Michael Bielický

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Michael Bielicky (born January 12, 1954 in Prague ) is a Czech-German media artist. He is professor for media art at the State University for Design (HfG) in Karlsruhe. His work Menora / Inventory is the first work that the founder Heinrich Klotz acquired for the Center for Art and Media Karlsruhe in 1989, the year it was founded. The Center for Art and Media Karlsruhe is the first museum in the world that has focused on media exhibitions since it was founded. With his works Exodus (1995) and Intelligent Mailman (1994), which were created with the help of - in the first case - Israeli military technology and were presented at the Ars Electronica as works of telepresence (1995) and Intelligent Ambience (1994) he was responsible for the first two works within the art context, which were created using GPS technology.

Life

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The reference to the photo magazine Monochrome is not proven. See talk page. - ☆☆☆ interstellarpoliceman ☆☆☆ 10:15, 1st Mar. 2019 (CET)

After childhood in Prague, he lived in the Federal Republic of Germany from 1969. From 1975 to 1978 he studied medicine at the Heinrich Heine University in Düsseldorf. Between 1980 and 1981 he spent long stays in the USA, where he photographed architecture and people. In New York City he worked as a cab driver in Central Park. A lot of documentary photography and film material was created during this time, some of which can be found in his later main work. In 1981 he returned to Germany. From 1981–1984 he worked as a photographer for Monochrom magazine .

MONOCHROM, an avant-garde magazine for photography and urban lifestyle, published by Michael Schürmann at CT-Verlag (Krefeld)

From 1984 to 1990 he studied at the Düsseldorf Art Academy , first with Bernd Becher and in 1987 as a master student of Nam June Paik , whose assistant he remained until 1991 after graduating.

Digital Andy, photo prints each 30 × 40 cm, 16 parts. As a homage to the Pop Art artist and his multiples, Michael Bielicky films Andy Warhol portraits and processes them with the first digital video techniques, Time Base Correction and Drop-Out Compensation. The sometimes disturbing, sometimes iconic imagery of the Warhol originals is replaced by distorting techniques.

Bielicky was appointed professor at the Academy of Fine Arts Prague (AVU) in 1991 to set up the department for new media and stayed until 2006. At the same time, he worked closely with the Goethe Institute in Prague and, since 1991, has organized several symposia on the also Vilém Flusser , born in Prague , is the philosopher and communication scientist whom he also commemorates in the experimental documentary Flussers Fluss (1990) shortly before his death (1991). On behalf of the Soros Center for Contemporary Art, he designed new media art departments and labs in many parts of Eastern Europe.

From 1995 to 1996 he was scientific advisor for culture and technology for the Council of Europe in Strasbourg. In 1996 Bielicky co-founded the Institute of Unstable Thoughts in Kiev, Ukraine. In 1997 he worked with the High-Tech-Center Babelsberg in Potsdam. Bielicky has been working on two innovative research projects at the ZKM since the mid-1990s: on the one hand, the Virtual Set Project from the u. a. the work Delvaux's Dream (1998–99) emerged,.; on the other hand in an interactive 360 ​​° environment project for Volkswagen at the Autostadt Wolfsburg with the name Room with a View (1999–2000). Since 2002 he has helped establish the first new media department at Chiang Mai University in Northern Thailand.

Michael Bielicky has been Professor of New Media at the Karlsruhe University of Art and Design since 2006, although the university's staffing concept provides for all artistic and creative professorships to be filled on a temporary basis. Increasing collaborations with Kamila B. Richter resulted in four large groups of works: the Falling Group (2005–2010), the Garden Group (2010–2013), as well as the Columbus 2.0 (2008–2011) and Data Dybukk Group ( 2015-2018). The first two groups are based on a tailor-made Flash, the latter two on a tailor-made Java programming environment.

The latest work Narcissistic Machine (2018) is the first work in a new group of works and the beginning of a work in a technically and aesthetically completely new programming environment.

The name, National Gallery Prague. As in Menorah, the wireless transmission of information between symbolic objects and even more freedom in the arrangement of media within a fixed structure play a key role. Bielicky addresses a networked world through the symbol of the spiral, which functions as an information carrier in different contexts. The name is the first accessible / proto-interactive work.

