Where We Are
Gallery
Metatopia
Delirium ex Machina
Metatopia is a gallery that, since 2021, has been investigating digital materialities and the hybridizations of cyberculture in architecture, urbanism, spatial arts, and every form of aesthetic and technological manifestation emerging from the convergence between space, image, and information.
In 2025, Metatopia reaches its third edition, in collaboration with The Wrong Biennale, one of the world’s largest international digital art biennials. This edition is titled “Delirium ex Machina”, conceived as a form of creation that breaks with the oracular and deterministic logic of contemporary artificial intelligences.
Delirium ex Machina derives from the expression Deus ex Machina, meaning “God arisen from the machine,” a classical reference to solutions that emerge ex nihilo, from nothing. The exhibition seeks to reframe this notion, suggesting that it is now the machine itself that delires—producing fictions, narratives, and new possible images.
We invite artists, architects, scientists, and writers to explore this machinic delirium as a poetic and critical force, investigating the fictions generated by artificial intelligences and their reverberations at the borders between the human and the non-human.
Metatopia is an exhibition produced and hosted by Aisthesis Lab, founded by Luciana de Paula Santos, architect, artist, curator and PhD candidate.
Artists
Collection
Alexandra Bouge | France
SETINME | 2020
In my films I show the voodoo, the energy of the universe.
FISH FARMING | 2020
I worked on human-made violence against the animals, plants and the environment.
FIRE CEREMONY | 2020
In my films I show the voodoo, the energy of the universe.
PROCESSION | 2021
In my films I show the voodoo, the energy of the universe.
ARTIST BIO
I’m a filmmaker, poet and visual artist. In 2022, I have been selected to the Women’s International Film Festival Nigeria WIFFEN, and got the Honorable Mention for my film « Modern Agriculture », and to the Rotary Short Film Festival, Rofife in Turkey. In 2021 I have been selected to the 34th edition of « Instants Vidéo Numériques et Poétiques, » Friche la Belle de Mai, Marseille, to the 4th Multicultural Film Festival, Toronto, to the Athens Digital Arts Festival / Hybrid Edition, to the International Short Film Festival DETMOLD, Germany, to the International Ecological Film Festival TO SAVE AND PRESERVE, Russia, to the International Short Film Festival Oberhausen, to the Dog Film festival.
ARTIST WEBSITE http://alexandrabouge.tumblr.com/
Alex Manea | Bucharest, Romania
48 Disney Movies | 2023 | Alex Manea | Bucharest, Romania
48 Disney Movies is a time-based video installation that simultaneously projects forty-eight Disney animated films, merging their images and sound into a single, dense audiovisual system. Stripped of linear narrative and authorial control, the films collapse into a state of continuous hallucination, where familiar characters, emotions, and moral structures dissolve into pure affect. Rather than functioning as an archive, the installation operates as a machinic process. Disney here becomes an emotional engine, an early cultural algorithm designed to produce intimacy, empathy, and collective memory at industrial scale. When overloaded, this system ceases to communicate clearly and instead begins to deliriously generate new meanings through excess, repetition, and interference. Narrative coherence breaks down, giving way to a non-human logic of image production. The machine no longer illustrates stories; it fabricates sensations. In this state of machinic delirium, emotion feels authentic despite being mechanically reproduced. The work aligns with Delirium ex Machina by exposing how machines, long before artificial intelligence, have already learned to hallucinate emotions, constructing convincing emotional realities that persist beyond intention, authorship, or control.
ARTIST BIO I am a contemporary visual artist from Bucharest, Romania. My practice explores the complexities of identity, communication, and the paradoxes of modern existence through a mix of painting, mixed media, drawing, photography and video. Over the past five years, I’ve exhibited in major museums and galleries in Romania and abroad, including solo shows in both public and private institutions. My projects often blend intellectual inquiry with raw emotional language, reflecting on how we perceive, interpret, and connect in an age defined by contradiction. I approach each work as both a question and an experiment, an attempt to capture the shifting balance between logic and emotion, control and vulnerability.
ARTIST WEBSITE alexmaneaart.com
Alexander Limarev | Sibéria | Rússia
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Salut to Joseph Beuys | 2014
20 parallel Beuyses; figurative and abstract
ARTIST BIO
Alexander Limarev, freelance artist, mail art artist, curator, coordinator of children's art projects, visual poet, photographer from Siberia / Russia. Participated in more than 1000 international projects and exhibitions. His artworks are part of private and museum collections of 72 countries.
ARTIST WEBSITE:
http://parallels2000.blogspot.com/2014/10/alexander-limarev-1964.html
Amal Alshoura | United Arab Emirates
Folie | 2025
A visual study that transforms editorial photography into horror, where each character embodies a distinct form of madness, reflecting their inner psychological states.
ARTIST BIO
Amal Alshoura is a 21-year-old Multimedia Design graduate from the American University of Sharjah, with a strong foundation in filmmaking and animation. Her experience spans film directing, production, editing, screenwriting, art direction, sound design, and animation, allowing her to take on projects with a multidisciplinary lens. Amal’s work often explores themes of human behavior and cultural identity, reflecting her interest in societal issues through compelling narratives and visual subtext. Passionate about using film as a tool for reflection and dialogue, she continues to grow her voice as a filmmaker and creative producer, aiming to craft stories that resonate deeply with audiences.
ARTIST WEBSITE
Andreas Koens | São Paulo | Brasil
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Untitled | 2022
Walking in circles is possibly one of the most reprehensible acts of worry. Like when, in a film, characters in despair, lost in a forest, realize they are trapped there in their lack of sense, while a camera, fixed at some specific point, records, again and again, their return and frustration.
In the images, two movements are scrambled by the machine's confused learning: in the first, getting lost in a landscape we look at but don't see; in the second, the tracing of straight paths, made of crooked lines.
"I've Been Here Before" reflects on a return to the place of worry, a kind of ubiquitous starting point, like a ghost of futures we don't yet have, possibly won't even exist, but that we could never lose.
Untitled (Unnatural World) | 2021
giclée print on matte cotton paper, digital image produced by large scale print screen
unique piece
100 x 80 cm (39.4 x 31.5 in)
The construction of the world
Nelson Goodman in his book Ways of Worldmaking, argues that the creation of new worlds takes place in the establishment of new perspectives on the same world and its symbols, where all possibilities reside. Thus, in these works, the construction of the landscape of other empty and generic worlds serves as an allegorical device for aesthetic tensioning and the construction of narratives and mental experiments.
