnegie Foundation, The Banff Centre began with a single course in drama. Its success generated additional arts programs and the Centre became known as The Banff School of Fine Arts in 1935. Programming supports the commissioning and creation of new work by individual artists and arts collectives, and provides resources for collaboration and applied research. Training and professional development at the post-graduate level in more than a dozen art forms including Aboriginal arts, music, theatre, dance, opera, literature, ceramics, print-making, painting, papermaking, photography, sculpture, audio engineering, digital film and video, and new media.

The mission of the Beall Center is to support research and exhibitions that explore new relationships between the arts, sciences, and engineering, and thus, promote new forms of creation and expression using digital technologies. The Beall Center aspires to redefine the museum/gallery experience, both in content and form, formulating answers to the questions of how technology can be used effectively, not only to create new forms of art, but also to connect artist to artist, and artist with audience.

is an open, not for profit institution, a space for innovative experiments and developments related to communication, culture and open society, its main focus the fostering of meetings and cooperation among spheres of art, science and technology.

 The C³ Collection contains media artworks that have been realised with the collaboration of C³, on-line artworks, works produced within the framework of the C³ residency programme and the Studio Grant, as well as the documentation of projects realised by C³.

The CITU is situated at the crossroad of theoretical and scientific research and of an experimental approach of creation. The research methodology is deeply modified by this positioning. Research comes from artistic as well as scientific proposals. The experimental devices infer behaviours that enhance most actual questions on emerging media. This specific approach produced results which can be developed through artistic projects often using a real technological equipment, workshops, exhibition as well as more academic forms such as publications and conferences. CITU researchers are by nature mostly transdisciplinary.

The Center’s extensive media arts collection of videotapes and DVDs is being archived and housed at the Rose Goldsen Archive of New Media. The archive is curated by Dr. Tim Murray, Director of Graduate Studies in Comparative Literature and Director for the Society for the Humanities at Cornell.

The Experimental Television Center (1969-2009) (5 DVD set with catalog), an anthology of video art works created through the Residency Program here. The set was curated and about 90 artists out of the several thousands who have participated in our program were selected. The collection was featured in 2011 at Anthology Film Archives. It was named top 100 DVDs for 2010 by LUX, the influential arts organization in London, UK. In 2011 the collection was named by LUX as one of 50 essential moving-image artists DVDs in publication. The collection is available through the well-known distributor of contemporary art Electronic Arts Intermix.

This unique web resource is an ongoing project allows access to FACT‘s rich legacy of new media artwork.
Browse the content by using the who, what, where and when categories, or by typing in an artist or artwork that you would like to learn more about.

Achille Maramotti first conceived of creating a public collection of contemporary art some thirty years ago, and planned to make it an exemplary institution, open to connoisseurs and other interested individuals, in the service of the aesthetic and intellectual appreciation of art. He intended this collection to mirror the evolution of the most advanced artistic thinking of his time.

Up until 2000, portions of the collection’s holdings were exhibited for extended periods of time in the corridors and public spaces of the Max Mara building in Reggio Emilia’s via Fratelli Cervi, with a view to promoting a fruitful, daily exchange between artistic creativity and industrial design. One therefore sees a continuity in the decision to turn this building, once geared to the creation of fashion collections, into the permanent seat of a collection of contemporary art. The constant exploration of the separate but related and always evolving languages of fashion and art was Achille Maramotti’s central passion.

This Center’s establishment is based upon the objectives of “R&D, experimentation, creation and incubation”.The intention is to accumulate energy in digital arts, and attain the core value of transcending short term profits; because we hope the various representative organizations that have demonstrated great potential will focus on the long term ideals and show the real meaning of collective involvement. In doing so, we hope to generate the most substantial and most abundant reward, thus making Taipei Digital Art Center the base for the development of the emerging digital contents industry and culture.

The MIT Museum invites you to explore invention, ideas, and innovation. Through interactive exhibitions, public programs, experimental projects and its renown collections, the MIT Museum showcases the fascinating world of MIT, and inspires people of all ages about the possibilities and opportunities offered by science and technology.

The idea for the Media Lab came into being in 1980 by Professor Nicholas Negroponte and former MIT President and Science Advisor to President John F. Kennedy, Jerome Wiesner. The Lab grew out of the work of MIT’s Architecture Machine Group, and remains within MIT’s School of Architecture and Planning.

The Media Lab opened the doors to its I.M. Pei-designed Wiesner Building in 1985, and in its first decade was at the avanguard of the technology that enabled the “digital revolution” and enhanced human expression: innovative research ranging from cognition and learning, to electronic music, to holography. In its second decade, the Lab literally took computing out of the box, embedding the bits of the digital realm with the atoms of our physical world. This led to expanded research in wearable computing, wireless “viral” communications, machines with common sense, new forms of artistic expression, and innovative approaches to how children learn.

