Since 2010 social media researcher Bénédicte Jacobs and media artist Laure-Anne Jacobs form the artist duo LarbitsSisters. The work of Brussels-based duo is situated at the crossroads of art, technology and social systems. Their collaboration grew out of a shared fascination on new media, merging research and artistic practice onto projects in which concepts such as traceability, data processing, network analysis, algorithms, automation and interactivity are explored and discussed. Their work process focuses on the creative drives and patterns in digital media.
Central in the approach of LarbitsSisters is the friction between public and private, online and offline; between the unbridled faith in technological progress and everyday life. Strategies and practices of new media are above all materials and tools of investigation and creation allowing works to be developed that questions critical issues of today’s society. In 2011 LarbitsSisters founded the Research Lab on Digital Visualization, Larbitslab. Larbitslab brings together artists and scientists around issue of networked societies. The specificity of larbitslab lies in the methodological approach, which combines closely observing practices, media analysis and research on the technical and societal implications.
Bénédicte Jacobs is media artist and social media researcher at the Centre de recherche en philosophie (PHI) at the Université Libre de Bruxelles. She is graduated in Philosophy and Literature and holds a postgraduate in Information and Communication Sciences. Her research investigates the phenomenon of transformation of the public space and explores the role of rules and regulation mechanisms governing the public domain and the strategies for use and interaction. She is particularly interested in the logics of interaction such as the dynamics of individualization in the production of public expression. Her current research focuses on the ethical, legal and political challenges raised by the phenomenon of the indexation of traceability on the net.
Laure-Anne Jacobs studied monumental arts in Sint-Lucas AcademFFy in Ghent. She took part in several exhibition projects, frequently with aspects of integrated art. The rising of digital media formed an important role within the evolution of the work of the artist. The expression and the design of her art project find frequently their origin in daily observation. Public space, society issues take part of elementary pillars of her art work and forms the real framework to realize art projects giving expression behind meanings. The interpretation of the existing reality acquires in this way very varied expressions, always adapted to the context. The artist associates different processes, works with digital prints, photographic images, film, internet and other experimental new media technologies.
BitSoil Popup Tax & Hack Campaign, Currency, New Media Gallery + ISEA 2020, New Westminster, Vancouver, CA
Crypto Miner Car, Entropies, Regional STARTS event on future energies, Snowball, Harelbeke, BE
BitSoil Popup Tax & Hack Campaign, Currency, New Media Gallery, New Westminster, Vancouver, CA
BitSoil Popup Tax & Hack Campaign, The Question of Intelligence – AI and the Future of Humanity, Anna-Maria and Stephen Kellen Gallery, New York, USA
BitSoil Popup Tax & Hack Campaign, Mind the Deep – Artificial Intelligence and Artistic Creation, Shanghai Ming Contemporary Art Museum (McaM), Shanghai, CH
BitSoil Popup Tax & Hack Campaign, Lying Sophia and Mocking Alexa – An Exhibition on AI and Art, Hyundai Motorstudio Art District 798, Beijing, CN
BitSoil Popup Tax & Hack Campaign, Brussels in SongEun: Imagining Cities Beyond Technology 2.0, SongEun ArtSpace, Seoul, South Korea, KO
BitSoil Popup Tax & Hack Campaign, ERROR – The Art of Imperfection, Drive, Berlin, DE
BitSoil Popup Tax & Hack Campaign, NOVA New Media Interactive Art Prize, BIG HOUSE Contemporary Art Center, Wuhan, CN
BitSoil Popup Tax & Hack Campaign, CyberArts 2018, Prix Ars Electronica Exhibition, OK Center for Contemporary Art, Linz, AT
BitSoil Popup Tax & Hack Campaign, Enter the BitRepublic, Gluon Platform for Art, Science and Technology, Brussels, BE
BitSoil Popup Tax & Hack Campaign, Media Fast Forward, and& summit & festival, Leuven, BE
Bitsoil Trader, Internet Yami-Ichi (インターネットヤミ市), iMAL Brussels, BE
Claims on public space: on disruptive designs and narrative futures for an open free Internet, Making Public Domain, Middelheim Museum, Antwerp, BE
BitREPUBLIC, exhibition John Doe in the Metacity / Utopia & Distopia in Architecture, Halles Saint-Géry, Brussels, BE
BitREPUBLIC, Blockchain Fact. Fiction. Future, Showcase, iMAL Center for Digital Cultures and Technology, Brussels, BE
eu4you, exhibition Coding/Decoding Borders, antiAtlas, Espace Architecture Flagey-ULB, Brussels, BE
Algorithmic Tube Tales, RRI-ICT forum, iMAL Center for Digital Cultures and Technology, Brussels, BE
Algorithmic Tube Tales, D.ART, Mechelen 2015, BE
TubePlot, Art & Digital Technologies: Disruptive Innovation practices for an Unknown Future, Bozar Electronic Arts Festival (BEAF), Brussel, BE
TubePlot, Vice versa: From research to media arts, Quinzaine numérique 2014, Mons, BE
Algorithmic TubeTales, exhibition Citysonic #12, International Sound Arts festival, Mons, BE
The Flanograph, 20th International Conference on MultiMedia Modelling, Dublin, IR
MyMiniMaxiLoveLife, 5th International Conference on Intelligent Technologies for Interactive Entertainment, Numediart Institute for Creative Technologies, Mons, BE
The Flanograph, Sensing by Interface Design, 5th International Conference on Intelligent Technologies for Interactive Entertainment, Numediart Institute for Creative Technologies, University of Mons, BE
Flânographier l’espace : pour une poétique computationnelle de saisie de l’expérience Urbaine, HyperUrbain 4: Hybrid Mobility, Valenciennes, FR
The Flanograph, Conference Art and Geography Aesthetics and practices of spatial knowledges, University of Lyon, FR
Why Sentience, 26th International Symposium on Electronic Art, Isea 2020, Printemps Numérique, pp. 81.
Mind the Deep, Artificial Intelligence and Artistic Creation, Ming contemporary art museum (Mcam), Ming Yuan Group, Li Songjian, Ling Feifei, pill.design, pp. 84.
Brussels in SongEun: Imagining Cities Beyond Technology 2.0, Laurence Geoffrey’s, Ltd., Top Process, pp. 33-35.
Lying Sophia & Mocking Alexa, Hyundai Motorstudio Beijing, Gioia Xu, New Media Art Production Collaborator: HELU Culture Communication, pp. 9.
CyberArts 2018, International Compendium Prix Ars Electronica, Ed. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, series: CyberArts, 2018. 256 pp., 578 ills.
Eulalie Pierquin & Duo LarbitsSisters, Flanographie, in: 100 Notions pour l’Art Numérique, coll. 100 notions, Paris: Les Éditions de l’Immatériel.
Jacobs Bénédicte, Jacobs Laure-Anne, Frisson Christian, Yvart Willy, Thierry Dutoit, Leleu-Merviel Sylvie, 2014. Scenarizing Metropolitan Views : FlanoGraphing the Urban Spaces, Cathal Gurrin et al. (Eds.): MMM2014, Part II, LNCS, Springer, pp. 11-21.
Jacobs Bénédicte, 2013. Flânographier l’espace : pour une poétique computationnelle de saisie de l’expérience Urbaine, HyperUrbain 4 : Mobilité et Parcours Hybrides, dir. Khaldoun Zreik, Europia Productions, pp. 52-65.
Digital art in Wallonia-Brussels Federation Grants 2006-2010, Wallonia-Brussels Publication, pp. 71-78-79.
eu4you, antiAtlas of Borders, Belgium