Works: Between video and media installations

In 1986 "Perpetuum Mobile" was one of Michael Bielicky's first video works to be produced in Düsseldorf. Bielicky tried to reinvent his artistic practice along all the important technical cornerstones, from Stop Motion to U-Matic , Time Base Corrector with DOC (Drop-Out Compensation) to GPS, Internet and real-time data and provoked and documented the aesthetics of the Errors of the mind in the machine, parallel and in contradiction to the ongoing technical refinement process of the media industry.

In the 1980s, he developed techniques to creatively use the first digital video processing machines to alter, distort, and rearrange his video material, similar to what happened in 1966 in his mentor Nam June Paik's first exhibition where he used magnets to to distort the reproduction of the television sets used. Works such as Four Seasons (1984), Circulus viciosus (1985) and Paik-Hat (1986) questioned linear editing traditions through editing techniques and stop-motion, while Perpetuum Mobile (1986), Next Year in Jerusalem (1988) and Golem is Alive (1989) already used digital editing techniques to create videos that seem haunted by the ghosts of early Eastern European media culture. In 1989, the same year that Golem Is Alive was published, Michael Bielicky expanded the two-dimensional canvas into the exhibition space. With his Menorah / Inventory (1989) he let the screen frame fade into the background and dissolved it in a highly symbolic sculpture, one of the main symbols of the Jewish religion. A year later, in 1990, he abolished religious symbolism and placed his video art in the universal scientific and technical symbol, the spiral:

“Information always moves in the same form through space and time. It manifests in a spiral. The genetic code is stored in the double helix as well as the information in the two scrolls of the Torah. the sacred scriptures of Judaism. Like the sounds of human speech in the form of waves (spirals), our solar system moves in the same way through space. Computer disks and video tapes store information in a spiral. "

The name (1990), a work that is technically similar to the Menorah / Inventory (the small televisions are receivers for a video source nearby, fire and screens are intertwined as symbols and means of communication), is the one on closer inspection the perfect balance of technical expertise and historical-cultural mysticism. Bielicky exposed technology as one meta-narrative among many. In 1987 Bielicky investigated the destruction of Joseph Beuys' 'Fettecke' on film in collaboration with Ricardo Peredo Wende. The resulting documentary video sculpture is a who's who of Beuys' students and followers as well as a cascade of partly absurd, partly fascinating explanations as to why and how this case of a caretaker's complete ignorance of art has effects on the future of art as art. In a unique and again technologically groundbreaking project, Bielicky tried to perpetuate the biblical exodus in the prototype of what we all know today as the Internet. In 1995, Bielicky and a few colleagues set out - in a jeep equipped with high-end technology - to follow and understand the Exodus route in the Negev desert by collecting GPS data and storing it on one of the first websites. This project, again at the interface between religion and technology, marks a turning point in Bielicky's work: the technology on display no longer seems to be haunted by (media) ghosts - the balance achieved with The Name (1990) tilts towards technology: Bielicky draws the biblical history scientifically, objectively and without mythological endeavors. In 1994 he began to experiment with GPS in the art context: his work Intelligent Mailman (1994) is the first of its kind worldwide and marks the beginning of numerous basic research projects on interactive media art.

Columbus 2.0, interactive installation by Kamila B. Richter and Michael Bielicky (software, steering wheel, projectors), ZKM, Karlsruhe

Since 2005 Bielicky has been developing - in cooperation with Kamila B. Richter - web-based, often interactive projects, controlled by real-time data from the Internet. Market and stock exchange data, news, Twitter and many other data streams control the artist duo's animated stories - often eerie and counter-intuitive. This work can be described using four main configurations: The first two web-based projects with Kamila B. Richter are Columbus 2.0 and Falling Life / Times (with a predecessor called Falling Stars). Columbus 2.0 was shown in Wuhan (2007), Seville (2008) and Thessaloniki (2011), while Falling Life / Times was shown in Barcelona (2007), São Paulo (2008) and New York (2008).