Denatured Gaia
It is common in Brazil to hear the term “denatured mother”, usually as a charge to women about maintaining a traditional posture dictated by patriarchal values. Outside of this context, the idea of 'unnatural' sounds strange: there is no room for the unnatural, atypical, and so we do not refer to it. Another more specific use of the word, to denaturalize, can also be related to the renunciation or loss of the rights of a citizen of a country. The expropriation of the unnatural (in custom and individual possibility) seems to be a recurring theme in technology and its naturalized functional models: the mandatory and compulsive acceptance of the ToS (terms of service), whose penalties are expulsion and cancellation. The terms of social media do not refer here exclusively, but also all types of “employment” mediated by current technologies. The predatory extractivism of human existence is closely linked to that of nature: who is the individual in bigdata, or what is the importance of a single rosewood in the forest? The trees are us, in the best sense. From this, the relationship is created: the denatured gaia is, little by little, being purged of the small points that architect her existence. The small vectors {x: float, y: float, z: float}, which resemble our digital bodies, are exhausted, being deleted, joined and sculpted, until only the suggestion of a landscape is left.
Computational image as painting
Considering these works as paintings is like planning in advance a great conceptual return: the image as we know it develops in pictorial practices, and by remembering the most primordial concepts of their materiality and plasticity we can evoke painting. It is about the confluence of media, rather than the denial of any specific one. For the works in this series, it is interesting to explore its materiality. The production of images is related to extractivism: the algorithms that generate the clouds of points made in the image of natural formations are of great energy and physical consumption, using large amounts of electrical energy and memory allocated in the physical part of the computer, in addition to the computer itself. processing work. Like someone filling a bucket of water, a “bucket” is needed for the information, which is saved as sequences of transistors on and off. The creation process here is close to the criticized cryptocurrency mining process; generates heat, noise and information, which can be captured and modeled. The dimension of the images, quite high in some, is also important because, as they are captured from the screen instead of being rendered, it has a direct correspondence with the physical size of the screens used in the studio. Another conceptual correspondence to painting is the pigment: the work is digital, but its finalization (to exhibit, sell, etc.) is printed on paper. The pigments used in gliclée fine art printing are mineral, similar to those used in the production of acrylic and oil paints; extracted from nature. The paper is made of cotton, another common support in the pictorial image. Thus, by evoking the relationship between digital and pictorial images, I wish to reaffirm the theoretical and philosophical implications of the fact: the digital is the natural, refined.
ARTIST BIO
Andreas Koens | São Paulo, Brasil, Koens considers himself a painter, although his works represent a conceptual return to practice through computational imagery, artificial intelligence, and robotics, where, despite their digital construction, he formalizes works conceived for the physicality of bodies and spaces. He is currently pursuing a master's degree in Visual Arts at the UNESP Institute of Arts under the guidance of Sérgio Romagnolo, where he investigates tensions regarding the sensibilities that subjectify current technological devices, uniting computational complexity with traditional practices. From 2020 to 2023, he was part of GAIA (Art and Artificial Intelligence Group FAUUSP/Inova USP), where he was involved in the organization and production of the Demonumenta project (2021).
ARTIST WEBSITE https://koens.com.br
Andrew Reach | Cleveland | Ohio | Eua
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You Are Here | 2021
ASTERISCUS III | 2021
uv cured inkjet on cnc cut acrylic mounted to composite aluminum
ASTERISCUS III is an exploration of geometric abstraction utilizing symbols, in this piece a specific asterisk from the Unicode Standard. The asterisk symbol has ancient roots, utilized throughout history by different cultures for different purposes. It has become a universal symbol, incorporated into the fabric of technology through the Unicode Standard. Into this form, I’m weaving color and bold black and whites to optically energize the multi-layered composition. The symbol used in ASTERISCUS I is the Unicode Standard designated as U+1F7BA, the designation given to the symbol given the name “Extremely Heavy Six Spoked Asterisk”. The Unicode Standard designates all symbols, giving them coding data that can be uniformly used in technology internationally. U+1F7BA is distinguished from other asterisks in the Unicode Standard by the thickness of its spokes versus more delicate asterisks in the code. Transforming this symbol from something of use in computer code, language, telecommunications and mathematics into the realm of geometric object is an expression of technology transformed to an aesthetic that speaks to our technological times.
ASTERISCUS I
in digital space | 2021 | uv cured inkjet on cnc cut acrylic mounted to composite aluminum
ASTERISCUS I is an exploration of geometric abstraction utilizing symbols, in this piece a specific asterisk from the Unicode Standard. The asterisk symbol has ancient roots, utilized throughout history by different cultures for different purposes. It has become a universal symbol, incorporated into the fabric of technology through the Unicode Standard. Into this form, I’m weaving color and bold black and whites to optically energize the multi-layered composition. The symbol used in ASTERISCUS I is the Unicode Standard designated as U+1F7BA, the designation given to the symbol given the name “Extremely Heavy Six Spoked Asterisk”. The Unicode Standard designates all symbols, giving them coding data that can be uniformly used in technology internationally. U+1F7BA is distinguished from other asterisks in the Unicode Standard by the thickness of its spokes versus more delicate asterisks in the code. Transforming this symbol from something of use in computer code, language, telecommunications and mathematics into the realm of geometric object is an expression of technology transformed to an aesthetic that speaks to our technological times.
ASTERISCUS I | 2021
uv cured inkjet on cnc cut acrylic mounted to composite aluminum
ASTERISCUS I is an exploration of geometric abstraction utilizing symbols, in this piece a specific asterisk from the Unicode Standard. The asterisk symbol has ancient roots, utilized throughout history by different cultures for different purposes. It has become a universal symbol, incorporated into the fabric of technology through the Unicode Standard. Into this form, I’m weaving color and bold black and whites to optically energize the multi-layered composition. The symbol used in ASTERISCUS I is the Unicode Standard designated as U+1F7BA, the designation given to the symbol given the name “Extremely Heavy Six Spoked Asterisk”. The Unicode Standard designates all symbols, giving them coding data that can be uniformly used in technology internationally. U+1F7BA is distinguished from other asterisks in the Unicode Standard by the thickness of its spokes versus more delicate asterisks in the code. Transforming this symbol from something of use in computer code, language, telecommunications and mathematics into the realm of geometric object is an expression of technology transformed to an aesthetic that speaks to our technological times.
