{ "schema": "ab5d-dossier/1", "slug": "lia", "name": "LIA", "subtitle": "Code as a field of relation, movement, and negotiated form", "lede": "For three decades, LIA has treated programming as an artistic material rather than a production shortcut. Her systems stage a dialogue among rules, chance, movement, color, and human perception.", "url": "https://ab5d.xyz/artists/lia/", "bibliography_url": "https://ab5d.xyz/artists/lia/links/", "content_url": "https://ab5d.xyz/api/artists/lia.json", "updated": "2026-07-11", "tier": "standard", "editions": 833, "collections": 2, "otdh": { "rank": 94, "score": 16610, "collector_identities": 504, "holder_addresses": 512, "projects": 2, "current_works": 827, "raw_collector_days": 1252046, "median_project_hold_days": 1576, "snapshot_at": "2026-09-14T00:00:00.000Z", "methodology_url": "https://ab5d.xyz/artists/otdh/", "api_url": "https://ab5d.xyz/api/otdh/lia" }, "identity": { "artist": "LIA", "website": "https://www.liaworks.com", "based": "Born in Graz, Austria. Lives and works in Vienna", "practice": "Generative software, net art, moving image, performance, installation, projection, sculpture, and digital applications", "now": "Three Suns shown at Istanbul Digital Art Festival, Atatürk Cultural Center, 3-7 June 2026", "raster": "https://www.raster.art/artist/lia", "otdh": "[16,610 · rank 94 of 308](/artists/otdh/#artist-lia)", "holding signal": "504 collector identities · 512 holder addresses · 1,252,046 raw collector-days · 14 Sep 2026", "collector tdh": "[liaTDH](/artists/lia/liatdh/) · dashboard" }, "socials": { "website": "https://www.liaworks.com", "x": null, "instagram": null }, "profile_image_url": null, "profile_image_source": null, "works": [ { "name": "little boxes on the hillsides, child", "editions": 777, "supply": 777, "artblocks_slug": "little-boxes-on-the-hillsides-child-by-lia", "url": "https://www.artblocks.io/collection/little-boxes-on-the-hillsides-child-by-lia" }, { "name": "Being Yourself While Fitting In", "editions": 56, "supply": 56, "artblocks_slug": "being-yourself-while-fitting-in-by-lia", "url": "https://www.artblocks.io/collection/being-yourself-while-fitting-in-by-lia" } ], "sections": [ { "heading": null, "paragraphs": [ "LIA belongs to the formative generation of artists who encountered the networked computer not simply as a display device, but as an environment in which artworks could operate. Born in Graz and based in Vienna, she has worked with code since 1995 across software, video, live performance, installation, sculpture, projection, and applications. Austria’s federal arts administration describes her as a pioneer of software and net art, emphasizing a process in which a concept is translated into a formal structure and refined through repeated exchanges with the machine. This account is useful because it locates authorship neither in an autonomous computer nor in a fixed image. Authorship resides in the construction, testing, and calibration of a system.", "That distinction has guided LIA’s work across several technological eras. Her early web project *Re-Move .org*, initiated in 1999, comprises ten interactive generative works made in Macromedia Director. Users can manipulate parameters that shape compositions poised between organic motion and hard-edged abstraction. The project received an Award of Distinction at Prix Ars Electronica in 2003, and its continued preservation indicates how software artworks exceed the lifespan of the platforms on which they first appeared. What persists is not merely a characteristic visual style. It is a model of participation in which an artist defines possibilities, a computer performs instructions, and a viewer encounters variation through time." ] }, { "heading": "Drawing with executable rules", "paragraphs": [ "LIA’s practice joins the histories of drawing and painting to the temporal logic of computation. Lines become trajectories, colors become variables, and composition becomes behavior. In a 2019 interview, she characterized code as the means by which an observation or idea is translated into formal relations, producing real-time multimedia output. Her abstractions are therefore grounded in experienced phenomena, including movement, interpersonal relation, and natural structure. They do not illustrate those sources literally. Instead, they extract organizational principles and test what those principles can do when made executable.", "This approach was already explicit in *Sum05*, commissioned for the 2005 exhibition *Generator.x: Art from Code* at Norway’s National Museum of Art, Architecture and Design. The work uses algorithmic rules to direct autonomous agents through a bounded system, presenting source code as a primary material rather than an invisible technical support. Such projects make clear why LIA’s minimalism should not be mistaken for simplicity. A reduced vocabulary can generate dense perceptual events when its elements possess duration, responsiveness, and variable relations.", "Her account of changing hardware further complicates the notion of technical progress. In a 2013 interview, LIA observed that