June 2004

Supported by National Endowment for the Arts

Intervals explores a series of characters whose investigation of self and identity unfold and elide through a sequence of cinematic interludes. At once seductive and illusive, these portraits expose their most intimate selves through accounts of lost innocence, fear of the unknown, masculine ritual and the mystery of love. Horvath’s innovative use of pop-up windows creates a virtual collage that posits identity as a series of random ‘memory acts’ that accumulate into a slowly revealing narrative.


Quicktime Player, sound on, and high bandwidth. Currently works best in Safari.


Mrs. Brown, I presume?
by Nathaniel Stern
Net Art News,

In her 1924 paper, ‘Mr Bennet and Mrs Brown,’ Virginia Woolf proclaimed that in order for a novel to be interesting, it must express its characters. It must stray from the British, ‘clumsy, verbose and undramatic’ form that had evolved up until the turn of the century. Fiction, she argued, had shifted from thematic to formal. I believe that Woolf’s mantras are beautifully, but subtly, embodied in Peter Horvath’s latest work, Intervals, commissioned by The network is used as a portal into this piece, where there’s no questioning his unique and provocative use of the browser as a cinematic tool for character-based vignettes. Windows as prosceniums, curtains and keyholes paint pictures of uncanny personalities, asking us to re-member alongside a narrative that may or may not be at the tip of our own tongues.

Peter Horvath Retrospective | RAIQ

Peter Horvath- Medium cool | Visual Arts | Creative Loafing Atlanta

Review – SIGGRAPH – Intelligent Agent


Transient Passages: The Work of Peter Horvath by Celina Jeffrey, “Transdisciplinary Digital Art. Sound, Vision and the New Screen,” Digital Art Weeks and Interactive Futures 2006/2007, Zurich, Switzerland and Victoria, BC, Canada. Selected Papers


Peter Horvath produces non-interactive, cinematic Internet art works which explore conditions of agency, mobility, and continuous flow, traversing and arguably collapsing notions of the micro and macro, near and far. The idea that this sense of movement is random is deemed important here and coalesces I argue, with the Situationist International (SI) concept of the dérive, ‘a technique of transient passage through varied ambiences’ and an idea closely associated with pyschogeographies. Implied within this process is a ‘drift’ which mediates social, creative and conceptual boundaries between the specific locality of the user, the presence of urban markers within the works and the mapless topography of the medium itself.

Transient Passages 1