#43Hashtags | 2021
uv cured inkjet print on cnc cut acrylic mounted to composite aluminum.
Individually, we have in our possession the most powerful technology humankind has ever seen, the smartphone. Historically, we live in our homes, work in offices and go places for recreation and to interact with family and friends. Being in these physical locations gives us a sense of place, of history. But more and more we find ourselves not so much in a physical location interacting with the world in real time, but in a virtual place, with our phones navigating our psyches. And social media has overwhelmingly become the facilitator of this new journey we are collectively traveling in. In its path, language is being reduced, with symbols replacing words and abbreviations replacing sentences. The hash symbol has become the symbol most representing the zeitgeist in this new terrain. When we publish a hashtag, were attaching metadata that links us to the world. We become searchable. We can be found. The work #43hashtags, as the name says, has 43 hash symbols. Each one is different representing diversity; that behind each hashtag is a person. The number 43 came about when trying to create a cloud like shape and 43 was just the amount needed to accomplish it. This reference to the mysterious place where the data is, the CLOUD, is metaphor for YOU ARE HERE, a place where our virtual selves reside. Where our data is, we are.
ARTIST BIO
Andrew Reach is an abstract artist working in the realm of digital media. A successful 20 year career as an architect ended when a spine disease left him disabled and unable to continue practicing. His last building as project architect with HOK Architects was the Frost Art Museum in Miami Florida. His reinvention from architect to artist began when he began creating art digitally as art therapy to help him cope with debilitating pain. His work has been exhibited in the United States in solo and group exhibitions including a solo exhibition at the Frost Art Museum. His work is in private, corporate and institutional collections, among them the Frost Art Museum Permanent Collection and the Cleveland Clinic Art Collection
.
ARTIST WEBSITE https://www.andrewreach.com
Anne Herzbluth | Deutschland
Searching For The Place The Eyes Cant't See | 2021
Art’s many different languages all have the same goal: to transform what happens in the moment into something permanent. To create a foundation, a basis, for the order of things. As a kind of answer, which we seldom notice in nature. What I am trying to do is to leave my mark behind. I am here, I fail, I am happy, I am sad. I have fears and am full of hope. I have an idea, I pursue it and that’s why I’m working. Ultimately, I am not interested in things I fully understand. Knowing one has happened upon the right things is more important than understanding them. There are truths that lie beneath the surface of the images, truths that only reveal themselves sporadically, like the Northern Lights in a winter sky. Things we don’t feel, we forget. Through my work I would like to create moments in time in which our imagination overlaps reality. These are the moments in which we are alive.Searching For The Place The Eyes
ARTIST BIO
In my work I am not necessarily concerned with change, but rather with the act of preserving - with the practice of looking beneath the surface to what is inside of things, perhaps even probing into unsolvable mysteries.
ARTIST WEBSITE https://www.anne-herzbluth.de/
Aphex Redditor | Montreal, Canada
Doom Scroll | 2022
Doom Scroll is a single channel video that examines the relationship between the viewer and the continuous stream of banal video content on social media platforms. The video is composed of a seemingly endless number of TikTok videos rapidly "scrolling" from one to the other. The individual videos range from actual appropriated TikToks retrieved from the app to staged TikToks created by the artist in order to mimic popular trends, such as lip syncing to sound clips, acting out romantic scenarios for the audience, and giving advice. These ordinary videos gradually become interspersed with jarring found footage that subverts the conventional trend formats of TikTok. These videos, while alone serve as entertainment, cumulatively become a sensorial cacophony that desensitizes the viewer to the material on display. Doom Scroll, which is presented on a loop, simulates the experience of being physically unable to stop scrolling.
ARTIST BIO
Aphex Redditor is an emerging digital artist based in Montreal. Inspired by the post-internet art movement of the 2010’s, her work explores the ongoing significance of contemporary social media culture. She works predominantly with found images; treating the social landscape of the internet as an endless source of visual and conceptual material.
ARTIST WEBSITE Instagram: @aphex.redditor
Årad Kylsjhu | Brasil
Colecionados de moedas visita deserto de concreto | 2021 | videoart, 3D
The work mixes time travel with the return of memories; transit environments of an almost erased past, or frequent its uncertain future. Coins, a decadent symbol due to the virtualization of monetization and also an element that indicates great social inequality, are taken as an object of search for a fetishistic pleasure.
Authorial work built from 3D modeling, animation and special effects software, as well as video editing and sound production learned in a self-taught way by the artist.
I’ve been wrestling with obsessive thoughts. Help me. Break it. Make me cum | 2021 | animation, videoart, 3
Concept, development 3D e animation by Arad. Soundtrack by LEVI ATÃ
ARTIST BIO
Årad Kylsjhu, also known as @_4.7_4.77777 is a non-binary multimedia artist who blends physical and virtual neosensory experiences while exploring concepts such as the future, speculative design, obsolescence (discard and materials), science, gender and identity through manipulation of image, sound and 3D art. The artist has a postgraduate degree in Digital Technologies Development and also works as a web designer.
ARTIST WEBSITE https://aradkylsjhu.wixsite.com/my-site-5/
INSTAGRAM https://www.instagram.com/_4.7_4.77777
Arnau Tàsies | Barcelona | España
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Hidden Data | 2024
This project explores the error in the AI engine. The workflow consisted of feeding ComfyUI into TouchDesigner and using random noise as guidance for the prompt. With this approach, the engine makes certain assumptions, distancing itself from human intervention. The core idea is to combine procedural, parametric, and generative techniques, releasing as much control as possible; thereby, the random seed of the AI engine and the random noise are both conditions that the human cannot control. This process is inspired by the counterintuitive game theory of Parrondo's paradox, where two losing games combined produce a winning game. The images explore AI hallucination, generating glitched landscapes where human, architectural, and machinic elements are combined, revealing hidden patterns.