increased computing power enabled more complex structures and more elements on screen, while higher resolutions also removed the intimate relationship with individual pixels that had shaped her early work. Each technological gain introduces a different constraint. For LIA, limitation is productive because it gives a system resistance. The artist’s task is to locate a visual language inside that resistance, whether the boundary is a low-resolution screen, a browser, an edition protocol, or a fabrication device." ] }, { "heading": "A hillside multiplied", "paragraphs": [ "*little boxes on the hillsides, child* was released through Art Blocks Factory on October 19, 2021 as a collection of exactly 777 artworks. LIA’s project statement describes abstract suburban cityscapes generated by a program developed from a Processing sketch through careful choices of angles, transparencies, and line weights. House-like forms appear and disappear, while two color features, “cheeky blue” and “cheeky red,” preserve a bug in the calculation of the color spread.", "The title comes from Malvina Reynolds’s song “Little Boxes,” and LIA frames the project as a contemplation of houses, cities, and the cycle through which homes replace environments before ecosystems eventually replace them. The Art Blocks work succeeds *little boxes on the hillsides, mother*, presented at bitforms gallery in San Francisco in 2021. The 777 on-chain works are its “children”: still artifacts from the mother program’s generative output. Pressing the “a” key in the live view reveals the animated process behind each still.", "That parent-and-child structure gives the edition model a precise role. The fixed collection is not presented as an exhaustive archive of an infinite system. It is a finite set of states drawn from a program that continues to unfold in motion. Repetition supplies coherence, while changes in rows, columns, shape, opacity, color, and line density keep each composition distinct." ] }, { "heading": "Belonging without disappearance", "paragraphs": [ "Released through Art Blocks Factory on August 15, 2022, *Being Yourself While Fitting In* consists of exactly 56 artworks. LIA’s project statement explains that the work began as a formal study using simple layered shapes, then changed when animation was introduced. Its forms, colors, and motion visualize the tension between social conformity and self-expression, repeatedly painting and repainting the composition into shifting patterns of movement and stillness.", "This theme has precedents throughout LIA’s practice. Discussing *Not Even Love Will Tear Us Apart*, she described pairs of stable shapes whose conjunction generates new forms as they move together. The individual elements do not dissolve, but their relationship exceeds either component. In *Being Yourself While Fitting In*, a similar logic expands from the couple toward the group. The work asks viewers to attend to boundaries, not as walls, but as active zones where difference is negotiated.", "The series also clarifies LIA’s distinctive use of abstraction. No figure carries a prescribed identity, and no scene supplies a fixed narrative. Meaning emerges through perceptual analogy. Alignment, crowding, separation, and accommodation become spatial experiences before they become verbal concepts. The algorithm organizes those experiences into repeatable but nonidentical events. Each edition can be read independently, while the tension named by the title becomes more visible across the finite group." ] }, { "heading": "From browser to material object", "paragraphs": [ "Although screens have been central to LIA’s history, her work does not treat software as immaterial. *Filament Sculptures*, developed from 2013 to 2015, used custom software to control a 3D printer’s movement across three axes. Variations in extrusion, speed, and print-head position allowed filament to organize between deliberate construction and physical emergence. The project makes visible something equally true of her screen works: code always meets a material apparatus. A browser interprets instructions, a monitor emits light, and a printer negotiates gravity, heat, and plastic.", "This attention to execution helps explain LIA’s longevity across changing platforms. The work is not attached to novelty for its own sake. It repeatedly returns to a durable set of questions about translation, constraint, and relation. In 2021, Casey Reas included her in Feral File’s inaugural exhibition, *Social Codes*, where *dada data* appeared as browser-based custom software written with p5.js. The exhibition positioned the web as both venue and community for artists who write code. LIA’s presence connected that contemporary ecosystem to experiments begun before creative coding had consolidated into a recognized field.", "More recently, the restoration of *Re-Move .org* has made those beginnings accessible again. Preservation here is not nostalgia. It allows current audiences to experience an artwork whose meaning depends on operation, responsiveness, and duration. In June 2026, LIA’s video *Three Suns* was shown at the