Antoinette LaFarge has a particular interest in constructed realities, including computer-mediated performance, net-based improvisation, online role-playing games, avatar performance, playable media, nonlinear narrative, and fictive art. Recent new media performance and installation projects include Galileo in America (2012), Hangmen Also Die (2010), WISP (World-Integrated Social Proxy) (2009-10), World of World (2009), Chronovacuum (2009), Playing the Rapture (2008-09), Demotic (2004/2006), The Roman Forum Project (2003), and Reading Frankenstein (2003). She has co-curated two groundbreaking exhibitions on computer games and art: SHIFT-CTRL: Computers, Games, and Art (2000) and ALT+CTRL: A Festival of Independent and Alternative Games (2003), the latter supported by an NEA grant.
In the mid 1990s, she founded the Plaintext Players, a pioneering internet performance troupe that appeared at numerous international venues, including the 1997 Venice Biennale and documenta X. She is also the founder and director of the Museum of Forgery, a virtual institution dedicated to opening up the cultural dialogue around forgery and related practices such as appropriation.
She is associate editor of the anthology Searching for Sebald (ICI Press, 2007). Other recent publications include “Impersonation as Improvisation” in the Oxford Handbook of Critical Improvisation Studies (2013), "Eisbergfreistadt: The Fictive and the Sublime" (Visual Communication Quarterly, 2009), "A Meditation on Virtual Kinesthesia" (Extensions, 2007), "Media Commedia" (Leonardo, 2005), "25 Propositions on the Art of Networlds" (Anthology of Art, 2002), and "Marcel Duchamp and the Museum of Forgery" (Tout-Fait, 2002). She writes for the techno-feminist blog Difference Engines and has started her own blog, art is all we have.
LaFarge is a longtime Associate of the Institute of Cultural Inquiry, a Los Angeles–based nonprofit that explores the visual methods used to document, categorize, expose, and conceal the events that define contemporary culture. Her involvement with the ICI includes co-organizing exhibitions, design and production of several books combining scholarship with art, and work on multi-year projects such as The AIDS Chronicles. In 2011, she produced the research project and exhibition Evidence of Evidence at the ICI.
Revised: July 2013