ARTIST BIO
Arnau Tàsies (Barcelona, 1982) is an artist and researcher with a Bachelors and Master's in Art and Design who uses technology and new media to explore and investigate the connections between computing, materiality, and art. He combines artistic practice with teaching and research, as well as commercial work for both national and international clients. Tàsies also performs live alongside musical artists, generating real-time visuals; he has performed at venues in Barcelona and Madrid. His line of work focuses on a close relationship with technology and new media. He explores the boundaries of language and communication through software, algorithms, machines, and the interplay between the material and the digital, seeking to create spaces for reflection between technology and thought. Tàsies’ work has been featured in media outlets such as Il Tirreno (Italian print edition), RTVE 4 (radio interview), La Razón (print edition), Magculture, Metal Magazine, Yorokobu, TimeOut (print edition), and other online platforms. His works have been exhibited in Spain, the United States, Italy, Germany, and Hong Kong. He is currently part of the international collective Techspressionism and is represented by Galería Azur in Berlin.
ARTIST WEBSITE https://arnautasies.cargo.site/
Aureum Object | Moscow | Russia
Latent Substrate | 2026 | Moscow, Russia
Latent Substrate is a digital material sculpture that explores form as an emergent condition rather than a predefined structure. The work presents matter in a latent state, where internal density, translucency, and structural tension suggest the presence of a form that is still in the process of becoming. The object appears suspended between formation and dissolution, resisting fixed geometry and stable identity. Through artificial intelligence as a generative environment, the piece investigates how material presence can arise autonomously, without direct sculptural intervention, existing as a self-organizing digital substrate.
ARTIST BIO
Aureum Object is a digital artist working with artificial intelligence as a medium for material exploration. Her practice focuses on creating abstract digital sculptures that investigate internal structure, material instability, and the emergence of form without predefined geometry. Her works examine AI not as a tool, but as a condition where matter itself becomes capable of generating presence, density, and form.
ARTIST WEBSITE https://objkt.com/users/tz1VkWyFjMu26DBsGvtMw7KxpedTChEftLwa
https://x.com/aureumobject
https://www.instagram.com/aureum_object
Bariya | New Delhi, India
Med Dew Dims | 2021
‘Med Dew Dims’, happens to us as a non-cooperative movement towards the scarcities imposed upon by ensuing (mis)managements, a movement to be able to attain a sense of timelessness in our practice through pandemic, overwhelming panic and crisis, and an act of watering the basic instincts of sonic translations and metaturnal nostalgic interactions between poetry and ragas. Here, We prolonged the rue of our previously published literary translations of poems, only to translate them further into audio grains. These audio grains are then overlapped, and intermingled into layers of granular space, whose specificities are decided by the specificities of the mediums. A grain’s division, its velocity, the perception of its pitch, its density, the decision that if it warps or mirrors, were left upon the medium to decide by the attributes of its own, density, specific gravity, temperature, reactivity, viscosity and its willingness to vaporize. We are attempting to understand how the experience of bromine is different from that of mercury, from that of steel, from that of ethane and so on through an aural lens allied with poetry’s presence. The transmission is prescribed nocturnally as it is based upon Indian classical Ragas (like Malkauns, Adana, Kafi) prescribed for the night. Med Dew Dims is composed with the help of 8 opensource Max For Live (standalone in progress) audio devices, where we have tried to find some middle ground within the limitations of our sonic sphere, and come up with associations (utilizing ultra-sonic flow meter readings) of translating the speed of sound in these mediums into the BPM of the audio, the specific gravity into separate ranges of pitch morphing, Kinematic Viscosity into delay (which range from 7 seconds to 7 minutes), a separate delay based on the speed of sound again, and the Velocity change of sound with temperature, into two simple oscillator knobs with built in amplitude synthesis (the ratio of which is based on velocity change) to create a sense of movement. With Metatopia we are also speculating a future of new sensory mediums, where poetry finds resolution with a bare minimum granular presence, and hesitates not interacting with vibrant musical prescriptions.
BIO
Pratyush Pushkar and Riya Raagini aka BaRiya is an emerging Queer Trans-disciplinary Artist duo from New Delhi, India. Navigating disorientedly (poetically) BaRiya assume art as an organ to dissolve-dwell through the remains of marginalized spirituality, create a vocal consensus with nature, meditate all through the gender spectrum, and probe (quantum) compulsions: while acknowledging truthfully the binary and racial barriers questioning intimate spiritual inventions. They have continued to transcendentally spiral to and fro sound art, visual poetry, photography, multi-media translations and philosophy. Recent Works and Exhibitions - OctoDurga -The Stage @ Thyssen Bornemisza Art Contemporary-TBA-21, How to Tread Lightly- Bornemisza National Museum, Madrid, City Museum of Ljubljana, #cop26 As If Radio 2021, Sonic Mukhwas - Festival Sur Aural, Med Dew Dims (Tsonami Arte Sonoro, Radio Tsonami, Radiophrenia 2022 (Centre for Contemporary Arts, Glasgow, The Bauhaus-Universität Weimar-FutureNostalgia.fm 2022), and others.
ARTIST WEBSITE www.bariyastudio.com)
INSTAGRAM @nonlocalbariya
Beatrice Lartigue | France
Invisible Cities | 2020
Les Villes Invisibles is an artistic installation around the theme of memory. More specifically, this piece investigates the notions of emptiness and absence in the shared social space the city represents. This piece is a personal testimony, echoing the work Le Città Invisibili by writer Italo Calvino, published in Turin in 1972. Les Villes Invisibles portrays the Cathedral of Notre-Dame de Paris, built in the 12th century. With a surface area of 6,000 m2 and a height of 70m, the monument designated as a UNESCO World Heritage Site, testifies of a genuine technological achievement by the architects of the Middle Ages. On 15 April 2019, a violent fire destroyed the spire and the entire roof protecting the nave, choir and transept of the gothic edifice. As in the eponymous book, Les Villes Invisibles sets out a space where the visitor can "enter, walk around, perhaps get lost, but where, at one time or another, he must find a way out, or even several ways out". "The over-city crisis is the other side of the nature crisis". Italo Calvino Les Villes Invisibles draws on imaginary continents and brings back to the centre of the game, issues raised by techniques like photogrammetry (notably developing in cartography and archeology disciplines) that wonder over man's status in modern cities, as a place of history and desire. Photogrammetry combines a set of techniques used to determine the shape, dimensions and spatial position of an object from a corpus of photographs. This process includes a phase of photographic recording of the perspectives and a phase of rendering, to produce a 3D model. This technique queries our perception of reality, its recording at a given time (before or after a disaster) and its scientific accuracy (the large amount of data required...). Finally, the narrative presented through Les Villes Invisibles confronts this capture of reality with its perception, especially through the time passing by and the bias of our senses (omniscient vision, feeling of ubiquity). The paper drawings fix in time this perception of the site.