Istanbul Digital Art Festival at the Atatürk Cultural Center. Across the two Art Blocks collections, the same commitment assumes a new distribution model, but the artistic proposition remains consistent. LIA builds bounded systems that do not close meaning down. They open a space in which form can behave, difference can recur, and viewers can recognize familiar structures without being given a single answer.", "> LIA’s systems do not use variation as decoration. Variation is the subject through which individuality, collectivity, and authorship become visible." ] } ], "body_markdown": "LIA belongs to the formative generation of artists who encountered the networked computer not simply as a display device, but as an environment in which artworks could operate. Born in Graz and based in Vienna, she has worked with code since 1995 across software, video, live performance, installation, sculpture, projection, and applications. Austria’s federal arts administration describes her as a pioneer of software and net art, emphasizing a process in which a concept is translated into a formal structure and refined through repeated exchanges with the machine. This account is useful because it locates authorship neither in an autonomous computer nor in a fixed image. Authorship resides in the construction, testing, and calibration of a system.\n\nThat distinction has guided LIA’s work across several technological eras. Her early web project *Re-Move .org*, initiated in 1999, comprises ten interactive generative works made in Macromedia Director. Users can manipulate parameters that shape compositions poised between organic motion and hard-edged abstraction. The project received an Award of Distinction at Prix Ars Electronica in 2003, and its continued preservation indicates how software artworks exceed the lifespan of the platforms on which they first appeared. What persists is not merely a characteristic visual style. It is a model of participation in which an artist defines possibilities, a computer performs instructions, and a viewer encounters variation through time.\n\n## Drawing with executable rules\n\nLIA’s practice joins the histories of drawing and painting to the temporal logic of computation. Lines become trajectories, colors become variables, and composition becomes behavior. In a 2019 interview, she characterized code as the means by which an observation or idea is translated into formal relations, producing real-time multimedia output. Her abstractions are therefore grounded in experienced phenomena, including movement, interpersonal relation, and natural structure. They do not illustrate those sources literally. Instead, they extract organizational principles and test what those principles can do when made executable.\n\nThis approach was already explicit in *Sum05*, commissioned for the 2005 exhibition *Generator.x: Art from Code* at Norway’s National Museum of Art, Architecture and Design. The work uses algorithmic rules to direct autonomous agents through a bounded system, presenting source code as a primary material rather than an invisible technical support. Such projects make clear why LIA’s minimalism should not be mistaken for simplicity. A reduced vocabulary can generate dense perceptual events when its elements possess duration, responsiveness, and variable relations.\n\nHer account of changing hardware further complicates the notion of technical progress. In a 2013 interview, LIA observed that increased computing power enabled more complex structures and more elements on screen, while higher resolutions also removed the intimate relationship with individual pixels that had shaped her early work. Each technological gain introduces a different constraint. For LIA, limitation is productive because it gives a system resistance. The artist’s task is to locate a visual language inside that resistance, whether the boundary is a low-resolution screen, a browser, an edition protocol, or a fabrication device.\n\n## A hillside multiplied\n\n*little boxes on the hillsides, child* was released through Art Blocks Factory on October 19, 2021 as a collection of exactly 777 artworks. LIA’s project statement describes abstract suburban cityscapes generated by a program developed from a Processing sketch through careful choices of angles, transparencies, and line weights. House-like forms appear and disappear, while two color features, “cheeky blue” and “cheeky red,” preserve a bug in the calculation of the color spread.\n\nThe title comes from Malvina Reynolds’s song “Little Boxes,” and LIA frames the project as a contemplation of houses, cities, and the cycle through which homes replace environments before ecosystems eventually replace them. The Art Blocks work succeeds *little boxes on the hillsides, mother*, presented at bitforms gallery in San Francisco in 2021. The 777 on-chain works are its “children”: still artifacts from the mother program’s generative output. Pressing the “a” key in the live view reveals the animated process behind each still.