Choose Your Muse is a series of interviews where Marc Garrett asks emerging and established artists, curators, techies, hacktivists, activists and theorists; practising across the fields of art, technology and social change, how and what has inspired them, personally, artistically and culturally.
Annie Abrahams was born in the Netherlands to a farming family in a rural village in the Netherlands. In 1978 she received a doctorate in biology and her observations on monkeys inspired her curiosity about human interactions. After leaving an academic post she trained as an artist and moved to France in 1987, where she became interested in using computers to construct and document her painting installations. She has been experimenting with networked performance and making art for the Internet since the mid 1990s. Her works have been exhibited and performed internationally at institutions such as the National Museum of Modern Art in Tokyo, New Langton Arts in San Francisco, Centre Pompidou in France, Academy of Fine Arts in Helsinki and many other venues.
Through the years we have got to know Annie Abrahams via various online, networked artistic collaborations. In 2010, she had a her first one woman show If not you not me in the UK at Furtherfield’s earlier gallery space, the HTTP Gallery. Since then, she has shown at another mixed show at Furtherfield’s current space in Finsbury Park, London. This exhibition, Being Social included other artsists such as Karen Blissett, Ele Carpenter, Emilie Giles, moddr_ , Liz Sterry, and Thomson and Craighead.
She is known worldwide for her net art and collective writing experiments and is internationally regarded as a pioneer of networked performance art. She creates situations that reveal messy and sloppy sides of human behaviour; capturing real-time moments to illucidate a reality and opening it up, making it available for thought. In an interview with Bomb Magazine in 2014 Abrahams said “My first online performance was my first HTML page. Even then I considered the Internet to be a public space, and everything that I did in that public space asked for a reaction.” 
Marc Garrett: Could you tell us who has inspired you the most in your work and why?
Annie Abrahams: Life itself, the people I meet. Until now my basic needs in life have hardly been threatened and so the only real problems I encountered were relational problems. Who are you? Why are you different from me? What does it mean to respect you? Is opposing you necessary? And if so, how can I do that?
MG: How have they influenced your own practice and could you share with us some examples?
AA: My practice was always based on the difficulty of having to live in a world where I don’t understand anything. Every person I meet opens up another view on this impossibility. Sometimes I write short posts about my encounters. Lately I did one on Shirley Clarke and one on Ed Atkins’ No-one is more “Work” than me. aabrahams.wordpress.com
MG: How different is your work from your influences and what are the reasons for this?
AA: My work is made from these influences. In the beginning I thought this was not ok, because I was educated with the idea that you have to be “unique” and make unique artworks. But now I am proud of my sensibility for what others say and do and the way I work with that.
MG: Describe a real-life situation that inspired you and then describe a current idea or art work that has inspired you?
AA: Last summer I made a book called from estanger to e-stranger. Ruth Catlow described it as “all-at-once instruction manual, poetry and a series of vignettes of contemporary encounters in language-less places”. There you can find ideas and art works that inspire me, but in general I am not driven by inspiration, my acts are driven by irritation, my art by incomprehension. Art works sooth, make things bearable and sometimes incite to look beyond habits. Btw I am still continuing my research on how language shapes culture, society and me. http://e-stranger.tumblr.com/
MG: What’s the best piece of advice you can give to anyone thinking of starting up in the fields of art, technology and social change?
AA: Stay close to your own concerns, to things you can have a concrete influence on, observe the results of your actions, pay attention, adapt, and always smile to your neighbour in the morning.
MG: Could you recommend any reading materials or exhibitions past or present that you think would be great for readers to view, and if so why?
AA: For years now every now and then I’ve come back to Darren O’Donnell’s book “Social Acupuncture” and always again I say to myself, “yes, you can think and act art and politics together. Please have a look at the Mammalian Diving Reflex group’s (he is their artistic director) methods. http://mammalian.ca/method/