ARTIST BIO
Using new media, Béatrice Lartigue creates installations which explore our perceptions of space and sound. These pieces, in which the visitor becomes an actor, provoke a loss of bearings and offer a sensitive interpretation of impalpable phenomena by giving them a materiality, as through light and sound beams in space (Passifolia, 2020), the force of the wind on the landscape (Nebula, 2018), or the unfold of a music score in volume (Portée/, 2014).
ARTIST WEBSITE https://www.instagram.com/beatricelartigue/
Beile | China
Bug Dystopia | 2025
Bug Dystopia (2025) extends the premise of Delirium ex Machina by exploring how machinic delirium, rather than divine intervention, generates new forms of feeling. The video is an AI–human collaboration that stages a cross-species conversation among humans, the ramie moth, and artificial intelligence. “Bug” refers both to the moth and to systemic failure, suggesting that error becomes a site of invention. The moth repeatedly collides with luminous urban structures, misled by its sensory intelligence and trapped in environments shaped by human design. Using AI-generated voice, on-site audio recordings, and 3D scans, the work constructs an alternative navigational field where the moth’s disorientation intersects with the emotional hallucinations of algorithms. Is a synthesized survival signal more artificial than the sound of a moth striking glass? Ultimately, Bug Dystopia invites viewers to consider how empathy circulates when human, nonhuman, and machinic forms of perception collapse into a shared and unfolding delirium in our contemporary moment.
ARTIST BIO Beile Hu is an interdisciplinary artist and researcher of performance, sound, and moving images. Expanding to include the entangled relationships between trees, soil, and architecture within the urban ecology, their aim is to explore the potential of the human body as a sensor that can be transformed through soundscapes and its intimate interactions with non-human entities. Beile is currently finishing up MFA at the School of the Art Institute of Chicago (U.S.) with the Visionary Scholars Award. Previously, she received a BA in International Communication Studies from University of Nottingham (U.K.). They have exhibited and performed internationally, including at the Museum of Contemporary Art Chicago (Chicago, U.S.), Historic Black Mountain College (North Carolina, U.S.), Asian Improv aRts Midwest (Chicago, U.S.), Fried Fruit Art Space (Wilmington, U.S.), Reflejo de Urbe a Pie (Caguas, Puerto Rico), and Ivory Gallery (Shanghai, China).
ARTIST WEBSITE https://beile.site/
Blanche the vidiot (Szabina Péter, Kristóf Bodnár) | Hungary
Saving Lot | 2022 | Hungary
In a video game, we wanted to rethink the theme of the Last Supper and its system of artistic motifs, but in this first phase of the video, the dinner table unexpectedly caught fire. “The eye is on fire, perspective is on fire, vision is on fire, the perception of the eye is on fire, the joyful, suffering and neutral feelings arising depending on the perception of the eye are on fire.”
ARTISTS BIO
Szabina Péter Born in 1987, Ózd, Hungary; audiovisual artist, photographer, aesthete. Recently she is mostly active in the fields of multimedia-, installation-, photo- and video art and electronic music. She has been a member of blanche the vidiot and dj goodbye since 2020.
ARTIST WEBSITE: http://peterszabina.com/
ARTISTS BIO
Kristóf János Bodnár Born in 1984, Nyíregyháza, Hungary; audiovisual artist, sound engineer, philosopher. Currently his chiefly working in the fields of video art and electronic music – mostly by means of analogue and digital sound synthesis. He has been a member of blanche the vidiot and dj goodbye since 2020.
Bob Georgeson | Australia
ARTIST BIO
Bob Georgeson is a digital artist, experimental film maker and sound artist, writer, curator and facilitator. He is host and curator of the anonymous waves Gallery, artist and curator at The Wrong Biennale, founding member of dadaland collective:, artist at SPAMM, Noemata, Homeostasis Lab, Fu:bar Glitch Art Festival, Peripheral Forms, One Minute Artist Films, DATASHOW, Aisthesis Lab and member of the Glitch Artists Collective, Free the Pixels and The Perfect Users. His work deals with the themes of alienation, isolation and loneliness and the impact of new technologies on communications and society. He exhibits and collaborates around the globe from his home in a remote location in south eastern Australia.
ARTIST WEBSITE: https://www.anonymouswaves.org/
BSBLOrk - Orquestra de Laptops de Brasília | Brasil
Retrospectiva em homenagem aos 10 anos da BSBLOrk
Poetic Principles
The aesthetic starting point of BSBLOrk's works, inspired by composers such as H.-J. Koellreutter and Conrado Silva, has been the critical questioning and broadening of horizons of musical languages and techniques, integrated with dance, dramatic, visual and performance arts, seeking to experience truly contemporary creative processes, in the sense of the collaborative construction of a systemic view of the world. , holonomic and fractal. For the orchestra it is not enough to say new things, but to find new ways of saying it, which only poetic language allows from the semiotic opening to the unpredictable of hybrid, interactive and transmedia processes of free improvisation, now also assisted by artificially augmented intelligence. , the notions of complexity, relativity, acausality, ametry, paradox, randomness, complementarity, timelessness, syneresis, multidimensionality, gestalt, non-linearity, entropy, chaos, fractals and holonomy, among others, appear in their dialogical experimental practices.
