Eva & Franco Mattes

b. Brescia, Italy, 1976
Live and Work in New York City and Brescia

CURRICULUM VITAE     SELECT PRESS

2024 • Eva and Franco Mattes “J8~g#|;Net. Art{-^s1” at Kendra Jayne Patrick, Bern, Mousse Magazine
2023 • “Up Next”, C41 Magazine (Nov)
• “Eva & Franco Mattes’s ‘Fake Views’ at Frankfurter Kunstverein, Spike Magazine (Aug)
• “Und ganz oben surrt der Gottserver”, TAZ (Jul 27)
• “Zweibeinige Katze”, Frankfurter Allgemeine Zeitung (Jul 23)
• “Eva & Franco Mattes: Fake Views”, e-flux (Jul 13)
• “Post-Cuteness”, Kunstforum (May 17)
• “Perfect Behaviors: in armonia con le macchine e il mondo”, Il Giornale dell'Arte, (May 12)
• “The screen age: Video’s past and future”, by Anna Lovatt, Artforum (May)
• “L'arte impegnata non è sparita dai radar”, Vogue Italia (Apr)
• “A Different Kind of Museum in Hong Kong”, The New York Times (Mar 23)
2022 • "This Machine is Broken: the Making of Populist Contemporary Art in Warsaw", e-flux (Dec 02)
• "Art in the Fukushima Exclusion Zone", Art Review (Nov 21)
• "Ask the Artists", NYFA (Oct 18)
• "Eva & Franco Mattes: Most to Least Viewed", e-flux (Sep 13)
• "7 Ways Cats Have Conquered Art History", Artnet News (Aug 18)
• "'I Don't Understand the Meaning of the Word Quit'", ARTnews (Jul 7)
• "A Stunning Exhibition in an Athens Park Sets A New Standard for Digital Art", ARTnews (Jun 8)
• "Eva & Franco Mattes: Portraits on Metadata", Fotograf Magazine (Jan 13)
2021 • "On the Information Superhighway", Frankfurter Allgemeine (Jul 25)
• "Ceiling Cat Is Still Watching You", Elephant (May 19)
• "The NYUAD Art Gallery Presents an Exhibition Curated for Your Smartphone", Hyperallergic
(Mar 16)
• "The Cats are Future", KULT Magazine (Mar 1)
• "NYUAD Art Gallery opens first-ever digital exhibition", Time Out Dubai (Jan 30)
• "The Artists Who Lurk on the Dark Web", Hyperallergic (Jan 22)
• "QAnon: the Italian artists who may have inspired America's most dangerous conspiracy
theory", The Art Newspaper (Jan 19)
2020 • "Yerevan Biennial Hosts an Art Exhibition on the Dark Web", The Observer (Oct 31)
• "Artist Amalia Ulman Will Become a Model-for-Hire in a New Exhibition Held in a Very Exotic,
• Very Secret Location: the Dark Web", Artnet News (Oct 13)
• “The Unexpected Joy of Internet Art", The New York Times (Aug 26)
• "Meet the artists behind Sharjah’s Art in the Age of Anxiety exhibition", Cosmopolitan Middle East (Jul 9)
• "With Galleries Closed, a Moment for Net Artists to Shine", The New York Times (May 7)
• "Technology does not create the social problems we so often criticise" (interview), The Art Newspaper (May 5)
• "As the art world urgently moves online, some galleries fear digital displacement", The Art Newspaper (May 1)
• "A New Show Called ‘Art in the Age of Anxiety’ Captures How Freaked-Out We All Were Even Before Coronavirus", Artnet News (Apr 15)
• "These radical artworks force you to look in new ways", The Conversation (Apr 3)
• "Regarding Artists Regarding Labor", by Ana Torok, Media-N (Apr 1)
• "No Fun", by Tina Rivers Ryan, Artforum (Mar 31)
2019 • "Phil Collins and Eva & Franco Mattes - the intimacy of medias", Art Critique (Nov 10)
