InterAccess is a Canadian artist-run centre and electronic media production facility in Toronto. Founded in 1982 as Toronto Community Videotex, InterAccess is Ontario's only exhibition space devoted exclusively to technological media arts. The Centre for Contemporary Canadian Art places the founding of InterAccess as a key moment in both the history of Canadian electronic art but also within a timeline of developments in international art, science, technology and culture.
In 1983, InterAccess was incorporated as a not-for-profit, artist-run access centre, under the name Toronto Community Videotex (TCV). It provided artists access to the Telidon system, a precursor of the World Wide Web. The early conception of electronic art placed the organization within the production cooperative system in Canada. TCV's members created artworks which fell within the more systems-based notions of art production, rather than the beaux-arts aesthetic of the museum., The name change to InterAccess in 1987 reflected a new focus on Macintosh graphics, multimedia production and a dial-up artists’ network (much like a Bulletin Board System, or BBS) known as Matrix.
InterAccess moved to a larger facility in 1995 allowing InterAccess to offer a gallery and production space that expanded its activities beyond simply access to multimedia production. The exhibitions began to emphasize the finished production and there was a particular focus on establishing an international presence for the centre. The exhibition Pandoras Box, a collaboration between InterAccess and Fylkingen New Music and Intermedia Art in Stockholm, Sweden in 2000, was billed as "the first international interactive encounter with art using remotely controlled robots."
In 2005, InterAccess moved to a renovated two-floor, three thousand square feet stand-alone building, allowing for more production space, a surround sound studio and a machine shop for constructing large-scale physical computing projects and installation.
The exhibition This must be the place: Vera Frenkel, David Rokeby, Nell Tenhaaf and Norman White was a reconsideration of the centre and as well the place of electronic art within art history. The four featured artists are pioneers in electronic and interactive art and have a history with InterAccess as both members and exhibitors.
- Centre for Contemporary Canadian Art "Timeline of Digital Art"
- Shaw, "Cultural Democracy and Institutional Difference", p. 31
- Dowler, "Interstitial Aesthetics and the Politics of Video at the Canada Council", pp. 35-6
- Hough, "Beyond the Gallery (Electronic Mail Art)", p. 15
- Mann, "The Matrix Artists' Network: An Electronic Community", pp. 230-31
- Bull, "Radio Art in a Gallery?", p. 162
- Herst, "The Disembodied Eye", p. 122
- Schilling, This must be the place, p. 7
- Schilling, This must be the place, p. 8
- http://www.interaccess.org/exhibitions/index.php?id=55 The Networked City
- Bull, Hank. "Radio Art in a Gallery?" TDR Vol. 37, No. 1 (Spring, 1993): 161-166.
- Dick, Terence. "Controller: Artists Crack the Game Code." Border Crossings 25 No. 2 (June 2006): 113-14.
- Dowler, Kevin. "Interstitial Aesthetics and the Politics of Video at the Canada Council." 'Mirror Machine: Video and Identity. Janine Marchessault, ed. Toronto: YYZ Books, 1995. 35-50. ISBN 0-920397-13-1
- Herst, Beth. Pandora's Box. PAJ: A Journal of Performance and Art Vol. 24, No. 1, Intelligent Stages: Digital Art and Performance (Jan. 2002): 122-126.
- Hough, Robert. "Beyond the Gallery (Electronic Mail Art)." This Magazine Vol. 27, Iss. 4 (Nov. 1993): 15.
- Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." Leonardo Vol. 24, No. 2, Connectivity: Art and Interactive Telecommunications (1991): 230-231.
- Schilling, Mark. "This must be the place: Vera Frenkel, David Rokeby, Nell Tenhaaf and Norman White." para-para- 022: Parachute Magazine No. 122 (April 2006), 7-8.
- Shaw, Nancy. "Cultural Democracy and Institutionalized Difference: Intermedia, Metro Media." Mirror Machine: Video and Identity. Janine Marchessault, ed. Toronto: YYZ Books, 1995. 26-34. ISBN 0-920397-13-1