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Studies |
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| 1977 - 79 | University of Colorado, Boulder | |
| 1980 - 82 | University of Arizona, Tucson | |
Selected One Person Shows |
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| 1999 | Good Fit | Konstakution, Stockholm |
| 1999 | Matter of Context | Konstakution, Stockholm |
| 2000 | NetPlace | NetArt, Sao Paulo |
| 2000 | Channeling (in collaboration with Tore Nilsson) | Splintermind, Stockholm(+ 10 Museums) |
| 2001 | Antal 24 (in collaboration with Blit Lilies artist group) | Konstakution, Stockhom |
| 2001 | Channelling II (in collaboration with Tore Nilsson) | Splintermind, Stockholm (+ Museums) |
| 2002 | letmecounttheways | Splintermind, StockholmKiasma, Helsinki (+ Museums) |
| 2002 | All gingerbread women must die | Mellan rummet, Stockholm |
| 2003 | 225 degrees (in collaboration with Tore Nilsson) | Gävle Länmuseet, Sweden |
| 2003 | The Spring Show (in collaboration with The Control Group) | Random Studio, Stockholm(+ Museums) |
| 2003 | Mendel's Last Strand(with the Control Group) | Random Studio, Stockholm |
| 2004 | Some Assembly Required | Well Gallery, San Francisco,Ca Mellan rummet, Stockholm |
| 2006 | Bright, guilty World (March) | ID:I Gallery, Stockhom |
Selected Group Shows |
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| 1982 | Reflective Screens | FilmForm, L.A |
| 1983 | Nights | Bar, Los Angeles |
| 1984, 85 | We Live Here | A.A. G., NY |
| 1984, 86 | Film / Video / Perform | tabula rasa, NY |
| 1985 | Flick Free | Form, NY |
| 1985 | Open Spaces | Anthology Film Archive, NY |
| 1986 | Squat | The Garden, NY |
| 1986 | One More-Time | Millenium, NY |
| 1986-9 | New Film By Artists | Young Filmmakers Coop, NY |
| 1987 | New Films and Videos | Millenium, NY |
| 1987 | The Work Is | E.V.G., NY |
| 1988 | Feminists Choice | Film Form, L. A. |
| 1989 | Protests and Resistances | The Garden, NY |
| 1990 | New Experimental Film and Video | Herder Gallery, NY |
| 1991 | Places/Products/People | Bar, LA |
| 1992 | New and Old Masters of Super 8 andHi 8 | Film and Video Anthology Film Archives, NY |
| 1993 | Immaterial | White Cube, NY |
| 1993 | Thresholds in Site | Amsterdam (various Locations) |
| 1994 | Artist's books | 3M Gallery, NY |
| 1995 | School | Bruce Gallery, NY |
| 1997 | Soundings | de-Place, NY |
| 1998 | Box | Riloff, Stockholm |
| 1998 | Narrow Boundary | Arness Space, CA |
| 1999 | Box II | Espoo Art Museum, Finland |
| 2000 | Techno-retro | Attic, NY |
| 2001 | NetPlace | ArtNet, Sao Paulo |
| 2002 | Southern Comfort | Crac, NY |
| 2002 | Uppsala International Short Film Festival | Uppsala, Sweden |
| 2003 | de,part,ment | Stockholm Art Fair, Sweden |
| 2003 | The Expanded Book | Färgfabriken, Stockholm |
| 2003 | (In)communicable Relations | Arttech, San Jose, CA |
| 2004 | de,part,ment | Stockholm Art Fair, Sweden |
| 2004 | Electro-Fridge | New Castle, Australia |
| 2004 | Looking the Other Way | Mellan Rummet, Stockholm |
| 2004 | Get Real | Kiasma, Helsinki, Finland |
| 2004 | Biennale of Electronic Arts (BEAP) | Perth, Australia |
| 2004 | New Media Festival | Bangkok, Thailand |
| 2005 | Selections | Kiasma, Helsinki |
| 2005 | Wall/down | Potsdammer Platz, Berlin |
| 2005 | Stockholm Art Fair | Stockholm, Sweden |
| 2005 | Ars Longa | Sarajevo, Bosnia |
| 2005 | Biennale of Video and New Media | Santiago, Chile |
Selected Collections |
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| Kiasma / Contemporary Art Museum of Finland | ||
| Gävel Commune, Gävel, Sweden | ||
| Splintermind, Stockholm, Sweden | ||
| Anthology Film Archives, New York | ||
| ArtNet Group, Sao Paulo, Brazil | ||
| Millenium Film and Video Collection, New York | ||
| Random Studio Archives, Sweden | ||
Selected Essays, Texts, and Books |
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| 1977 | My Hard is so Soft: Art Consensus and Other Meanings | Boulder Review |
| 1978 | The Bats Thought: A Resolution to a Epistemological Question | Semes, New York |
| 1979 |
Goodman and Art's Possible Worlds |
Semes, New York |