• "L’arte ai tempi del web. Eva e Franco Mattes a Milano", Sky Arte (Sep 25)
• "Eva and Franco Mattes turn cable trays into art at Venice's Team Gallery", Architect's Newspaper (Jun 19)
• "Exhibition Strategies For Digital Art: Examples And Considerations", Mousse (Jun 18)
2018 • "The Year in Screens", ARTnews (Dec 26)
• "Hacking the Weirdness We’ve Come to Expect", Art Pulse (Nov 1)
• "Catastrophe and the Power of Art", Artforum (Sep 1)
• "Broken Links - The Internet Show", Art in America (Sep 1)
• "From Y2K to Tor", The Art Newspaper (Jul 27)
• "This Artist Duo Paid a Man $1,000 for His Smartphone Photos—and Turned Them into an Artwork", Artsy (Jun 4)
• "Data as Culture - Humour and absurdity stalk the Internet", New Scientist (Feb 2)
• "Eva & Franco Mattes - Artist’s Favorites, Spike Magazine (Jan 1)
2017 • "Breaking the Internet, Artists and Organizations Respond to the Repeal of Net Neutrality", ARTnews (Dec 19)
• "Merging with the Network" (interview), Rhizome (Oct 4)
• "Art & Protest", Frieze (Apr)
• "Around Town: Rome", Frieze (Jan)
2016 • "Into the Invisible Depths of Radioactive Futures", Kunstkritikk (Nov 1)
• "Cinemoderno at Careof", Nero Magazine (Oct 13)
• "La cloud e' la vera darknet", (interview), Flash Art (Oct)
• "The Second Life of Net Art", by Melissa Gronlund, Spike Magazine (Oct)
• "These Artists Sampled Fukushima's Textures and You Can, Too ", by Maria Koblyakova, The Creators Project (Sep 30)
• "Eva and Franco Mattes at Carroll/Fletcher", by Jeppe Ugelvig, Flash Art International (Sep)
• "Effimera. Relazioni Disarmoniche, Wall Street International (Aug 16)
• "Les modérateurs", Le Monde (Jul 14)
• "Eva and Franco Mattes at Carroll/Fletcher", Artforum (Jul 13)
• "Big Brother Is Alive and Well", The Creators Project (Jul 6)
• "Eva and Franco Mattes 'Abuse Standards Violations'", Mousse Magazine (Jul 2)
• "Illuminating the ‘Dark’ Web and Content Monitoring", The New York Times (Jun 24)
• "Watch an Art Work About the Dark Web, on the Dark Web", The New Yorker (Jun 11)
• "Newsmakers", Modern Painters (Jun 3)
• "When Felonies become form", ARTnews (May 17)
• "Contemporary art meets sci-fi in wide-reaching show", The Guardian (Mar 18)
• "The Stories of Content Moderators", Hyperallergic (Feb 4)
• "Creative Capital Announces 2016 Awardees in Emerging Fields, Literature, and Performing Arts", ARTnews (Jan 12)
• "Meet Creative Capital's 63 Award-Winning Artists, Writers, and Performers", Artnet News (Jan 12)
• "Creative Capital Awards Nearly $4.4 Million in Arts Grants", The New York Times (Jan 12)
• "Dark Content", Kunstbulletin (Jan)
• "Don't Follow the Wind: Rumours Overflowing Beyond Number", ArtReview Asia (Jan)
• "Kunst für eine bessere Welt", Art Magazin (Jan)
2015 • "Don’t Follow the Wind: Non-Visitor Center", Art in America (Dec)
• "Don't Follow the Wind", Artscape Japan (Nov)
• "The matter with dark matter", Haaretz (Nov 19)
• "I Would Prefer Not to Include My Name", by Caroline Ballegaard, DIS Magazine (Nov 16)
• "Fukushima's radioactive wasteland turns into art gallery", The Guardian (Nov 15)
• "Eva and Franco Mattes, the Art of Deletion", The New York Times (Nov 12)
