Annie Abrahams
Since the beginning
Works in Montpellier France

Annie Abrahams has a doctorate in biology from the university of Utrecht and a grade from the Academy of fine arts of Arnhem. In her work, using video, performance as well as the internet, she questions the possibilities and the limits of communication in general and more specifically investigates its modes under networked conditions. She is an internationally regarded pioneer of networked performance art.
She has performed and shown work extensively in France, including at the Pompidou Centre, Paris, and in many international galleries including among others Espai d’Art Contemporani de Castelló, Spain; the Museum of Contemporary Art, Tokyo; the Armenian Center for Contemporary Experimental Art, Yerevan; HTTP gallery in London and NIMk in Amsterdam; festivals such as the Moscow Film Festival; the International Film Festival of Rotterdam and the Stuttgarter Filmwinter, and on online platforms such as and Turbulence.
She teached at the university of Montpellier in the arts department. (2002-2005) From november 2006 to january 2009 she curated the project “InstantS” for She also curated and organized the “Breaking Solitude” and Double Bind webperformances on in 2007, 2008 and 2009.
Besides doing her art work she lectures and teaches workshops.

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Mission FCTA – Trust in the Technics of Others

Sat Mar 23, 2013 16:30 - Sat Mar 23, 2013

Paris, France

As astronauts, while they guide the space station which carries them, must trust this station a 100%, Annie Abrahams will have to trust her vessel of flesh and blood, will have to trust the bodies on which she lies and to which she must surrender.

Mission FCTA
Faire Confiance à la Technique des Autres
(Trust in the Technics of Others)
March 23, 4.30 pm, CNES, Paris, festival Sidération

Annie Abrahams will be carried by Jean-Luc Soret, Urte Amélie Fink, Emilie Schalck, Karen Guillorel, Vanessa Vallée, Lili Mamath, Aniara Rodado, David Guasgua, Séverine Delbosque, Romaric Tisserand and David Ferrag. They will try to make her journey comfortable, they will help her to sustain streaming contact and to cope with casualities. They will together manage a body in suspension.

Remote interventions by Igor Stromajer, Nicolas Frespech and Laurie Bellanca


New Aesthetic Newer

5 min trailer of Huis Clos / No Exit - Beyond (spectacle) I, II, III.

I - Exposition on the New Aesthetic.
II - Newer Aesthetic.
III - The internet is not as good as it was yesterday.

Annie Abrahams, Ruth Catlow, Ursula Endlicher, Nicolas Frespech and Igor Stromajer

Streaming interface Ivan Chabanaud
Technical assistance Jan de Weille

More information :



Wed Dec 12, 2012 19:00 - Thu Dec 13, 2012

Two mixed male / female performances for Testing – 1 2, 1 2, 1 2

12 December 19h & 24h (duration 20 min) – Paris time – find your local time
You are welcome :
Online in the UpStage Festival of Cyberformance.
IRL 18h30 à Kawenga territoires numériques, Montpellier

Annie Abrahams with Derek Piotr, Ursula Endlicher, Bérénice Belpaire, Laurie Bellanca, Philippe Boisnard, Gretta Louw, Antye Greie, Martina Ruhsam, Sébastien Zaegel, Christophe Alix, Simona Polvani, Pascale Barret, Julie Châteauvert, Ienke Kastelein, Suzon Fuks, Gaetan Rusquet and Igor Stromajer.

Streaming interface: Ivan Chabanaud
Technical assistence: Jan de Weille

ANGRY will be the 7th and 8th performances in the frame of Angry Women: an artistic research project on remote communication and collaboration using anger as a pretext. You can also say that it is an artistic research project on female anger using webcam performances as a facilitator. Information, images, videos, texts:


Trapped to Reveal - On webcam mediated communication and collaboration

My article Trapped to Reveal - On webcam mediated communication and collaboration
has been published in JAR (Journal for Artistic Research)