Integration of BSBLOrk to the dance collective Corpo Baletroacústico
From the beginning, the orchestra was conceived by Eufrasio Prates, a Bachelor of Music and a Doctor of Art, to also work together with the experimental dance group Corpo Baletroacoustico, coordinated by Cínthia Nepomuceno, graduated in Dance from Unicamp, PhD in Art from UnB and dance teacher at the IFB - Instituto Federal de Brasília, in partnership with Prates.
technological resources. BSBLOrk values the use of computational technological resources as a method of expanding the expressive capabilities of music, although it is concerned with keeping them in the same valuable, albeit intermediate, place as any other musical instrument. For this reason, it prioritizes techniques and means that respond well to the organicity of the human body in expressive movement, as performed by the HITS Holofractal Interactive Sound and Image Transduction system, free musical software, open and free code developed by Prates, founder and conductor of orchestra, in his doctorate. Such resources offer unprecedented possibilities of creation and walk in an integrated way with the poetic concepts of a new paradigm, seeking a quantum leap for musical interpretation and aesthetic expression.
In order to transform the computer into a musical instrument of organic expressiveness, BSBLOrk invests in the use of generative algorithmic techniques for translating body movement captured by webcam into fractal sounds, in addition to using amplified hemispheres, which give a focal aura similar to that of an instrument. acoustic
Achievements
From the beginning, the musical collective BSBLOrk has received significant public, media and institutional recognition. So much so that, in its first year of activity, the orchestra received an award in the national competition Coletividea, sponsored by the MinC, for producing a video-documentary of one of its performances with the Corpo Baletroacoustico de Brasília, in addition to obtaining a full-page article in Correio Braziliense. (2012), in Metrópoles (2015 and 2017), to be cited in O Globo and in the Global Ear section of "The Wire" Magazine (UK, Jan/2019), the largest music magazine in the world (with more than 1 million of subscribers), among other communication vehicles. Over the almost 10 years of its existence, this recognition also appears in the invitation to participate in dozens of artistic and scientific events, most of them available on its YouTube channel, in addition to several articles , master's and doctoral theses, having been cited in the book by Eldad Tsabary, researcher in electroacoustic music at Concordia University (Canada), on the main laptop orchestras in the world and their working methodologies. uestra incorporated the participation of international guests and participated in major events such as the "Network Music Festival 2020" (London/UK), the "Emergent Behavior" Festival (Tel Aviv/Israel), the TransNodal Live Coding Festival (Hamburg/Germany ) and the Exhibition EmMeio#13 (València/Spain).
Group Technical Sheet
Musical direction and regency: Eufrasio Prates
Musicians: Anesio Azevedo (Stellatum_), Eduardo Kolody, Elias Nascimento Filho, Eufrasio Prates (euFraktus X), Joenio Costa (djalgoritmo), Jackson Marinho, Philip Jones (Mentufacturer), Victor Hugo A. Araujo (Lowbin).
Visual programming and lighting: Eufrasio Prates and Jackson Marinho.
Special Guest: Bryan Day.
Contact: +55 (61)98151-9100
ARTIST BIO
BSBLOrk - Orquestra de Laptops de Brasília is an experimental interactive algorithmic music collective, inspired by innovations in the format of computational music performance, initially by the use of individual acousmatic amplification, when playing using multichannel hemispheres, now incorporating intercontinental teleperformance via network live. streaming and Artificial Intelligence agents.
Since its foundation in 2012, at the 11th. edition of UnB's "Tubo de Ensaios" festival, the orchestra proposes to integrate the human body in movement to the production of sounds and images directly derived from it, as a means of carrying out ecosophical works that emphasize respect for the environment, awareness for the human development as freedom and social inclusion.
ARTIST WEBSITE https://bsblork.gitlab.io/
Carla Lombardo | Argentina | Brasil
Bichinha do Mangue | 2023
The work explores the notion of the mangrove (an ecosystem of transition between river and sea) as a neural network of the living, in contrast to AI as an artificial network in which images are generated from human-created prompts.
On one hand, it raises the question of the living and how to translate desire, explored through the inexhaustible nature of the poetic sign (F. Bifo Berardi): “the muscle is the revolt of the geological shell... everything dreams of sap,” or “the alchemy in your waters is profound, from the sediments, living water.”
On the other hand, it addresses the generation of millions of commodity-images, whose imperative is exposure and accumulation — explored in the series of dazzling images that never cease to seduce us. It also questions the tyranny of visibility, the desire to become image (Byung-Chul Han), and the compulsion to share them on Instagram and TikTok.
ARTIST BIO
Multidisciplinary artist trained in design and visual arts, recognized for her research on the body and the interrelations between living systems and technological networks. Her practice, marked by the intersection of the urban, the digital, and the biocultural, is nourished by critical approaches. She currently lives and works in São Paulo, Brazil.
Her work combines elements of counter-cartography and technology, with a poetic and critical focus, and a strong interest in ecosystems, creating visual narratives that question the relationships between the natural and the artificial.
ARTIST WEBSITE https://carlalombardo.com/
Christie Lau | London
Cybernetic Skins | 2023
"Cybernetic Skins" delves into the liminal space between the organic and the synthetic. It is my vision of post-human bodies, imagined using A.I.. Rooted in the premise that humanity is not a static entity but rather an ever-evolving construct, this project captures the transformative essence of our relationship with technology. As we advance, so does the boundary between our flesh and the realm of digital. The piece envisions a future where our very skin intertwines with cables and conduits, carrying not just blood but bytes, bridging the divide between biology and data, garments of tangled cables, body seamlessly transitioning into fashioned adornment. This is not just a melding of man with machine but a profound metamorphosis, resulting in an entity that is both and neither. The digital landscape featured is not merely a backdrop but a character in itself. Visually concepted with the use of A.I., it reflects a world we have birthed but perhaps not fully comprehended. Through the fluidity of 3D animation, viewers are taken on a journey where every pixel, every digital sinew, challenges conventional definitions of life, identity, and existence. Yet, it's not just the content but the mode of presentation that amplifies this message. By projecting this video onto a free-standing screen installation, I bridge the digital-physical dichotomy, translating virtual realms into tangible experiences. This is no mere screen, but a portal—inviting viewers to step through, to momentarily inhabit my cybernetic world, feeling the blurring boundaries and sensing the future's resonance. "Cybernetic Skins" is more than a visual experience; it is a philosophical exploration of our potential futures, a testament to the malleability of human nature, and a reflection on the boundless possibilities that arise when we become one with the very tools we create.
