'I am part of the networks and the networks are part of me...
I link, therefore I am.' W. J. Mitchell, ME++: The Cyborg Self and the Networked City.

Can I touch you online? Can we measure intimacy?
Artist duo and researchers Karen Lancel and Hermen Maat are considered pioneers exploring the tension between embodied presence, intimacy, privacy and trust in posthuman bio(techno)logical entanglement with (non-)human others. They radically deconstruct automated control technologies, bio-feedback and sensory perception, to create Trust-Systems for reflection. The artists start from the idea that experiences of intimacy, empathy and trust are embedded in public dialogue, shared sense-making and reflection, witnessing and narrative. Therefor, their visually seductive Meeting Places function as 'Artistic Social Labs’ in public space; with participants as 'co-researchers’. During carefully hosted Meeting Rituals, they invite the public to meet through socially challenging, imaginative technologies in poetic orchestrations; and in this way to reflect on their perception of embodied experience, identity, social cohesion. In performances and installations Public interaction is real time scanned, traced and visualized in Social Portraits; on (urban) screens, in digi-prints and networked databases. It is shown together with related artistic research in drawings; video's; smart objects, artist's books. Lancel/Maat’s work was awarded with many grants, research positions and prizes. Works are included in museum collections of ZKM Karlsruhe, IASPIS Stockholm and in private collections.

In their artistic research: Shared Senses, the artists aim to rethink and inspire a sustainable social eco-culture. They deconstruct surveillance and biometric technologies (such as face recognition and E.E.G. brain computer interfaces, and neurofeedback systems) to create communal neuro-feedback systems based on relational presence and reciprocity, tacit knowledge, bio-synchronisation, digital synesthesia, sensory and aesthetic perception. In performances, participant's private bodies are extended with immersive technologies for augmented human-network interaction, thorough smart textile wearables, phone apps and reflexive data-scapes.

56th Venice Biennale 2015, China Pavillion // ZKM Karlsruhe //
Ars Electronica Linz // Ars Electronica Export, Berlin // Transmediale Berlin //
World Expo 2010 Shanghai - DCC Mobile Platform //
Stedelijk Museum Amsterdam (2000, 2011, 2012, 2017) //
Rijksmuseum Amsterdam // Banff New Media Institute Canada //
EMAP - EMARE European Media Art Platform //
Public Art Lab Berlin - Connecting Cities Network //
Art Center Nabi Seoul // RIXC, Riga //
ISEA 2011 & Istanbul Biennial 2011 // ISEA 2016 Hongkong //
ISEA 2004 Helsinki // ISEA 2019 Gwangju South-Korea //
BCAC, BCAF Beijing // CEAC Xiamen // HeK Basel //
Urban Screens 05 Amsterdam // Urban Screens 08 Melbourne //
IASPIS Stockholm // Kiasma Museum Helsinki // Artfair Artforum Berlin //
Eyebeam New York // V2_Institute & Architecture Biennale Rotterdam //
De Appel Amsterdam // Stedelijk Museum Bureau Amsterdam SMBA //
Waag Society Amsterdam // Gogbot media Festival Enschede //
2nd TASIE New Media Art & Science Exhibition - Millennium Art Museum Beijing //
3rd TASIE - Technology Museum Beijing // 5th TASIE National Museum Beijing //
Nes & Frascati Theaters Amsterdam // TASML Beijing // Eyebeam New York //
NFF Netherlands Film Festival Interactive 2019 // EYE Film Museum Amsterdam //
COMO Telecommunication SKT Seoul; KPN Telecommunication Tower Rotterdam // Creativate Grahamstown Films South-Africa //
DDW Dutch Design Week - Baltan Laboratories 2019 // DDW 2018 - Robot Love //

Hong Kong Arts Center China 2007; BCAF Beijing Contemporary Art Foundation 2015;
Rijksmuseum MediaLab Amsterdam 2013; SKOR (Foundation for Art in Public Space) 2003;
COMO Telecommunication Seoul 2008; KPN Telecommunication Rotterdam;
City of Zeist 2009; City of Utrecht 2012; Semslinie Kunstlijn Provinces Groningen Drenthe 2000; Kunstgebouw Zuid-Holland & City of Alphen aan den Rijn 2001.

WORKS REPRESENTED BY Public Art Lab Berlin. Go for more to the extensive biography here.

Media Kunst Museum ZKM Karlsruhe; LIMA Digital Art Canon; KPN Telecommunication Netherlands;
Iaspis Stockholm; private collections in France, USA, Netherlands, Germany, Poland, Riga, Beijing.