Nina Zschocke, a post-doc researcher at the Institute for the History and Theory of Architecture, ETH Zurich, Switzerland, in her JAR report :
Annie Abrahams presents a series of collaborative web-based performances which take up much of the technological structure and setup of earlier works by other artists but, and this is important, at the same time they call into question some of their underlying values and optimistic beliefs.
The first telecommunicative experiments with computer networks in art such as Sherrie Rabinowitz and Kit Galloway’s Electronic Café International (1984) were driven by a utopian belief in a net-based global community, in processes of global, non-hierarchical communication and participation. Jaron Lanier dreamed –and might still dream- of nonverbal (“post symbolic”) communication and intimacy mediated by virtual reality technologies. And beliefs in positive social effects of computer networks are expressed undauntedly by later projects such as Ken Goldberg’s Telegarden (1994-2005) - and inform much of the rhetorics framing web-based multi-user art projects until today.
Annie Abrahams’ exposition starts off with a distrust of the frequent glorification of Internet collaborations. In her webcam performances that confront participants with challenging and changing protocols, the belief in telecommunication’s potential to connect remote and socially separated individuals or groups and to produce intimacy is put to the test. Abrahams argues that web-based social interfaces confront participating individuals with a number of problems, and are less successful in bringing people together to participate in a shared activity than it is often assumed. In response to the experiences provided and to the behaviour shown by the participants she defines intermediate states she such as “lonely togetherness” (referring to Sherry Turkle) and focuses on moments of lost control. Thereby, the exposition addresses issues, which are of central concern to the long history of discourse about machine-mediated communication and about its social and artistic potential. Most importantly, Abrahams examines aspects of (tele)communication that are often ignored, namely moments of failure or “messiness”. More specifically, it can be argued that Annie Abrahams’ work offers a new perspective on earlier video based telecommunication projects such as Sherrie Rabinowitz and Kit Galloway’s Hole in Space, 1980 or Paul Sermon’s, Telematic Dreaming, 1992, which - despite rhetorics of intimacy and sensuality - could also be understood as confronting with an experience of alienation and failed contact, as disappointing expectations raised by technological promises. Generally, art’s potential to unite individuals in participatory practice and to built social communities is highly debated today, mainly in response to Nicolas Bourriaud’s Esthétique rélationnelle, 1998. In her revised contribution Abrahams refers to Claire Bishop’s critique (“Social Turn, Collaboration and its Discontents”, in: Artforum 2006) another prominent author would be Jacques Rancière (Le spectateur émancipé, Paris 2008). Annie Abrahams’ work and exposition relates to – and has the potential to contribute - to these debates.


A networked performance Exposition on the New Aesthetic

Thu Nov 01, 2012 16:00 - Thu Nov 01, 2012

Thursday 1 November 8pm GMT - 4pm New York time

Huis Clos / No Exit - A networked performance Exposition on the New Aesthetic

With Annie Abrahams, Ruth Catlow, Ursula Endlicher, Nicolas Frespech and Igor Stromajer
streaming interface Ivan Chabanaud
technical assistance Jan de Weille

Huis Clos / No Exit - Beyond (spectacle) is a serie of three performances commissioned by ELMCIP for the Remediating the Social conference at the Edinburgh College of Art, University of Edinburgh, in collaboration with New Media Scotland and University College Falmouth

The project is a follow-up of Huis Clos / No Exit – On Translation presented on 29/05/2010 at NIMk in Amsterdam.

Three performances / Three public preparation sessions

Performances :
A networked performance Exposition on the New Aesthetic
1 November 8pm GMT
Edinburgh College of Art
free entrance without reservation
and online at

2 and 3 November 3.30pm GMT
Edinburgh College of Art
free entrance without reservation
and online at

More information, including an image and a .pdf of the first preparation :

Preparation 1 online : 25 October 6pm GMT
Preparation 2 online : 2 November 2pm GMT
Preparation 3 online : 3 November 2pm GMT

Using only their mother tongue the five artists will challenge each other into collective action while trying to overcome language and cultural differences. Their communication is handicapped by this constraint - which means they will have to invent a new language based on some common words, codes, the technical possibilities of streaming and their bodies.

Will we choose to use more or even less rules? Will we need a leader or continue without one? Maybe Ruth will become a leader naturally because she is only one authorized to use English, the language understood by all. What can we share? How can we position ourselves? What kind of voice will be possible?

Networks are fragile.