ARTIST BIO
Named in Institute of Digital Fashion's Top 100 Innovator's list of 2023, Christie Lau is an XR artist, working with digital fashion, A.I., and augmented and virtual realities. Referencing internet culture and everyday mundanity, their work reimagines recognisable motifs and environments in AR and VR, in an playful and absurd take on reality. Having recently graduated from BA Fashion Print at Central Saint Martins, Christie’s giant QR boxes became a viral sensation. On the runway, they debuted their digital garments on 3 giant QR code boxes worn on models on the runway. When scanned, they will take the viewer to an AR filter where they can see the full collection.
ARTIST WEBSITE https://www.instagram.com/lau_christie/
Clear Shadow | France
Social drops | 2021
Tear drops & rain x Main social rewards x flash Social reward is one of the main engine propulsing social networks growth. People addiction come partly from the dopamine shot they receive when they are publicly congratulated. social studies show that around one tier of teenagers may feel depressed having checking their social network flows
Small Lies| 2021
Tech leader opinions about their role in the society
Lacrima Rea | 2021
Microscopic Lacrima x Coins shape x Rain / Tears Social networks generate a lot of cash for their owners, but most of the time a lot of sadness for the end users. Like a kind of Modern Times spiral, the lacrima are turning around and around, before coming back to the same departure position. Scientific studies observed that each microscopic view of a lacrima has specific forms depending on the cause of the tears.
Gluetton | 2021
Mobile notification x Artist hands while scrolling Like a monster the glutton awakes once notifications accelerate
I hate you | 2021
Main hatred sentences x storm Social networks are one of the main place to express for haters
Nomophobia Tears | 2021
Rain drops x Aspiration x Anxiety breath Nomophobia is a kind of fear of being separated from its mobile phone.
Ice Flows | 2021
Ice flow x Selection of top tech leaders mantras Tech worldwide community and innovative leaders are raising start-up founders with entrepreneurial & success mantras. These entrepreneurs continue this job indefinitely. The process seems like for ice flows totally irreversible.
Dopabomb | 2021
Dopamine microscopic motion x Bomb far explosions Dopamine is the key substance that the psychlogist & user experience leaders employed by Techs Companies, try to generate is our social network users bodies. A shot of Dopamine may be secreted each time social rewards are activated.
Techs are burning | 2021
Top web & innovation technologies x Synthetic russian voice x Fire burning Each web technology since more than 20 years is marketed like the next hot big thing and disruption, in a non virtuous cycle where people are just considered as users and they may do not understand that they are the product, or worst the main source of enrichment of these people pushing hardly for a speed techno adoption.
Bubbles | 2021
Deep diving x mobile notification x Gun shot Bubbles tries to go back to surface to get oxygene once mobile notifications burst, whereas the scene is going deeper and deeper and may accelerate till transforming into a gun shot.
Fomouse | 2021
Social network scrolling x notifications x anxiety breath Social crawling and Fomo (fear of missing out) may generate anxiety for most of social network addicts.
Twalks Stangers | 2021
walks on several substances x Brownian motion This video is inspired by the anonymity found in social networks and lonelyness, where each element is vibrating but do not move from its place, without interaction with each others.
ARTIST BIO
Clear Shadows is concerned by troubles caused by digital manipulation, digital addictions, lack of tech for good, profit unsharing, automation and impact on our life and bodies. To better understand Clear Shadows project and source of inspiration : @digital_conception @automatization_of_life @the_darker_is_the_worst @tech_for_good_activist @anti_gafam @digital_addiction @0_and_1_digits @creative_chance @data_origination @algorithms_and_formulas @chemical_process @brownian_movement @microscopic_world @world_of_anonymous @passivity_and_manipulation @continuous_cycles @tears_and_water @induced_feelings @turning_around @unvisible
Das Vegas | Vilnius, Lithuania
Liminal Stage | 2023
The project Liminal Stage originates from the artist’s documentation of teaching boards (Secondary School) from his former primary school in rural Lithuania. These boards are reimagined by blending them with Piet Mondrian’s renowned abstract compositions of squares and rectangles. Through this creative reinterpretation of the school's heritage, the artist invites viewers to re-envision these educational artifacts with an aesthetic lens. This primary school, now closed by local authorities, is explored through a unique approach - photography without a camera.
ARTIST BIO
Vygandas "Vegas" Šimbelis, artist name – Das Vegas (Lithuania/Sweden), is a contemporary (media) artist and researcher. With degrees in art and design from art academies, the highest attainment in the field is a PhD degree and Vegas holds a second PhD (doctorate) from the KTH Royal Institute of Technology in Stockholm, Sweden. Having extensive experience in fine art and design, Vegas critically examines new territories and conducts research questioning the role of art (and artist) in relation to our contemporary society and with its socio-political implications.
Interdisciplinarity is an overarching approach to Vegas work and it implies various significant artistic, scientific and technological resources. Decolonizing is the major theoretical and political framework of his work, in particular, in regard to technology with its failure processes, hacking, acceleration and disruption. Converging art and technology, eradicating the divisions between contemporary art and media arts, merging digital with analog, Vegas reflects the implications of the colonial exertion of rights and seeks for the humanization of technology.
With a major focus and regard to the post-digital, the artist is particularly interested in harnessing the hacking for humanizing of technology in its contiguity with and of its situatedness in the real world. In the following, Vegas explores norm-critical perspectives, conceptual ecosystem and design ideas to increase the perceived humanization of technology and re-examine the societal, political, and cultural discourses.
ARTIST WEBSITE www.Simbelis.com
David Mew | Los Angeles | USA
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Co-Creators Series: Blue Current (Expanded) | 2025
Can AI literally (and figuratively) expand the boundaries of human-made art? “Co-Creators” began as an experiment to find out. I took compositions from my “Invisible Entities” series, created using generative design processes, and handed them off to an AI outpainting tool with precise instructions: preserve the original aesthetic and structure while extending the images through intricate geometries and shifting patterns. The process quickly unraveled. AI mimicked my visual language only briefly before dissolving into unfamiliar forms. Transitions are jarring; fidelity near the seams gives way to rapid degradation. Color binds the two halves, but only tenuously. Rather than obeying, AI asserted its own aesthetic logic. What emerged was not harmonious collaboration, but friction. “Co-Creators” doesn't offer a definitive answer about whether AI and humans can truly co-create now or in the future. It does reveal a visual language emerging from this friction where creativity is shared but not always aligned.