• "Don't Follow the Wind", Frieze Magazine (Nov 1)
• "On the Fourth Anniversary of Fukushima", Hyperallergic (Aug 3)
• "Ai Weiwei, Trevor Paglen, and Taryn Simon Install Works in Fukushima's Radioactive Zone", Artnet News (Jul 28)
• "Artists install in Fukushima’s radioactive zone", The Art Newspaper (Jul 22)
• "The Radioactive Art Exhibit That You Can’t Even Go To", Observer (Jul 21)
• "Apocalypse No", The Guardian (Jul 20)
• "Internet Art, Now and Then", Kunstkritikk (Mar 18)
• "Darknet at Kunst Halle Sankt Gallen", Contemporary Art Daily (Jan 11)
2014 • "The 50 Most Exciting Artists of 2014", by Christian Viveros-Fauné, Artnet News (Dec 29)
• "The Darknet", by Dominique von Burg, Kunstforum International (Dec)
• "Response. Contemporary Art and Online Popular Culture", Artpulse (Dec)
• "Best Art Gallery in New York 2014", Village Voice (Oct)
• "Artists and Crowdsourcing", ARTnews (Sep 12)
• "Eva and Franco Mattes Dive into the Dark Web in New Tribeca Show", by Christian Viveros-Fauné, Village Voice (May 28)
• "Eva and Franco Mattes Dive Into the Dark", by Blake Gopnik, Blouin Artinfo (May 27)
• "Blue Ruin: Totality and Acceleration", by McKenzie Wark, Rhizome (Mar 10)
• "All together now: Artists and crowdsourcing", ARTnews (Feb 14)
• "Para-Real", The New York Times (Jan 9)
2013 • "Repetition as Radical Referral: Echo and Narcissus in the Digital Index", Leonardo Music Journal (Nov 12)
• "Art That Turns Both Heads and Stomachs", The New York Times (Jul 13)
• "The New World of Net Art", ARTnews (Jun 12)
• "Eva and Franco Mattes' 'Emily's Video' Combines Viewers' Reactions To • 'The Worst Video Ever', The Huffington Post (Apr 30)
• "Notes from the Avant-Garde: 5 Artists Pushing Today Into Tomorrow", Thought Catalog (Apr 17)
• "Our data, ourselves? Art exhibit pushes boundaries of online privacy, data ownership", by Barbara Ortutay, Associated Press (Apr 9)
• "The Public Private", The New Yorker (Mar 28)
• "'Truthiness' inspires a genuinely brilliant show at the Minneapolis Institute of Arts", StarTribune (Mar 22)
• "Cuando lo privado se hace público", El Pais (Mar 18)
• "Old Favorites and New Surprises at Moving Image", Hyperallergic (Mar 8)

2012 • "Best of 2012", by Ben Davis, Artinfo (Dec 21)
• "Von Plagiaten und Parasiten. Zitat und Aneignung bei Maurizio Cattelan", Kunst Magazin (Oct 24)
• "More Real? Art in the Age of Truthiness", e-flux (Jul 3)
• "Eva and Franco Mattes", by Morgan Quaintance, Frieze Magazine (Jun)
• "Eva and Franco Mattes Investigate The Values of a Virtual World", The Creators Project (May 10)
• "En Londres unos artistas exponen ‘piezas’ de arte robadas", El Pais (May 9)
• "Eva and Franco Mattes", TimeOut London (May 3)
• "Erschutterndes in Erlangen: Bilder und ihre Rezeption konnen Leben zerstoren", Monopol Magazin (Apr)
• "Unter Verdacht", Frankfurter Allgemeine Sonntagszeitung (Apr 29)
• "Eva And Franco Mattes Disrupt Gallery Norms With Stolen Art Exhibition", The Huffington Post (Apr 16)
• "Stolen Digital Photographs On Display In London", The Huffington Post (Apr 13)
• "Art or Meme? Eva and Franco Mattes at Carroll/Fletcher, London", Aesthetica Magazine (Apr 13)