Falling Times, Go Public Avenida Paulista, Sao Paulo. Software (Flash), projectors, skyscrapers

The more complex, later two web-based projects with Kamila B. Richter are The Garden of Error and Decay and Why Don't We. The Garden of Error and Decay series adopts the text-to-pictogram converter algorithms from Falling Times and adds texts to the generated pictograms, those texts that are also the source code for generating the pictograms - in front of a Garden of Eden -Background. Combined with the wave movements from Columbus 2.0 and the interactive approach used there, the "Garden of Error and Decay" series engulfs the exhibition visitor in an information world dominated by skeletons, warlords and explosions with the option of stopping the pictograms: there is a before the projection Joystick mounted. In this way, viewers can make a desperate attempt to reduce the influence of certain text / pictogram translations on the world of information (they are displayed in a smaller size if they have been hit successfully). However, there is a meta-information feed that functionally overlays all of the interaction and aggregation algorithms mentioned. This meta-information feed is that of the New York Stock Exchange and influences the dimensions in which the messages and icons are displayed much more than the source messages or the joystick inputs. It even affects them to the point where the visitor's interaction doesn't count at all. The Garden of Error and Decay was shown in Wuhan (2009), Moscow (2011), Vienna (2011, 2012), Seoul (2013) and Karlsruhe (2013).

Garden of Error and Decay (joystick, software (Flash), projectors), interactive installation, controlled by Twitter and stock market data
Data Steel, Colors of Ostrava. Software (Java), projectors, old ironworks. In Jewish folklore, a dibbuk is viewed as a malicious spirit of the dead, which often occupies a living body and takes possession of its spirit. Michael Bielicky and Kamila B. Richter create a data spirit with animated, floating, wavy texts from Twitter feeds. The projection streams from all corners into the exhibition space, a whitewashed, former raw material warehouse, somewhere on the ground floor of the Witkowitz iron works - an area of ​​6.5 square kilometers - near Ostrava. The ground is sandy and unpaved, the projection of the wave-shaped texts completely dissolves the perspective of the space.

The Why-Don't-We series has a slightly different web-influenced approach to telling. The narrative is not endless and pluralistic, and displays many social media messages in parallel, as is the case with Garden of Error and Decay; Instead, a message is selected, shown to the visitor against a black background and then automatically told and visualized a short story from generated pictograms until the next digital (message) text and the next is displayed. Why Don't We was shown in Vienna (2013), Berlin (2013) and Bad Rothenfelde (2014, 2017). In 2015, Michael Bielicky and Kamila B. Richter use their narrative algorithms to project a self-similar, pluralistic, endless, dense and orchestral narration of pictograms, the protagonists of which not only felt secretly on the scaenae front behind the theater stage, but even the only one Became the protagonist and focal point of the piece. In keeping with this, Lost Objects was performed in the National Theater in Prague.

Lost (Version), extract from the opera Lost Objects, Centro Contemporaneo Wifredo Lam, Havana. Software (Flash), projectors, transparent panels

Increasingly, Michael Bielicky and Kamila B. Richter are invited more and more often to perform solo exhibitions and to bring their work series together on a large number of walls and rooms and to put them in relation. Based on the lost objects experience in the opera house, all four series are brought together in a self-similar, pluralistic, endless, dense and visitor-controlled manner. Here it is not the pictograms and their complicated interaction that are the protagonists, but the wandering visitors who walk through the cut, transparent and three-dimensional projection screens and are covered over and over with pictograms and texts and thus become pictograms themselves. Michael Bielicky and Kamila B. Richter had solo exhibitions in Strasbourg (2016) and Havana (2017).

Exhibitions

Bielicky's first solo exhibition took place in 1988 in the Cité Internationale des Arts Paris in the large glass-front gallery on the second floor, which was reserved for the scholarship holders. The first major retrospective of his work in collaboration with Kamila B. Richter took place in the Centro de Arte Contemporáneo Wifredo Lam in Havana, Cuba. The first retrospective of his artistic work from now over 30 years is organized by the Center for Art and Media (ZKM) Karlsruhe and is planned for spring / summer 2019.

