[6] From 1995 to 1996, he was a scientific consultant for culture and technology for the Council of Europe in Strasbourg and subsequently in 1996, was assigned co-founder of Unstable Thoughts in Kyiv, Ukraine.

From 1999 to 2001, he developed the Virtual Set Project at ZKM,[8] and since 2002, he has been involved in establishing the first New Media Department at Chiang Mai University in Northern Thailand.

Bielicky tried to reinvent his artistic practice along major technical cornerstones, starting with Stop Motion, via U-Matic, Time base correction with DOC (Drop-out compensator) to GPS, the Internet, and real-time data and provoked and documented the aesthetic errors of the specter in the machine, in parallel and in contradiction to the ongoing technical refinement process of the media industry.

Works like Four Seasons[15] (1984), Circulus Vicious (1985), and Paik-Hat (1986) are disturbing linear narrative traditions through cutting techniques and stop motion alone, whereas Perpetuum Mobile[14][16] (1986), Next Year in Jerusalem[17][18] (1988) and Golem is Alive[19][20] (1989) introduce digital editing techniques to create videos, that appear to be haunted by the specters of early East European media culture.

Calling it a tele-performance in 1995, Bielicky and al. - equipped with a Jeep stacked with what was high-end technology in 1995 - set out to track the Exodus route in the Negev desert, collecting GPS data and storing it on one of the first websites as they go.

Since 2005 - in cooperation with Kamila B. Richter - Bielicky develops web-based, often interactive projects, controlled by real-time data fed from the Internet.

Adding the wave-animations of Columbus 2.0 and its interactive approach, the Garden of Error and Decay series engulfs the exhibition visitor in an information environment occupied by skeletons, warlords, and explosions, with the option to stop ("shoot") a pictogram with the joystick mounted in front of the projection: a desperate attempt to lessen its impact on the world of information (it is displayed smaller if successfully hit).

This meta-information feed is that of the NY stock exchange and influences the dimensions the messages and pictograms are displayed in a far greater way, to a point where the interaction of the visitor does not count at all.

Appropriately called Lost Objects[35] the Opera was displayed at the National Theatre Prague.Recently Michael Bielicky and Kamila B. Richter increasingly follow invitations to provide solo exhibitions and bring their series together in multitudes of walls and spaces.

Stemming from the Lost Objects experience in the Opera House, all four series are brought together in a self-similar, compartmentalized, endless, dense, and visitor-controlled manner.

In addition to his AVU position, he works closely with the Goethe Institute Prague and – beginning in the early 1990s - organizes several symposia in honor of the famous, also Prague-born philosopher and photography theoretician Vilém Flusser.

From 1999 to 2000 Bielicky establishes a research program on interactive 360° environment prototypes at the ZKM Centre for Art and Media in Karlsruhe, as well as - from 1999 to 2001 - the Virtual Set Project, which builds on the former.

Bielicky's first exhibition was held in 1988 at the Cité internationale des arts in Paris, in the grand glass front gallery reserved for scholars on the second floor.

The first major retrospective of his works in collaboration with Kamila B. Richter was held at the Centro de Arte Contemporáneo Wifredo Lam in Havana, Cuba.