National Museum of China, Wu Guanzhong Art Science Innovation Award 2019,
for Shared Senses at TASIE exhibition curated by Tsinghua University Beijing.
Golden Calf Nomination Netherlands Film Festival Interactive 2019,
for Kissing Data Symphony.
Global Art & AI Competition Award GAAC 2019
by Tsinghua University Beijing, for Intimate Data Symphony.
Europe Programm Horizon 2020 Award 'BrainHack' 3d prize 2017,
by Waag Society Amsterdam-Science Gallery Dublin,
with Alexander von Lühmann at University Berlin, for EEG KISS.
Best Practice Award by Virtueel Platform 2011 for Tele_Trust.
Best Practice Award by Virtueel Platform 2012 for Saving Face.

LANCEL is PhD candidate at Technical University of Delft Participatory Systems Initiative (promotores Prof. dr. Frances Brazier, Prof. Caroline Nevejan). She was art commitee advisor for Mondriaan Fund (2014-2017) and for Amsterdam City Public Art (Stadsdeel Zuid, 2013-2017). She membered the Amsterdam School of the Arts (AHK) research group ‘ARTI’ (Artistic research, Theory & Interpretation by Dr. M. Hoogenboom, Prof. H. Borgdorff) 2008-2011. During 2005-2008, she was core lecturer and head of the MFA programm for interactive media art at IME/ MADtech Hanze University for Applied Sciences Groningen, where she currently teaches. MAAT was art commitee advisor for Mondriaan Fund. He teaches BA media art at Minerva Art Academy, Hanze University for Applied Sciences Groningen since 1997, while being member of research groups ‘Image in Context’ (dr. Anke Coumans, 2012-2014) and Hypersensorium Lab (2019-).

LANCEL/MAAT lecture internationally at Art Academies and Universities, including Art-Science Royal Academy The Hague; Tsinghua University Beijing; Rietveld Art Academy Amsterdam; Utrecht School of the Arts (HKU); Royal University for Technology Stockholm (KTH); ARTez Zwolle; MFA ARTez Enschede; Willem de Kooning Art Academy Rotterdam; MFA Film Academy Amsterdam; MFA a.p.t/A.pass performance studies Antwerpen/Brussels; Open Set Dutch Design School at Kookmin University Seoul and at Conferences a.o. TEDx SilkRoad Istanbul; ISEA 2011 Istanbul; 'Europe for People: Hack the Body' Baltan Laboratories/De Zwijger Amsterdam; TASIE Tsinghua University Beijing; Baltan Laboratories/Holst Centre/ Phillips Lab Eindhoven; 'Todays Art' The Hague; 'Worlding the Brain' University of Amsterdam UVA; EYE Film Museum Amsterdam; ThingsCon Amsterdam & University Twente; ArtsIT 2018, 2019; CHI Human Computer Interfaces Montreal.
Members of Research Groups Participatory Systerms Group University of Technology Delft; Urban Interfaces Group University Utrecht; Dutch Touch: Social and Affective Touch Group University Twente; Digital Synesthesia Group University Vienna; Neuro-esthetics & Neuro-cultures Group, University Amsterdam.
Essays and papers have been included widely in both art and scientific journals and publications, by among others Springer Verlag, InderScience, CHI, ArtsIT, Leonardo - accessible at http://www.lancelmaat.nl/press/.

Beschrijving werk
Karen Lancel en Hermen Maat ontwerpen ‘ontmoetingsplekken’ voor de publieke ruimte. Deze ‘ontmoetingsplekken’ zijn performances en installaties, die zij ontwerpen als verleidelijke, visuele omgevingen. Elke 'ontmoetingsplek' of sociaal sculptuur functioneert als een 'artistiek sociaal lab’ waarin het publiek deelneemt als ‘co-researcher’. Hier nodigen de kunstenaars het publiek uit om te experimenteren en spelen met sociale technologieën; om zo te reflecteren op hun eigen perceptie en ervaring van de stedelijke omgeving; op de thema's lichaam, privacy, sociale cohesie, presence, identiteit.
Lancel en Maat onderzoeken sociale systemen in een gemediatiseerde samenleving; in smart cities en augmented / immersive spaces. Voor elke ‘ontmoetingsplek’ deconstrueren zij bestaande communicatie technologieën en strategieën; en ontwerpen een nieuwe, innovative montage en proces van fysieke en virtuele interactie. De ‘ontmoetingsplekken’ tonen sociale portretten van samenleven in een gemediatiseerde, stedelijke omgeving.
De ‘ontmoetingsplekken’ vinden internationaal plaats in dynamische urbane ruimtes zoals museums, pleinen, theater halls, treins stations; van onder andere Seoul, New York, Melbourne, London, Istanbul, Parijs, Amsterdam, Shanghai.