In 1991 an exhibition of Bielicky's video sculpture The Name (1990) was shown at the Montevideo Gallery in Amsterdam, Netherlands.

Bielicky's works have also appeared in important group exhibitions such as São Paulo Biennale (1987), Videonale (1988, 1990, 1992), Multimediale 2 (1991), Ars Electronica (1992, 1994, 1995), Global Contemporary (2011), Havana Biennale ( 2012) and Globale (2015).

Awards and grants (selection)

  • 1988 Honorary 3rd Marler Video Art Award
  • 1988 Scholarship from the Cité Internationale des Arts de Paris, Paris
  • 1999–2000 leading guest artist (produced @) at the ZKM Karlsruhe
  • 2000 Prix Ars Electronica, honor for Cyber ​​Arts for Room With A View

literature

Own texts (selection)

  • Michael Bielicky, Keiko Sei. The last days. In: Friedemann Malsch (ed.). Parallel Art - A Review of the 80s. Cologne, Kunstforum international, Volume 117. 1992. pp. 75-76.
  • Alena Kucerova, Michael Bielicky. Od Videoartu k interaktivnim umenim. (Interview). In: Alena Kucerova (ed.). Video + Film (monthly magazine). Prague, Informacni a poradenske stredisko pro mistni kulturu. 1993.
  • Michael Bielicky. Big Sleep, 1993. In: Klaus Bussmann (ed.). Nam June Paik, a database: la Biennale di Venezia, XLV Esposizione Internazionale d'Arte. Stuttgart. Ed. Cantz, 1993. p. 148B. ISBN 978-3-89322-573-6 .
  • Michael Bielicky. The way into the immaterial. In: Susanne Rennert, Stephan von Wiese (eds.). Students of Paik: 1978-95, video dreams. Düsseldorf, art museum in the courtyard. 1996. p. 22ff.
  • Michael Bielicky. Time-Space-Nothing. In: Susanne Rennert, Stephan von Wiese (eds.). Students of Paik: 1978-95, video dreams. Düsseldorf, art museum in the courtyard. 1996. p. 22ff.
  • Michael Bielicky. On Spaceless Space. In: Raymond Weber, Vaclav Havel (ed.). Conference on A New Space for Culture and Society: November 19-23, 1996. Council of Europe, Strasbourg. 1996. p. 16.
  • Michael Bielicky. Hypertext. In: Olga Shishko, Irina Alpatova (eds.). NewMediaLogia - NewMediaTopia (lecture series). Moscow, Soros Center for Contemporary Arts. 1996. p. 171ff.
  • Michael Bielicky. Photography has long since lost its two-dimensionality. In: Tamara Horakova, Ewald Maurer, Johanna Hofleitner, Ruth Maurer-Horak (eds.). Image: / images: Positions on contemporary photography. Vienna, Passagen Verlag. 2002. p. 277ff. ISBN 978-3-85165-515-5 .
  • Michael Bielicky. Our "Zionist Ideas". In: Signe Rossbach (ed.). It was that simple: Jewish childhood and youth since 1945 in Austria, Switzerland and Germany; an exhibition by the Jewish Museum Hohenems in cooperation with the Jewish Museum Berlin. Hohenems, Jewish Museum. 2002. pp. 22-24. ISBN 978-3-8321-7818-5 .
  • Michael Bielicky: Nam June Paik In-Between. In: Nam June Paik & Media Art: Proceedings of MAC2002. Seoul, Yonsei University. 2002. pp. 65-67.
  • Michael Bielicky. Obrazy ztratily dvourozmernost (The images have lost their two-dimensionality). In: Sebastian Pawlowski (ed.). Tyden - Komunisti mezi námi (Journal). Prague, Mediacop srp. 9/2003.
  • Michael Bielicky. Prague - A Place of Illusionists. In: Jeffrey Shaw, Peter Weibel (Eds.). Future cinema: the cinematic imaginary after film. Cambridge, MIT Press. 2003. pp. 96-101.
  • Michael Bielicky. Media Golem: Between Prague and ZKM. In: Mel Alexenberg (ed.). Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology and Culture. University of Chicago Press. 2008 p. 193ff., P. 238. ISBN 978-3-211-82709-3 .
  • Michael Bielicky. Praga Magica. In: Jens Lutz, Miriam Stürner, Daria Mille-Rassokhina, Judith Bihr, Anett Holzheid (eds.). Art in Europe 1945–1968: the Continent that the EU does not know. Supplement to the exhibition catalog. Karlsruhe, ZKM. 2016. pp. 29–31.
  • Michael Bielicky, Clemens Jahn, Matteo Pasquinelli. The question of identity: artist or theorist? - A conversation. In: Clemens Jahn (ed.). Annual report of the Karlsruhe University of Arts and Design 2015–2016 / The Karlsruhe University of Arts and Design Annual Report 2015–2016. Karlsruhe, State University for Design. 2017. pp. 157-172. ISBN 978-3-930194-21-6 .

