While the artistic life of the 20th century was starting off with the experience of limits (Malevich, Duchamp, Schwitters; cf. the Biennale de Lyon 93) and enlarging to infinity its territory and problematics, photography and the cinematograph were profoundly modifying our relation to reality, time, memory, facts and the possible.
Mechanical recording, then the fabrication of moving, audible images, and, finally, the production of worlds that were totally manipulable by the observer endowed artistic ideas, concepts and projects with plastic, concrete sense-forms.
This is why contemporary art is taking up video, informatics, virtual reality and the cinema: 4 of the popular cultural forms of the 20th century.
From the first experiments in which the televisual medium made its appearance, up to the most recent research on virtual reality, which brings together informatics, synthetic images, real-time calculation, sensory perception and immersion in the image, the Biennale 95 will present a choice of works showing that artists have taken possession of the new technological instruments that have been provided by the 20th century.