| 1979 | Repetition, Consciousness, and the Possibility of New Thoughts: A Case Study in Art | Semes, New York |
| 1980 | Denial and Ourselves: Wilfred Sellers and the Problems of Analytic | Philosophy Philosophical Review, NY |
| 1981 | Who Says So? - Meaning What you Paint vs. Painting What you Mean | Art Theory Papers, L.A. |
| 1982 | The Structure of Pictorial Representation | U. of A. Press, Tucson |
| 1983 | Imaginary Characters and the Focus of Proximity | Holmes Press, Santa Fe |
| 1984 | The Capital of Space | TakeOver, New York |
| 1985 | Consumption and Exchange across the Body of the Artist | TakeOver, New York |
| 1986 | Whispers in the Traffic: Artists Land Art Gardens and the City | Green Letter, NY |
| 1987 | Because I Say: Artists Intentions and "The Consideration" | Punk, New York |
| 1989 | Culture and the Other | Detention, New York |
| 1989 | Inside the Cloud Chamber | Galerie Artek, Helsinki |
| 1990 | The Vertigo of Mapping | Nordisk Konstcenturm |
| 1992 | Work - Deflections on Myself | Anthology, New York |
| 1993 | Read / Read | Pub, New York |
| 1996 | The Language Depression | Siksi, Helsinki |
| 1997 | Indicators of Subject: NetArt and Location | Seanet, Boston |
| 1998 | High Fidelity | Konstnärsnamden, Stockholm |
| 1999 | Prolegomena to a Theory of The Artist's Space | Crac in Context, Stockholm |
| 2000 | The Lace of Sense: The Work of Anne-Karin Furunes | Tronheim Museum, Norway |
| 2000 | The Artist and the Model | Trondheim Museum, Norway |
| 2000 | The Slow Saunter Through Belief | Widman, Stockholm |
| 2001 | The Topography of Recognition and Refutation: the Work of Anish Kapoor | Kiasma, Finland |
| 2001 | Boring Backgrounds: A Study of Patterns andArt | Hishult Konsthall, Sweden |
| 2001 | The Tales of Matter: The Work of Siohban Hapaska | Kiasma, Helsinki |
| 2001 | The Net, Cyberspace, and the Translation of Self | Automotia forum, NY |
| 2002 | A Bit of A Bitch: A.I., Gender, and the Idea of Errors in Computing | MonAD, L. A. |
| 2002 | The Man Who Thought in Metaphors | Hakapaino, Helsinki |
| 2003 | Ideology of the Vampire: Gendered Mythos | Dark Shadows, LA |
| 2003 | Demons, Death, and the Medieval Print | Print Studies, Michigan |
| 2004 | Meanings and the Immersion of Ideology | Richter Verlag |
| 2004 | Ideology of the Vampire: Colonial Migrations | Dark Shadows, LA |
| 2005 | Locality, location, and the Construction in Relation to the Artwork | Art Papers, Berekeley |
| 2005 | Apocalypse and States: Michigan | Theological Journal |
| 2005 | Just for your Information: Communication and the Real-Time Art Piece | George Brazillier, NY |
| 2006 | Underworld: Ideology and Physicality in the Mark and Language | Örebro Konsthall |
| 2006 | (re)enchantment: Complexity, Multiplcity, and the Rationalized World | Bergen Academy |
Selected Teaching/Lectures |
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| 1978 -79 | Interdisciplinary Studies, University of Colorado, Boulder, USA | |
| 1980 - 82 | Department of Philosophy, University of Arizona, Tucson, USA | |
| 1997, 98, 99 | Royal University College of Fine Arts, Stockholm SwedenVisiting Artist and Lecturer, and Sound and Video Workshops | |
| 1998, 2000, 01, 03,04 | NTNU - Kunstakademiet i Trondheim, NorwayVisiting Artist and Lecturer, Art Theory and Media History | |
| 2000 | Nordic Art Academy, Kokala, FinlandVisiting Artist and Lecturer, Art Theory and Studio Practice | |
| 2000 | Forsblom School of Design, StockholmVisiting Artist and Critique | |
| 2000, 01 | Art Academy in Örebro, SwedenVisiting Artist and Lecturer, Art Theory and Studio Practice | |
| 2000, 01, 02, 03 | Konstfack, Stockholm SwedenVisiting Artist and Lecturer, Art Theory, and Interactive Art Workshop | |
| 2000-03 | Royal University College of Fine Arts, Stockholm, SwedenLecturer - Theory and History of Media Art, Video Department, Studio Practice | |
| 2004-05 | Visiting Professor, Dept of Theory - Royal University College of Fine Arts, Stockholm, SwedenArt and Architecture - Royal University College of Fine Arts, Stockholm, Sweden | |
| 2005-06 | Associate Professor of Art Theory, Bergen National Academy of the Arts (KHiB), Bergen, Norway | |