Interviews (selection)

  • Lubor Benda, Michael Bielicky. Mezi Botticellim A Teslou (Between Botticelli and Tesla, interview). In: Dalibor Kubik, Ivan Adamovic (eds.). Zivel Cislo 9 (Journal). Prague, IMEDIA sro. 04/1998. Pp. 34-37.
  • Pepe Rojo, Michael Bielicky. Movimiento Perpetuo (Perpetuum Mobile, Interview). In: Norma Lazo (Ed.) Complot 69 - Arte y Tecnología. . 10/2002.

Catalogs (group and solo exhibitions)

  • Axel Klepsch (eds.), Vilém Flusser, Nam June Paik (Authors). Discover European Video: Anthology Film Archives, New York November 17-November 25, 1990. Düsseldorf, 1990. pp. 11, 46.
  • Ginette Major (ed.). Images du futur '91: 31 may - 22 septembre, cité des arts et des Nouvelles technologies de Montréal. 1991, p. 18.
  • Heinrich Klotz (ed.). MultiMediale 2: Festival 28.5. - 2.6.1991. P. 44, and p. 158. ISBN 978-3-928201-01-8 .
  • Karl Gerbel, Peter Weibel (eds.). The world from within, Endo & Nano (Ars Electronica 92). Linz, Veritas-Verlag. 1992. p. 126 ff. ISBN 978-3-901196-04-1
  • Karl Gerbel, Peter Weibel (eds.). Intelligent ambience (Ars Electronica). Vienna, PVS publisher. 1994. p. 82ff. ISBN 978-3-901196-13-3 .
  • Pavel Scheufler, Raduz Cincera, Jaroslav Vancat (eds.). The Czech Electronic Picture: The Inner Sources / Cesky Obraz Elektronicky: vnitrni zdroje. Mánes Praha. 1994.
  • Karl Gerbel, Peter Weibel (eds.). Information myth: welcome to the wired world. Vienna, New York, Springer. 1995. pp. 214ff. ISBN 978-3-211827-093 .
  • Susanne Rennert, Stephan von Wiese (eds.). Students of Paik: 1978-95, video dreams (mixed pixels). Düsseldorf, art museum in the courtyard. 1996. p. 22ff and p. 132.
  • Hubertus von Amelunxen, Dieter Appelt, Peter Weibel (eds.). Notation: Calculus and Form in the Arts. Karlsruhe, ZKM. 2008. p. 176. ISBN 978-3-88331-123-4 .
  • Christoph Blase (ed.). 40jahrevideokunst.de - Part 2. Ostfildern, Hatje Cantz. 2010. p. 86 ff, p. 411 ff. ISBN 978-3-7757-2522-4 .