Now, in its third decade, the Media Lab continues to check traditional disciplines at the door. Future-obsessed product designers, nanotechnologists, data-visualization experts, industry researchers, and pioneers of computer interfaces work side by side to tirelessly invent—and reinvent—how humans experience, and can be aided by, technology.

Founded in 1997 the Daniel Langlois Foundation for Art, Science, and Technology is a private, charitable organisation with an international scope.

The Foundation seeks to bring art and science closer together within a technological context on two levels: first, by nurturing a critical awareness of technology’s impact on ourselves and on our natural and cultural environments and second, by promoting the exploration of aesthetics reflecting the environments that we shape. The Foundation also seeks to promote the emergence of knowledge founded on local practices that contribute to the growth and well-being of people in their communities and environments.

Founded in 1971, Electronic Arts Intermix (EAI) is a nonprofit arts organization that is a leading international resource for video and media art. A pioneering advocate for media art and artists, EAI’s core program is the distribution and preservation of a major collection of over 3,500 new and historical video works by artists. For 40 years, EAI has fostered the creation, exhibition, distribution and preservation of video art, and more recently, digital art projects.

EAI supports artists through the distribution, preservation, exhibition and representation of their media artworks, and works closely with educators, curators, programmers and collectors to facilitate exhibitions, acquisitions and educational uses of media artworks. EAI provides access to video art within an educational and cultural framework.

The EAI collection spans the mid-1960s to the present, and is recognized as one of the most comprehensive video art collections in the world. The works in the collection range from seminal videos by pioneering figures — such as Nam June Paik, Bruce Nauman, Martha Rosler and Joan Jonas — to new digital works by emerging artists, including Seth Price, Paper Rad, Cory Arcangel. JODI,and Takeshi Murata.

In 1986, the EAI Preservation Program was begun to facilitate the restoration and archiving of works in the EAI collection. This was one of the first such programs that addressed the preservation needs of a video art collection, and is today a leading initiative for media art preservation.

Eyebeam is the leading not-for-profit art and technology center in the United States.

Founded in 1997, Eyebeam was conceived as a non-profit art and technology center dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre of cultural production.

Eyebeam is an art and technology center that provides a fertile context and state-of-the-art tools for digital research and experimentation. Eyebeam challenges convention, celebrates the hack, educates the next generation, encourages collaboration, freely offers its contributions to the community, and invites the public to share in a spirit of openness: open source, open content and open distribution.

The atelier model is fundamental to the concept of Eyebeam. The studio/workspace environment, in which the energies of artistic production, education and curatorial practice fuse, provides a unique, stimulating and vital working context for creating art.

Cinema, art gallery and UK’s leading organization for the support & exhibiting of film, art and new media. It provides professional training for individuals and organizations in the arts and creative industries. It provides filming and production services, advice for the creative and art industries, and archiving service for film and video.

iMAL (interactive Media Art Laboratory), is a non-profit association created in Brussels in 1999, with the objective to support artistic forms and creative practices using computer and network technologies as their medium. In 2007, iMAL opened its new venue: a Centre for Digital Cultures and Technology of about 600m2 for the meeting of artistic, scientific and industrial innovations. A space entirely dedicated to contemporary artistic and cultural practices emerging from the fusion of computer, telecommunication, network and media.iMAL has become a European and international meeting place for artists, scientists and creative people, ideally located in Brussels, a muticultural and international city, capital of Europe.

IIT Bombay, set up by an Act of Parliament, was established in 1958, at Powai, a northern suburb of Mumbai. Today the Institute is recognised as one of the centres of academic excellence in the country. Over the years, there has been dynamic progress at IIT Bombay in all academic and research activities, and a parallel improvement in facilities and infrastructure, to keep it on par with the best institutions in the world. Institutes in positions of excellence grow with time. The ideas and ideals on which such institutes are built evolve and change with national aspirations, national perspectives, and trends world – wide. IIT Bombay, too, is one such institution.

The Institute of Network Cultures analyses and shapes the terrain of network cultures from the inside. No innocent bystander, it actively contributes to the field through events, publications and online dialogue. The sphere of new media has huge potential for socio-technological change – the mission of the Institute of Network Cultures, the INC, is to explore, document and feed this potential. Established in 2004 the INC takes as its focus the Internet and other new forms of media. The INC is a framework for the realisation of a diverse array of projects, with a strong emphasis on content. Its goal is to create an open organisational form where ideas from both individuals and organisations can be given an early institutional context.

InterCommunication Center [ICC] is an innovative cultural facility in Tokyo Opera City Tower in Nishi-Shinjuku, Tokyo, which was established on April 19, 1997, in commemoration of the 100th anniversary of telephone service in Japan (1990).