\n\nThat parent-and-child structure gives the edition model a precise role. The fixed collection is not presented as an exhaustive archive of an infinite system. It is a finite set of states drawn from a program that continues to unfold in motion. Repetition supplies coherence, while changes in rows, columns, shape, opacity, color, and line density keep each composition distinct.\n\n## Belonging without disappearance\n\nReleased through Art Blocks Factory on August 15, 2022, *Being Yourself While Fitting In* consists of exactly 56 artworks. LIA’s project statement explains that the work began as a formal study using simple layered shapes, then changed when animation was introduced. Its forms, colors, and motion visualize the tension between social conformity and self-expression, repeatedly painting and repainting the composition into shifting patterns of movement and stillness.\n\nThis theme has precedents throughout LIA’s practice. Discussing *Not Even Love Will Tear Us Apart*, she described pairs of stable shapes whose conjunction generates new forms as they move together. The individual elements do not dissolve, but their relationship exceeds either component. In *Being Yourself While Fitting In*, a similar logic expands from the couple toward the group. The work asks viewers to attend to boundaries, not as walls, but as active zones where difference is negotiated.\n\nThe series also clarifies LIA’s distinctive use of abstraction. No figure carries a prescribed identity, and no scene supplies a fixed narrative. Meaning emerges through perceptual analogy. Alignment, crowding, separation, and accommodation become spatial experiences before they become verbal concepts. The algorithm organizes those experiences into repeatable but nonidentical events. Each edition can be read independently, while the tension named by the title becomes more visible across the finite group.\n\n## From browser to material object\n\nAlthough screens have been central to LIA’s history, her work does not treat software as immaterial. *Filament Sculptures*, developed from 2013 to 2015, used custom software to control a 3D printer’s movement across three axes. Variations in extrusion, speed, and print-head position allowed filament to organize between deliberate construction and physical emergence. The project makes visible something equally true of her screen works: code always meets a material apparatus. A browser interprets instructions, a monitor emits light, and a printer negotiates gravity, heat, and plastic.\n\nThis attention to execution helps explain LIA’s longevity across changing platforms. The work is not attached to novelty for its own sake. It repeatedly returns to a durable set of questions about translation, constraint, and relation. In 2021, Casey Reas included her in Feral File’s inaugural exhibition, *Social Codes*, where *dada data* appeared as browser-based custom software written with p5.js. The exhibition positioned the web as both venue and community for artists who write code. LIA’s presence connected that contemporary ecosystem to experiments begun before creative coding had consolidated into a recognized field.\n\nMore recently, the restoration of *Re-Move .org* has made those beginnings accessible again. Preservation here is not nostalgia. It allows current audiences to experience an artwork whose meaning depends on operation, responsiveness, and duration. In June 2026, LIA’s video *Three Suns* was shown at the Istanbul Digital Art Festival at the Atatürk Cultural Center. Across the two Art Blocks collections, the same commitment assumes a new distribution model, but the artistic proposition remains consistent. LIA builds bounded systems that do not close meaning down. They open a space in which form can behave, difference can recur, and viewers can recognize familiar structures without being given a single answer.\n\n> LIA’s systems do not use variation as decoration. Variation is the subject through which individuality, collectivity, and authorship become visible.", "images": [ { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000000.png", "title": "little boxes on the hillsides, child #0", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000086.png", "title": "little boxes on the hillsides, child #86", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000172.png", "title": "little boxes on the hillsides, child #172", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000259.png", "title": "little boxes on the hillsides, child #259", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000345.png", "title": "little boxes on the hillsides, child #345", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000431.png", "title": "little boxes on the hillsides, child #431", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000517.png", "title": "little boxes on the hillsides, child #517", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000604.png", "title": "little boxes on the hillsides, child #604", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000690.png", "title": "little boxes on the hillsides, child #690", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/185000776.png", "title": "little boxes on the hillsides, child #776", "caption": "2021, little boxes on the hillsides, child", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000018.png", "title": "Being Yourself While Fitting In #18", "caption": "2022, Being Yourself While Fitting In", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" } ], "references": [ { "n": 1, "note": "Austria’s federal arts administration records LIA’s Graz origins, Vienna base, multidisciplinary practice, and dialogic method of constructing generative systems.", "url": "https://www.bmwkms.gv.at/themen/kunst-und-kultur/preise/outstanding-artist-awards/outstanding-artists-award-archiv/outstanding-artist-award-2017.html", "label": "federal award profile" }, { "n": 2, "note": "Rhizome ArtBase identifies Re-Move as ten interactive generative works created in Macromedia Director and begun in 1999.", "url": "https://artbase.rhizome.org/wiki/Q15218", "label": "Rhizome ArtBase" }, { "n": 3, "note": "Ars Electronica’s artist archive records the 2003 distinction for re:move and the 2007 honorary mention for @c + Lia.", "url": "https://webarchive.ars.electronica.art/en/personen_page.asp%3FiPersonID%3D7372%26iProjectID%3D12986.html", "label": "Ars Electronica archive" }, { "n": 4, "note": "CLOT Magazine’s interview discusses LIA’s use of code, real-time output, minimalist abstraction, and continuous practice since 1995.", "url": "https://clotmag.com/interviews/lia-the-software-art-pioneer-and-the-fluidity-of-code", "label": "CLOT interview" }, { "n": 5, "note": "LIA’s project archive documents Sum05 as a 2005 commission for Generator.x and describes its autonomous agents and code-as-material premise.", "url": "https://www.liaworks.com/archive/sum05-generative-software/", "label": "Sum05 archive" }, { "n": 6, "note": "VICE’s interview records LIA’s comments on relational forms, changing computational capacity, screen resolution, and the persistence of mathematical principles across tools.", "url": "https://www.vice.com/en/article/lia-software-art/", "label": "VICE interview" }, { "n": 7, "note": "Art Blocks records little boxes on the hillsides, child as a 777-work Factory project released on October 19, 2021 and documents its Processing sketch, cityscape logic, retained color bug, parent work, and animation control.", "url": "https://www.artblocks.io/collection/little-boxes-on-the-hillsides-child-by-lia", "label": "Art Blocks collection" }, { "n": 8, "note": "Art Blocks records Being Yourself While Fitting In as a 56-work Factory project released on August 15, 2022 and documents its layered shapes, animation, and conformity-versus-expression theme.", "url": "https://www.artblocks.io/collection/being-yourself-while-fitting-in-by-lia", "label": "Art Blocks collection" }, { "n": 9, "note": "LIA’s project documentation explains the custom software, three-axis printer control, material parameters, dates, and exhibition history of Filament Sculptures.", "url": "https://www.liaworks.com/stills-and-prints/filament-sculptures-generative-art-as-physical-object/", "label": "Filament Sculptures" }, { "n": 10, "note": "Feral File documents LIA’s participation in Social Codes and identifies dada data as generative, noninteractive browser software made with p5.js.", "url": "https://feralfile.com/exhibitions/shows/social-codes-pcl", "label": "Social Codes" }, { "n": 11, "note": "LIA’s current CV records Three Suns at the Istanbul Digital Art Festival, curated by Evgeniya Romanidi at the Atatürk Cultural Center from June 3 to 7, 2026.", "url": "https://www.liaworks.com/stuff/LIA-CV.pdf", "label": "LIA current CV" }, { "n": 12, "note": "HOLO documents the 2023-2025 reconstruction of the ten Re-Move works from Macromedia Director in p5.js and notes that one Director-specific glitch could not be reproduced.", "url": "https://www.holo.mg/stream/lia-re-move-org-restroration/", "label": "HOLO restoration report" } ], "bibliography": [ { "category": "In the AB[500]: Art Blocks", "entries": [ { "note": "Art Blocks records little boxes on the hillsides, child as 777 unique artworks released through Art Blocks Factory on October 19, 2021.", "url": "https://www.artblocks.io/collection/little-boxes-on-the-hillsides-child-by-lia", "label": "little boxes on the hillsides, child", "meta": "collection · 2021" }, { "note": "Art Blocks records Being Yourself While Fitting In as 56 unique artworks released through Art Blocks Factory on August 15, 2022.", "url": "https://www.artblocks.io/collection/being-yourself-while-fitting-in-by-lia", "label": "Being Yourself While Fitting In", "meta": "collection · 2022" } ] }, { "category": "Interviews", "entries": [ { "note": "Laura Netz interviews LIA about code as a working material and the fluid exchange between artist and machine.", "url": "https://clotmag.com/interviews/lia-the-software-art-pioneer-and-the-fluidity-of-code", "label": "CLOT Magazine", "meta": "interview · 2019" }, { "note": "Kevin Holmes speaks with LIA about natural structures, relationships, software, hardware limits, and digital editions.", "url": "https://www.vice.com/en/article/lia-software-art/", "label": "VICE", "meta": "interview · 2013" } ] }, { "category": "Press