Web links

Individual evidence

  1. ↑ Michael Schürmann (Ed.) Monochrom. CT-Verlag, Krefeld, Kaiserstraße 113. Editing: Ika Groeger, MiSCH, Jost Ertl, Bettina Bartsch, Michael Melter. Imprint from issue number 4, November / December 1984. p. 3.
  2. ↑ Michael Bielicky - curriculum vitae. Website of the post-digital narrative department of the State University of Design Karlsruhe. Retrieved June 23, 2017.
  3. ↑ Prague Media Symposium - Monoskop. Monoskop page website. Retrieved June 23, 2017.
  4. ↑ Michael Bielicky - Vilém Flusser river. Website of the ZKM Karlsruhe. Retrieved June 23, 2017.
  5. ↑ Institut za Suvremenu Umjetnost (SCCA) - People website. SCCA website. Retrieved June 20, 2014.
  6. ↑ Michael Bielicky - curriculum vitae. Website of the post-digital narrative department of the State University of Design Karlsruhe. Retrieved June 23, 2017.
  7. ^ Institution of Unstable Thoughts - Monoskop. Monoscope website. Retrieved June 23, 2017.
  8. ↑ Delvaux's Dream - Michael Bielicky. Website of the ZKM, Karlsruhe. Retrieved June 23, 2017.
  9. ↑ ICECA - Cultural Exchange and Computer Arts - activities. culturebase.org website. Retrieved June 23, 2017.
  10. ↑ Michael Bielicky - about. Artist's website. Retrieved June 23, 2017.
  11. ↑ Michael Bielicky - Falling Times. Vimeo by the author. Sighted June 27, 2018.
  12. ↑ Michael Bielicky - Falling Times. Vimeo by the author. Sighted June 27, 2018.
  13. ↑ SIGGRAPH 2011 art papers and Tracing Home Art Gallery. Leonardo 44.4 special issue. Cambridge, MIT Press. 2011. p. 356 ff. ISSN  0024-094X
  14. ↑ Michael Bielicky - Garden of Error and Decay. Vimeo by the author. Sighted June 27, 2018.
  15. ↑ Michael Bielicky - Garden of Error and Decay. Vimeo by the author. Sighted June 27, 2018.
  16. ↑ Michael Bielicky - Garden of Error and Decay. Vimeo by the author. Sighted June 27, 2018.
  17. ↑ Michael Bielicky - Garden of Error and Decay. Vimeo by the author. Sighted June 27, 2018.
  18. ↑ Michael Bielicky - Columbus 2.0. Vimeo by the author. Sighted June 27, 2018.
  19. ↑ Michael Bielicky - Data Steel. Vimeo of the artist. Sighted June 27, 2018.
  20. ↑ Michael Bielicky - Lost. Vimeo by the author. Sighted June 27, 2018.
  21. ↑ Michael Bielicky - Lost. Vimeo by the author. Sighted June 27, 2018.
  22. ↑ Michael Bielicky & Kamila B. Richter - Narcissistic machine. ( Memento of the original from June 12, 2018 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / open-codes.zkm.de archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ZKM website. Retrieved June 1, 2018.
  23. ↑ MedienOperative (ed.), Micky Kwella, Jörg Himstedt (ed.). VideoFilmFest '88 of the 18th International Forum for Young Films. Berlin, International Forum of Young Films. 1988. p. 19.
  24. ↑ Michael Bielicky - Four Seasons. LIMA website. Sighted June 26, 2018.
  25. ↑ MedienOperative (ed.), Micky Kwella, Jörg Himstedt (ed.). VideoFilmFest '88 of the 18th International Forum for Young Films. Berlin, International Forum of Young Films. 1988. p. 19.
  26. ↑ Michael Bielicky - Perpetuum Mobile. LIMA website. sighted June 26, 2018.
  27. ↑ Petra Unnützer (ed.). 3rd Videonale: September 11-16, 1988. Bonn, Videonale. 1988, p. 53.
  28. ↑ Michael Bielicky - Next Year in Jerusalem. LIMA website. Sighted June 26, 2018.
  29. ↑ Dario Ghanai. Videonale 5th Bonn, Videonale. 1992, p. 110.