From the launch of the basic ICC concept in 1990, it has taken nearly eight years until the opening of the facility. During this period, ICC held a variety of events concerning the arts and science, and continued to publish quarterly journals to distribute information. The fruits of these activities provided the groundwork for ICC to open its doors.

ICC wishes to encourage the dialogue between technology and the arts with a core theme of “communication,” thereby building an affluent society for the future. Through such dialogue, it also aims to become a network that links artists and scientists worldwide, as well as a center for information exchange.

Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international nonprofit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology.

The main activity of ISEA International is the annual International Symposium on Electronic Art. Selection of ISEA symposia is made by the ISEA International Foundation Board.

In an important move for ISEA, an agreement with University of Brighton to establish an ISEA Headquarters was signed in July 2009.

The Israeli Center for Digital Art is a dynamic platform for thinking, researching, producing, presenting, and analyzing contemporary art, as well as providing a meeting point for exchange between contemporary artists, curators, critics and the public. Since it was established in 2001 in an abandoned school building in the industrial area of Holon, the center has grown quite rapidly from a one-room gallery six years ago.

The center is a non-profit organization supported by the city of Holon. As a public art space it consistently questions the place of art institutions within their society. In an effort to stimulate discourse in Israeli society, the center devotes a significant part of its work on art projects that foster questions about identity, ethnicity, nationalism and cultural exchange.

The LABoral Centro de Arte y Creación Industrial Foundation is a cultural body to serve the general interest, as well as the governing body of the art centre. The aims of the Foundation as described in Article 6.1 of the statutes are “to promote and disseminate art and industrial creation through the management of LABoral Centro de Arte y Creación Industrial.”

The main activities of the museum are dedicated to the “moving images” and manifested in the nomadic festival project “Cologne OFF International Videoart Festival”.

The LINK Center for the Arts of the Information Age is a multi-functional center promoting artistic research with new technologies and critical reflections on the core issues of the information age: it organizes workshops, seminars, conferences and shows, forges partnerships with private and institutional partners, publishes books and networks with similar organizations worldwide.

Founded in 2011, the LINK Center acts locally but thinks European. Nomad without physical premises, the LINK Center is a work in progress. It sets out to introduce the “Media Art Center” model into Italy, but with a new vision based on an innovative organizational strategy and cultural outlook.

Ljudmila – Ljubljana Digital Media Lab is an opena-access laboratory of digital media. From 1994 they connect new media and artistic projects, encouraging the most creative uses of new technologies.

The Netherlands Media Art Institute presents four exhibitions per year, with Dutch and international artists who work with video, film, internet and other technological media. As well as showing rising young talents, NIMk also hosts famed international artists who have never before been shown extensively in The Netherlands, such as Marina Abramovic, John Bock en Cory Arcangel. The exhibitions pose questions about the consequences of technological developments for contemporary art, the artwork itself, and the artistic process.The Artist in Residence (AiR) programme at the Netherlands Media Art Institute supports the exploration and development of new work in digital/interactive/network media and technology based arts practice.

The National Institute for Experimental Arts (NIEA) at UNSW is a dynamic experimental research facility integrating COFA’s Research Centres, groups and galleries. Built on key research strengths in digital media, social, environmental and community based application of the arts, NIEA aims to produce internationally leading research that address national priorities and global problems, including environmental sustainability, digital and frontier technologies, indigenous culture and inter-cultural relations. NIEA promotes innovative theory and practice-based research through cross-disciplinary collaboration and close partnerships with a variety of Australian and international universities, industry and community groups.

With a unique purpose-built gallery and laboratory facility under development for 2012, NIEA provides an enhanced platform for curatorial exhibitions and research. It is initiating a research and exhibition program that will pioneer new models of cross-institutional exhibition making.

The National Science Foundation (NSF) is an independent federal agency created by Congress in 1950 “to promote the progress of science; to advance the national health, prosperity, and welfare; to secure the national defense…” NSF’s goals–discovery, learning, research infrastructure and stewardship–provide an integrated strategy to advance the frontiers of knowledge, cultivate a world-class, broadly inclusive science and engineering workforce and expand the scientific literacy of all citizens, build the nation’s research capability through investments in advanced instrumentation and facilities, and support excellence in science and engineering research and education through a capable and responsive organization.

The Netherlands Media Art Institute, Montevideo/Time Based Arts has set the goal for itself of promoting the wide development, application and distribution of, and reflection on new technologies in the visual arts. The Netherlands Media Art Institute supports media art in three core areas: presentation, research and conservation, and through its facilities provides extensive services for artists and art institutions. Associated with this are educational programmes, which are developed for all activities.

Since the Netherlands Media Art Institute came into being in 1978 an extensive collection of video and media art has been assembled, to which new works are constantly being added. In addition to its own collection, the Institute also manages the video collections of the De Appel Foundation, the Lijnbaan Center in Rotterdam and the Netherlands Institute for Cultural heritage (ICN). The collections of the Groninger Museum and the Kröller Müller Museum can be viewed. The collections comprise more than 1900 works at present, varying from the earliest experiments through recent productions by known Dutch, international artists and rising talents.

