Since the beginning
Works in Limassol Cyprus

NeMe is a non profit, non government, Cyprus registered cultural organisation founded in November 2004. NeMe works on two platforms - a virtual and an itinerant one - and focuses on contemporary theories and their intersection with the arts.

NeMe's itinerant platform, the "IMCA" (Independent Museum of Contemporary Art) presents NeMe projects which include, exhibitions, performances, new media events, symposia and archives. The form of the IMCA is determined as a practice or process by the nature of each project with the notion of the exhibition "space" being constantly revised and redefined.

NeMe resides in two sites:

* provides a service by publishing critical texts and filtered cultural information which includes arts news, calls as well as providing a forum for public discussion. documents of all NeMe off and on line activities.
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Mix & Mash

Creative Commons’ UK film competition “Mix & Mash” in association with Google UK invites short video submissions mixing and mashing digital content. Submissions can be made from the 8th of February to the 10th of March. The winners will be notified by the 12th of March and screened on the 16th of March at the Optronica National Film Theatre in London.

Deadline: 10 March 2007

More on


Presenting and Preserving New Media

Following our publication of Steve Dietz' text: "Collecting New Media Art: Just Like Anything Else, Only Different"

we have now secured Christiane Paul's "Challenges for a Ubiquitous Museum: Presenting and Preserving New Media" which we have published on

Christiane writes: The characteristics of the digital medium pose numerous challenges to the traditional art world, ranging from presentation to collection and preservation. For the longest time, museums, galleries and the art world and art market in general have been mostly "objectoriented" and have configured their framework and infrastructure to accommodate the presentation and preservation of the static art object. The characteristics of so-called new media art have introduced a shift from the object to process: as an inherently time-based, dynamic, interactive, collaborative, customizable and variable art form, digital art resists "objectification" and has changed traditional notions of the "art object."... More on

As always our published texts are open to comments.



IDEODROME" was conceived as an experiment on how video intercrosses with the various forms of art and with the work of individual artists who use this platform as a tool of artistic expression.

The focus of the project is on the creation of short videos on a common subject, by artists who come from various backgrounds and disciplines and their presentation in various public spaces.

"IDEODROME" is particularly focusing on how video and the digital technology of image and sound is explored through narrative and non-narrative forms, on its power to express and communicate complex meanings and on the effects of the democratisation of the recording media technology through its widespread and multifunctional uses in our contemporary era.

"IDEODROME" is also interested on how video as a recording art interacts with the performance and representational arts, as well as with the public. It is a highly inter-disciplinary project in which artists from various disciplines such as film-making, visual arts, animation, poetry, dance and theatre, co-operate to explore the potentials of the medium within the framework of a given theme.

The theme of "IDEODROME 2006" was "Limassol: people and streets". the event designed as a project closely related with the town that gave birth to it. Nine artists participated, producing six short videos which were presented at Thetro Ena and on a large screen at the end of the pier of the town on the 7th, 8th and 9th of December 2006 in continuously looping screenings between 5.00 and 11.00 p.m.

You may view images and the videos presented in the event on


Combining Art and Technology to Promote Sustainability

We have just published "Environmental Awareness through Eco-visualization: Combining Art and Technology to Promote Sustainability" by Tiffany Holmes in our site on
We hope that rhizome readers will find the text as thought provoking as we have.

Here's an abstract:

Eco-visualization technology made by media artists offers a new way to dynamically visualize invisible environmental data. Eco-visualization can take many forms. My own practice of eco-visualization involves animating information typically concealed in building monitoring systems, such as kilowatts or gallons of water used. A public display with real time visual feedback promotes awareness of resource consumption and offers a practical alternative to remote meters concealed in utility closets. The long-term goal of most eco-visualization practitioners is to encourage good environmental stewardship using hybrid practices of art and design. This essay contextualizes the emerging field of eco-visualization and its interdisciplinary trajectories.


Collecting New Media Art

[New media art] questions everything, the most fundamental assumptions: What is a work? How do you collect? What is preservation? What is ownership? All of those things that museums are based upon and structured upon are pretty much thrown open to question."
Jeremy Strick, Director, Museum of Contemporary Art, Los Angeles

In this comment, Jeremy Strick is both correct and being rhetorical. Lots of contemporary art raises these same questions. New media art, particularly in its network-based incarnations, does so perhaps more consistently, but none of the questions raised is radically new. In fact, one of the results of institutions' early investigations of collecting new media, the Variable Media Initiative, is significant precisely because of its cross-medium applicability. Nevertheless, there is a kind of crisis of collection - and hence cultural memory - because of the paucity of work in museum collections and the nature of new media art, which makes it difficult to recover adequately past a certain point.

It is fair to say that even among the few museums that have relatively active curatorial efforts in new media, none has a collection that even approaches the scope of its holdings in other media that its exhibits. At the same time, since at least 1997 when Kit Galloway and Sherrie Rabinowitz first presented their Satellite Arts Project, and certainly since the invention of the World Wide Web in the early 90s, there has been an explosion of artistic new media activity, as is well documented on a website such as Rhizome or the archives of the Ars Electronica Festival, which presented for its 25th year in 2004.

Why? What accounts for this discrepancy between artistic activity and institutional collecting?

New article by Steve Dietz published in NeMe on