  30. ↑ Michael Bielicky - Golem Is Alive. LIMA website. Sighted June 26, 2018.
  31. ↑ Karl Gerbel, Peter Weibel (ed.). The world from within, Endo & Nano (Ars Electronica 92). Linz, Veritas-Verlag. 1992. p. 126 ff.
  32. ↑ Jennifer Hansen-Glucklich. Holocaust memory reframed: museums and the challenges of representation. New Brunswick, NJ, Rutgers University Press. 2014. pp. 178-180. ISBN 978-0-8135-6323-7 .
  33. ↑ Ginette Major (Ed.). Images du futur '91: 31 may - 22 septembre, cité des arts et des Nouvelles technologies de Montréal. 1991, p. 18.
  34. ↑ Axel Klepsch (eds), Vilém Flusser, Nam June Paik (authors). Discover European Video: Anthology Film Archives, New York November 17-November 25, 1990. Düsseldorf, 1990. pp. 11, 46.
  35. ↑ Wendelin Renn (ed.). "Umbrella rule" video art: June 27 to July 25, 1993, Städtische Galerie Lovis-Kabinett Villingen-Schwenningen. Villingen-Schwenningen [u. a.], Städtische Galerie [u. a.]. 1993, p. 16.
  36. ^ Friends of the Deutsche Kinemathek eV (Ulrich Gregor, Peter B. Schumann) (Eds.). 17th International Forum of Young Cinema. Berlin, Felgentreff & Goebel. 1987, p. 58.
  37. ↑ Christoph Blase (ed.). 40jahrevideokunst.de - Part 2. Ostfildern, Hatje Cantz. 2010. pp. 86 ff, 411 ff.
  38. ↑ Karl Gerbel, Peter Weibel. (Ed.): Exhibition Catalog: Ars Electronica 95: Mythos Information. Welcome to the Wired World. Springer, Vienna. 1995. pp. 214 ff. ISBN 978-3-7913-1869-1
  39. ↑ Davina Jackson. SuperLux, Smart Light Art, Design & Architecture for Cities. Thames & Hudson. 2015. pp. 92 ff. ISBN 978-0-500-34304-3
  40. ↑ Nikolai Molok, Peter Weibel. (Ed.) 4th Moscow biennale of contemporary art: 23.09.2011 - 30.10.2011. Moscow, Institute of Contemporary Art. 2011. pp. 45 ff.
  41. ^ Hans Belting, Andrea Buddensieg, Peter Weibel (eds.). The global contemporary and the rise of new art worlds. Cambridge, MIT Press. 2013. p. 328 ff.
  42. ↑ Michael Bielicky - Garden of Error and Decay. Official Vimeo. Retrieved June 27, 2017.
  43. ↑ Manfred Schneckenburger (ed.), Lichtsicht the fourth: Projection Biennale Bad Rothenfelde, September 27, 2013 to January 5, 2014. Bönen, Kettler. 2013. p. 28 ff.
  44. ↑ Lichtsicht gGmbH (ed.), Lichtsicht die Vierte: Projection Biennale Bad Rothenfelde, September 29, 2017 to January 28, 2018. Bönen, Kettler. 2017. p. 22 ff.
  45. ↑ Michael Bielicky - Lost Objects. Official Prague National Theater website. Sighted June 26, 2018.
  46. ↑ Dimitri Konstantinidis. e.city Prague 2016. Strasbourg, Apollonia. Pp. 38-51. ISBN 978-2-918640-05-9 .
  47. ↑ Michael Bielicky - Lost. Official Vimeo site of the artist. Sighted June 26, 2018.
  48. ↑ Michael Bielicky - Lost. Official Vimeo site of the artist. Retrieved June 27, 2017.
  49. ^ City of Marl and Goethe Institute, Munich (Uwe Rüth) (ed.). German Video Art 1986–1988: Exhibition for the 3rd Marler Video Art Prize. Marl, Sculpture Museum Glaskasten. 1988. p. 23, p. 64.
  50. ↑ Michael Bielicky - CV. ZKM Karlsruhe website. Spotted on June 25, 2018.
  51. ↑ Hannes Leopoldseder, Christine Schöpf (Eds.). Cyberarts 2000: International Compendium Prix Ars Electronica. Jumper. 2000. pp. 88-89.
personal data
SURNAME Bielický, Michael
ALTERNATIVE NAMES Bielicky, Michael
BRIEF DESCRIPTION Czech-German media artist
DATE OF BIRTH January 12, 1954
PLACE OF BIRTH Prague