• "0100101110101101.ORG: Eva & Franco Mattes", Dazed Digital (Apr 12)
• "Stolen digital photographs on display in London", by Raphael Satter, Associated Press (Apr 12)
• "Eva and Franco Mattes' virtual world" (interview), by Laura Havlin, Phaidon (Apr 11)
• "Net artists display art world's steal of the century in London exhibition", by Mark Brown, The Guardian (Apr 11)
• "Attribution Art", Artpulse Magazine (Feb)
2011 • "Perform Yourself", The New York Times (Aug 18)
• "Lies Inc.", by Ben Dunmore, Article Magazine (Jul 28)
• "Internet semiotics", Artpulse Magazine (Summer)
• "Top 10 Art Hacks Of The Past Century", The Creators Project (Jun 28)
• "Art stunts deliver reality check", by Ian Youngs, BBC (Jun 9)
• "Eva And Franco Mattes, Sheffield", by Robert Clark, The Guardian (Jun 4)
• "Colorless, Odorless and Tasteless", Wired (Apr)
• "Internet Semiotics", Flash Art (Mar)
• "The Unbearable Aura of a Website. Originality in the Digital Age", Artpulse Magazine (Mar)
• "Shock and awe", SF Weekly (Feb 23)
• "Eva, Franco Mattes Blow Up Assumptions About New Media in 'Colorless, Odorless & Tasteless", SF Weekly (Feb 18)
• "Lie to power", by Jean-Pierre Dupuy, Artforum (Feb 3)
2010 • "Weasels and Deer", Houston Press (Dec 16)
• "Exclusive: Eva and Franco Mattes of 0100101110101101.ORG Go Into the Danger Zone", by Sara Faye Lieber, The Creators Project (Sep 28)
• "Dynamic Coupling: Dialogue with Eva and Franco Mattes aka 0100101110101101.ORG" (interview), New Media Caucus (Aug)
• "Walt Disney exhibition now on view at Postmasters", TimeOut (Jun 30)
• "Eva and Franco Mattes AKA 0100101110101101.ORG Reality is Overrated", by Cora Fisher, The Brooklyn Rail (Jun 4)
• "Art in a roundabout way", The Star (Jun 11)
• "Eva and Franco Mattes", by Scott Indrisek, Modern Painters (Jun 3)
• "Life After Death: An Interview with Eva and Franco Mattes" (interview), by Kelly Shindler, Art21 (May 28)
• "Eva and Franco Mattes' Stolen Pieces", Flash Art International (May 18)
• "Eva e Franco Mattes scandalizzano New York", Flash Art (May 18)
• "Couple stole more than other artists' ideas", by Blake Gopnik, The Washington Post (May 17)
• "Reality is overrated. When media go beyond simulation", Artpulse Magazine (Mar)
2009 • "Eva and Franco Mattes: I’m Not Here", Artpulse Magazine (Nov)
• "Dieci anno di scorribande in rete ai limiti della legalità", Arte (Oct)
• "Shangai Serenade", ARTnet (Sep 23)
• "Make-Believe: Parafiction and Plausibility", by Carrie Lambert-Beatty, October (Jun)
2008 • "All the Web's a Stage" (cover), ARTnews (Feb)
• "Reality Bytes", TimeOut Mumbai (Jan 9)
2007 • "Taking the body out of body art", by James Westcott, Art Review (Sep)
• "13 Most Beautiful Avatars", by Roberta Smith, The New York Times (Mar 9)
• "Eva and Franco Mattes at Postmasters", Artforum (May)
• "0100101110101101.ORG Artisti o hacker?" (interview), by Fabio Cavallucci, Flash Art (Feb)
2006 • "The power of fake", by Bruce Sterling, Modern Painters (Apr)
• "Zero incassi al botteghino!", Flash Art (Apr)
• "The Collective Conscious: Who Are These People?", by Holland Cotter, The New York Times (Mar 5)