The MINI Museum of XXI Century Arts (also known as MMAXXI) is a 7” digital photo frame bought on eBay equipped with a 4GB pen drive. Founded and directed by Domenico Quaranta, the MINI Museum will travel from node to node around a network of artists, and will host temporary solo shows by the artist owning it at the time. All the artworks shown in the MINI Museum will enter the permanent collection of the Museum itself. The Museum will return to the Director when there is no more storage space left. The process is scheduled to start on October 15, 2010, when the MINI Museum will officially be given to its first “temporary owner”.

In a time of major advances in digital media 911 Media Arts Center envisions a future where independent voices thrive in a society that fosters diversity, innovation and artistic excellence.

Onedotzero is a London-based moving image and digital arts organisation which commissions, showcases and promotes innovation across all aspects of moving image, digital and interactive arts.The organisation, founded in 1996, is known for representing a diverse array of artistic endeavour via the annual onedotzero_adventures in motion festival and associated touring.

Situated next to the V&A’s Grand Entrance, the Porter Gallery houses temporary displays featuring contemporary art and design. Exhibitions have included ‘Decode: Digital Design Sensations’, which showed the latest developments in digital and interactive design; ‘Shadowcatchers’ , which presented the work of five international artists who challenged the notion that a camera is necessary to make a photograph; and ‘Power of Making’ that celebrated the role of making in our lives by presenting an eclectic selection of over 100 exquisitely crafted objects.

The Science Museum was founded in 1857 as part of the South Kensington Museum, and gained independence in 1909. Today the Museum is world renowned for its historic collections, awe-inspiring galleries and inspirational exhibitions.

SKOR | Foundation for Art and Public Domain develops art projects in relation to public space by supervising content and providing financial support.

Streaming Museum presents contemporary-themed exhibitions of international fine arts, pop culture and interdisciplinary synergies to a global audience via the Internet, an expanding network of big screens worldwide, and at partnering cultural centers.

Produced and broadcast in New York City, Streaming Museum generates content in collaboration with a variety of cultural and educational organizations, prominent and emerging visual and performing artists, curators, and visionaries across fields.

The museum’s program content can be considered ‘contemporary hieroglyphs’ that speak across cultures in our visually oriented, globally interconnected, hyper-information age.

Streaming Museum is part of the information-with-social-value economy.

The purpose for this website is to create an interface for the digital artists, as well as for the up-stream and down-stream participants of digital arts, to be able to freely exchange ideas and communicate new entities. We want to establish an elegant show room to allow open demonstration of local artistic innovations. The ultimate goal is to fully capitalize this website’s potential to facilitate cultural renaissance in Taiwan, and be the power house base for digital arts globally.

The Project Room for New Media and Performing Arts is an incubator of new ideas, showcasing groundbreaking concepts in all art mediums, and the intersection of the arts through technology. Initiated in 2003 at Chelsea Art Museum by curator, Nina Colosi, over 350 international emerging and established artists have been presented in exhibitions, performing arts, symposiums, meet-the-artist programs, and workshops.

The Union of International Associations (UIA) is a research institute and documentation centre, based in Brussels. It was founded one hundred years ago, in 1907, by Henri la Fontaine (Nobel Peace Prize laureate of 1913), and Paul Otlet, a founding father of what is now called information science.

Non-profit, apolitical, independent, and non-governmental in nature, the UIA has been a pioneer in the research, monitoring and provision of information on international organizations, international associations and their global challenges since 1907. The UIA has consultative status with UNESCO and with ECOSOC.

V2_, Institute for the Unstable Media, founded in 1981, is an interdisciplinary center for art and media technology in Rotterdam (the Netherlands). V2_ is doing research at the interface of art, technology and society. V2_ presents, produces, archives and publishes about art made with new technologies and encourages the debate on these issues. V2_ offers a platform where artists, scientists, developers of software and hardware, researchers and theorists from various disciplines can share their findings. In V2_’s view, art and culture play an essential role in the social embedment of and attitude towards technological developments. V2_ creates a context in which technological issues are explored through critical reflection and practice-oriented research.

As a cultural institution, the Center for Art and Media (ZKM) in Karlsruhe holds a unique position in the world. It responds to the rapid developments in information technology and today’s changing social structures. Its work combines production and research, exhibitions and events, coordination and documentation.

The founding of the Center for Art and Media can be traced back to the year 1980, when the idea for a media arts center first came into being. By 1986, a project group had been organized, consisting of local politicians and representatives of the university, the State Music Academy, the Center for Nuclear Research and other institutions in Karlsruhe. In »Concept 88«, they described their vision for bringing together art and the new media in theory and practice.

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