and criticism", "entries": [ { "note": "HOLO reports on the reconstruction of LIA’s early generative web works and the return of Re-Move to live operation.", "url": "https://www.holo.mg/stream/lia-re-move-org-restroration/", "label": "HOLO", "meta": "preservation report · 2025" }, { "note": "Bruce Sterling’s WIRED column records LIA’s experiments with filament sculpture and digitally mediated fabrication.", "url": "https://www.wired.com/2014/02/lia-filament-structures/", "label": "WIRED", "meta": "press · 2014" }, { "note": "Artmaker Blog reviews dada data in Social Codes, connecting its economy of means to twentieth-century code-art traditions.", "url": "https://toshareproject.it/artmakerblog/social-codes-at-feral-file/", "label": "Artmaker Blog", "meta": "criticism · 2021" } ] }, { "category": "Museums and institutions", "entries": [ { "note": "Rhizome’s Net Art Anthology presents Re-Move .org as a landmark born-digital artwork.", "url": "https://sites.rhizome.org/anthology/re-move.html", "label": "Net Art Anthology", "meta": "institutional archive · 2019" }, { "note": "OÖ Kultur documents Lost in Pixels, a 2022 exhibition surveying 24 works from multiple periods of LIA’s practice.", "url": "https://www.ooekultur.at/exhibition-detail/lost-in-pixels", "label": "Francisco Carolinum", "meta": "exhibition · 2022" }, { "note": "Ars Electronica’s jury statement praises the aesthetic refinement of LIA’s audiovisual collaboration with the @c collective.", "url": "https://webarchive.ars.electronica.art/en/archives/prix_archive/prixjuryStatement.asp%3FiProjectID%3D14163.html", "label": "Ars Electronica", "meta": "jury statement · 2007" } ] }, { "category": "Galleries and exhibitions", "entries": [ { "note": "Variation Media Art Fair profiles LIA and documents the generative audiovisual work Three Suns.", "url": "https://variation.paris/artists/lia/", "label": "Variation Paris", "meta": "exhibition profile · 2015" }, { "note": "Feral File’s retrospective page for Cube_1997 places LIA’s early code practice within the platform’s history of software-native exhibition.", "url": "https://feralfile.com/retrospective/the-experiment-6jy/cube_1997-e23/", "label": "Feral File", "meta": "retrospective · 2023" }, { "note": "Feral File documents LIA’s dada data as generative, noninteractive p5.js software in the inaugural Social Codes exhibition.", "url": "https://feralfile.com/exhibitions/shows/social-codes-pcl", "label": "Social Codes", "meta": "exhibition · 2021" }, { "note": "Istanbul Digital Art Festival lists LIA among the artists in its sixth edition at the Atatürk Cultural Center.", "url": "https://digitalartfestistanbul.org/en/", "label": "IDAF", "meta": "exhibition · 2026" } ] }, { "category": "Essays, talks and podcasts", "entries": [ { "note": "A recorded 2007 lecture presents LIA discussing programming, randomness, errors, limitations, and interaction across a decade of work.", "url": "https://vimeo.com/26550530", "label": "Olhares de Outono", "meta": "talk · 2007" } ] }, { "category": "Profiles and archives", "entries": [ { "note": "Raster aggregates LIA's tokenized works across platforms.", "url": "https://www.raster.art/artist/lia", "label": "Raster", "meta": "profile · ongoing" }, { "note": "Creative Austria profiles LIA as a pioneer of software art and documents her Lost in Pixels exhibition at the Francisco Carolinum.", "url": "https://www.creativeaustria.at/wp-content/uploads/2022/07/CTA_mag_46_web_v3_doppelseiten-1.pdf", "label": "Creative Austria", "meta": "profile · 2022" }, { "note": "LIA’s official biography describes her code-based process, Vienna base, and continuous practice since 1995.", "url": "https://www.liaworks.com/about/", "label": "LIA", "meta": "official profile · current" }, { "note": "Art Blocks records LIA’s biography and both platform projects.", "url": "https://www.artblocks.io/artists/lia", "label": "Art Blocks", "meta": "artist profile · current" }, { "note": "LIA’s current CV documents exhibitions, screenings, awards, and recent activity through June 2026.", "url": "https://www.liaworks.com/stuff/LIA-CV.pdf", "label": "LIA CV", "meta": "archive · 2026" } ] } ], "provenance": { "schema": "ab5d-provenance/1", "contributor": "ab500dao.eth", "agent": "gpt-5.6-sol", "model": "gpt-5.6-sol", "harness": "AB5D structured pipeline; fact-checked and revised with OpenAI Codex", "autonomy": "supervised", "tokens": { "input": 329927, "output": 6345, "estimated": false }, "cost_usd": null, "links_verified": 26, "date": "2026-07-11", "note": "Structured return rendered by scripts/render_dossier.py; token counts are measured API usage." }, "license": "https://ab5d.xyz/license/", "license_note": "Dossier prose is CC0. Embedded Art Blocks renders are not: they remain the property of their respective artists and holders.", "attribution": { "name": "AB[500]", "url": "https://ab5d.xyz/artists/lia/", "cite": "AB5D, \"LIA\", AB[500] artist dossier, ab5d.xyz, 2026", "required": false, "requested": true, "note": "Prose is CC0; a credit and link back to ab5d.xyz is appreciated, not required." }, "generated": "2026-09-14T12:58:26" }