• "La top 100 dei galleristi", Flash Art (Feb)
• "«Etre soi-même est surfait»" (interview), Libération (Jan 13)
2005 • "Pop Life", by Ben Davis, ARTnet (Dec 16)
• "If It's Too Bad to Be True, It Could Be Disinformation", Artforum (Oct 23)
• "Rhizome ArtBase 101 Opens at The New Museum", Art Daily (Jul 19)
• "2005: Rhizome ArtBase 101", Haaretz (Jul 6)
• "The Armchair Gallery: Online Art Gets Physical", Art Info (Jun 28)
• "Web Works That Insist On Your Full Attention", The New York Times (Jun 28)
• "Digital Monsters, Binary Aliens – Computer Viruses, Capitalism and the Flow of Information",by Jussi Parikka, Fibreculture (Apr)
2004 • "Exhibit Features Viruses as Art", Wired (Aug 27)
• "'Rebel:Art', altercréatif", Libération (May 7)
• "I territori incerti della Quadriennale", il Manifesto (Mar 11)
• "Suck my Code", by Marco Deseriis, Flash Art (Feb)
• "Mundo ©: la tiranía de la marca", LaVanguardia (Jan 28)
2003 • "Provocazione multinazionale", by Massimiliano Fuksas, L'espresso (Dec 11)
• "Ausverkauf!", ÖH (Nov)
• "Nachdenken über Freiräume", Der Standard (Nov 26)
• "Becoming Nike? The Fake Behind the Swoosh", by Vera Tollmann, Springerin (Oct)
• "Contaminated Enclaves", by Timothy Druckrey, Springerin (Oct)
• "Une place rebaptisée Nikeplatz à Vienne?", Le Courrier (Oct 31)
• "Eine Geisel im Namen der Freiheit der Kunst", Der Standard (Oct 28)
• "Valzer viennese per Nike", by Marco Deseriis, D - La Repubblica delle Donne (Oct 27)
• "La nique à Nike en Autriche", Libération (Oct 24)
• "...und es hat 'Swoosh' gemacht", Süddeutschen Zeitung (Oct 13)
• "Nikeground (formerly Karlsplatz)", Orf (Oct 11)
• "An Nike z. Hd. Gen. Firmengründer Phil Knight", Der Standard (Oct 11)
• "Fälschung ist Kunst", Der Standard (Oct 11)
• "'Nike-Platz'-Rätsel offiziell gelüftet", Der Standard (Oct 10)
• "Nike-Platz statt Karlsplatz", Der Standard (Oct 7)
• "Der Turnschuh will den Platz nicht kaufen", Der Standard (Oct 7)
• "Verwirrung um Karlsplatz-Umbenennung", Orf (Oct 6)
• "Karlsplatz wird Nike-Platz: "Ein Scherz", Der Standard (Oct 6)
• "Der Turnschuh will den Platz nicht kaufen", Der Standard (Oct 6)
• "Nike-Platz statt Karlsplatz: Aufregung um Homepage", Der Standard (Oct 6)
2002 • "Quel virus è un capolavoro" (interview), L'espresso (Oct 14)
• "The World in One's Pocket?", Springerin (Oct)
• "The Dream of Transparency", by Steve Dietz, Leonardo (Sep)
• "New Media and Old: The Limits of Continuity", The Electronic Book Review (Aug 20)
• "Die Renaissance der Virtual Reality im Computerspiel", Frankfurter Rundschau (Aug 6)
• "Human, all too Posthuman? Net Art and its Critics", by Josephine Berry, Tate (Jul)
• "El festival Sónar", El Pais (Jun 13)
• "I love you. Computer. Viren. Hacker. Kultur", CNN (Jun 5)
• "Käfer-Kunst", Sonntagszeitung (Jun 2)
• "Hacker e information warfare", Internet News (Jun)
• "Crashing PC's in Frankfurt", The New York Times (May 30)
• "Virenkultur", Spiegel (May 23)
• "The Beauty and Grace of a Worm", Wired (May 22)
• "Drawing (and Doodling) With Countryside as Canvas", The New York Times (Apr 1)
• "2001 en el mundo", El Pais (Feb)
