Does the digital re-mark the death of the “author”? A welcome development of digital art are the complex collaborations that generate new artworks and modes of writing. Elaborate collaborations between programmers, writers, photographers, cinematographers, designers, and artists have catalyzed the growth of the interactive studio where numerous thinkers contribute to the development of a single artifact. In order to exhibit the benefits of interpersonal and institutional exchange, this program highlights an ongoing effort to showcase international projects in digital art and theory. Sponsored by the pioneering German institution, ZKM/ Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM/ Center for Art and Media Karlsruhe), Artintact is the first Artists’ Interactive CD-ROMagazine. Creating a distribution venue for the collaborative digital art created at the ZKM, which thus keeps electronic art intact, Artintact also provides users of the artwork with written critical commentaries that position the act of art in relation to the tact of theory. The ongoing success of Artintact suggests that the global nature of artistic collaboration is coming into its own with the expansion of venues for the distribution and exhibition of digital art. Similarly, visitors might note the fruitful internet exchange of images, ideas, and information that permitted artists, curators, distributors, and designers from around the globe to realize the tour and catalogues of Contact Zones.

Artintact 4, ZKM/Institute for Visual Media, Karlsruhe, 1997 (Germany)

Marina GRZINIC & Aina SMID, Troubles with Sex, Theory & History (Slovenia)


Anja WIESE, trance machine (Germany)

Artintact 5, ZKM/Institute for Visual Media, Karlsruhe, 1999 (Germany)

FORCED ENTERTAINMENT & Hugo GLENDINNING, Frozen Palace (Chapter One) (England)

Masaki FUJIHATA, Impalpability (Japan)

Agnes HEGEDÜS, Sprache der Dinge (Hungary/Germany)