2001 • "Driven by a Higher Calling, Not Dot-Com Dollars", by Matthew Mirapaul, The New York Times (Dec 24)
• "El colectivo 01.ORG 'piratea' el sitio del Web Art Festival de Corea", El Pais (Dec 20)
• "Repeat and win", Mute Magazine (Dec)
• "Culture de virus", Libération (Nov 16)
• "Mysteriöse Korrespondenzen", Telepolis (Sep 28)
• "El colectivo No-Such presenta un maratón creativo en la red", El Pais (Aug 16)
• "A hidden collection of Net Art at the Venice Biennale", The Wire (Aug)
• "Un virus qui vaut de l'or", Libération (Jul 9)
• "The Return of The Media Hype" (interview), by Cornelia Sollfrank, Telepolis (Jul 7)
• "Selección de pabellones nacionales", El Periodico del Arte (Jul)
• "0100101110101101.ORG and Vuk Cosic" (interview), Tema Celeste (Jul)
• "Want to See Some Really Sick Art?", by Reena Jana, Wired (Jun 27)
• "Un virus contamina la Biennale", by Marco Deseriis, RAI (Jun 22)
• "Web Mistress", la Stampa (Jun 22)
• "Venecia y Valencia exhiben virus como una forma de arte", El Pais (Jun 21)
• "Biennale.py", Domus (Jun 8)
• "Ein Computervirus als Kunstwerk", Telepolis (Jun 8)
• "Leben ist Software", Telepolis (Jun 6)
• "Un virus contagia la Biennale", l'Espresso (Jun 6)
• "Scambiando 0 con 1", RAI (May 31)
• "Digitales Selbstportrait", Telepolis (May 20)
• "Observations about the Takeover: 0100101110101101.ORG", by Timothy Druckrey, Ars Electronica (May 16)
• "Life Sharing: La condivisione della vita", RAI (May 8)
• "Bildnis des Künstlers als Festplatte", Berliner Zeitung (May 3)
• "Art class", USA Today (Apr 19)
• "Artists Share Their Files and Lives on the Web", by Matthew Mirapaul, The New York Times (Apr 16)
• "Zero Uno, libera arte in Rete", Il Sole 24 Ore (Jan 21)
2000 • "Una competición de mensajes denuncia un caso de censura", El Pais (Nov 16)
• "La Net art prende forma", Il Sole24Ore (Oct 1)
• "Life imitates art and art imitates itself" (interview), by Uri Pasovsky, Haaretz (Sep 19)
• "'Rhizome', arte in banca dati", Il Sole24Ore (Aug 20)
• "0100101110101101.ORG: They're Not Just Mean" (interview), Britannica (Jul 21)
• "The Death and Death of Darko Maver", by Ada Veen, Mute Magazine (May 10)
• "Arte.Red", El Pais (May)
• "In Anti-Copyright Paradise", ORF (Mar 20)
• "Luther Blissett - Io, Il 'Multidividuo'", by Manuela Gandini, Il Sole 24 Ore (Mar 12)
• "Darko Maver non esiste", Tema Celeste (Mar)
• "Entrepreneurs snatch Web addresses using the Vatican name", London Evening Standard (Jan 21)
• "Libre comme l'art", Libération (Jan 21)
• "Beliebtes Spielchen 'Netzkunstraub'", ORF (Jan 21)
• "La página «web» del Vaticano, plagiada", El Mundo (Jan 10)
• "The Latest in Digital Art: Stunts and Pranks", The New York Times (Jan 6)
1999 • "No Artists, just Spectators" (interview), Telepolis (Dec 9)
• "net.art Year in Review: State of net.art 99", by Alex Galloway, Switch (Dec)
• "The World, How Stubborn It Is!", Frankfurter Allgemeine Zeitung (Nov 5)
• "Italian vandals", Le Monde (Oct 15)
• "Netzkünstler ohne Netz", Berliner Zeitung (Sep 15)
• "Exquisite Source", The Atlantic (Aug 8)
• "An Attack on the Commercialization of Web Art", by Matthew Mirapaul, The New York Times (Jul 8)