ARTIST BIO
David Mew is an American visual artist based in Los Angeles whose practice bridges traditional digital imaging, generative design, and AI-driven tools. Mew’s large-format compositions of layered abstractions are defined by saturated color palettes, textural depth, and meticulous detail. His works emerge from a blend of structured logic and intuitive curation, where code-driven processes give rise to visual discovery. Originally trained in drawing and painting, Mew’s practice evolved with the rise of digital and generative media. He views each technological wave, from early imaging software to AI models, not as a disruption but as an invitation to expand creative boundaries. He is an Indexed Artist in the Techspressionism movement. Mew’s work has been exhibited regionally and internationally, resonating with audiences through its exploration of inner states and the environments that shape us. His landscapes are meant not just to be seen but to be felt, offering moments of presence, curiosity, and connection.
ARTIST WEBSITE https://www.viderestudio.com
Davis Lisboa | Barcelona | España
"Ohh (self-portrait)" | 2022 | digital sculpture
Video of a white sculpture of my mouth and chin spinning around on itself.
ARTIST BIO
My name is Davis Lisboa (1965, São Paulo, Brazil) and I live and work in Barcelona, Spain. I am a multifaceted, multidisciplinary and globalized Spanish-Brazilian illustrator and painter who works to erase the boundaries between graphic arts and fine arts, high and low culture, art and market, crafts and technology. In 2009 I created the Davis Museum | Mini Museum of Contemporary Art Davis Lisboa of Barcelona.
ARTIST WEBSITE https://www.davislisboa.com/
Digital.martins | São Paulo | Brasil
Post-Humanism | 2017 | digital 3D image
An analogy to the ideas of modernity as buried in the sand, symbolized by Michelangelo's David, as the Renaissance being a precursor of Modernity and Anthropocentrism. At the same time, making a parallel to the film Planet of the Apes, where the Human is faced with his past destroyed on the beach.
ARTIST BIO
Digital.martins | Brazil | Visual Artist / Graphic Designer focusing on Digital, 3D, Motion Graphics, Animation, Video / Cinema, Post-Production / VFX. I’ve been working as CG generalist/ Motion Designer and Art Director since 2007.
ARTIST WEBSITE https://digitalmartins.wordpress.com/
Елена Роменкова | Russia
Wake me up | videoart | 2021
Тhis artwork is an attempt to visualize the borderline state between sleep and reality. ...what do I see in a dream? what is happening in it - is it a reality? I try to capture the images, to understand them... but they are so unclear... dialogues with unknown people, how do I know them? This is a parallel universe...
ARTIST BIO
Elena Romenkova | Russia, is an artist from St. Petersburg, Russia. Working and living in Austria. She is working as a 3D digital artist, in the field of data manipulation and "glitch art". She creates still images and animations.
ARTIST WEBSITE https://linktr.ee/leromash
Elif Sezen | Melbourne | Australia
Presence #7 | 2023
‘Presence’ is an ongoing experimental series of landscapes speculating upon the concept of light; encouraging healing and integration of human experience by poeticizing nature with almost otherworldly and surreal visions. Orbs of light bursting with color are gateways to facilitate initiation of a renewed sense of time, place and self. Memory and experience of place can be transformed by our observation of light as symbolic portals leading to renewal within internal psychological landscapes. I have incorporated digital and mixed media to create these evocative atmospheres.
ARTIST BIO
Elif Sezen is a Melbourne-based multidisciplinary artist, bilingual writer and poet. Her practice evolves through various media including painting, drawing, sculpture, photography, print media, installation, digital media, artists’ books and poetry. She speculates upon reconceptualising memory traces emerging from familial, personal, collective trauma and loss. This process leads her to rather a restorative and a celebratory notion of self-construction, desire, longing and a sense of homecoming. Elif has participated in various national and international exhibitions. She is the author of Universal Mother (GloriaSMH Press, 2016) and A Little Book of Unspoken History (Puncher & Wattmann, 2018).
Emanuele Dainotti | Antwerpen | Belgium
Chiptide | 2025 | 8:52 min.
Synopsis
In 2025, a Google infrastructure deal transforms a Belgian coastal region into a cooling system for AI computation. The flooding is deliberate, a cost optimisation where human submersion becomes cheaper than server relocation. A new class of AI-adjacent workers adapts to life beneath the waterline, their bodies modified, their labour invisible. Between prediction errors and system glitches, a blind spot opens. Something uncalculated appears. But is it real, or has the narrator finally learned to see what the models cannot?
Concept
Chiptide is a video installation about prediction as infrastructure. In a submerged city built for computational cooling, voices surface in both image and blackout passages, making perception itself contested. We used generative AI models throughout production to select visual sequences, audio structures and editing rhythms according to probability rather than a predetermined narrative. Forecasting shaped both the subject and the method. The work evolved through a chain of predictions about itself.
Chiptide is part of a larger series on computational foresight as social architecture and was presented during the Prijs MAP Mercator 2025 exhibition award.
ARTIST BIO
Emanuele Dainotti (1987, Milan) is a visual artist based between Antwerp and Milan. He works with moving image, post-photography, and immersive installations, exploring how we normalize violence and respond to catastrophic events in our hyper-mediated world. Dainotti’s practice focuses on virtual environments and the gap between physical and digital experience. He creates visual structures that blur these boundaries, examining fear, death, and time in an algorithm-dominated age. His work has been exhibited at Museum of the Moving Image (USA), Cineteca do MAM Rio (Brazil), Het Nieuwe Instituut (Netherlands), HKW (Germany), MNAC (Portugal), and Beursschouwburg (Belgium). He has participated in residencies and programs including Hangar (Portugal), AIR Taipei (Taiwan)and Espronceda (Spain).
ARTIST WEBSITE: http://www.emanueledainotti.com/
Emma Cosgrove | Montreal/Canadá
No Volcano | 2023
Textures of two Japanese cities are woven together in this fly-on-the-wall meditation on modernization, labour, and the search for a sacred pillar in a vast and chaotic landscape. Orbiting around the magnetism of the volcano Mount Fuji, this poetic video collage shot on miniDV utilizes text in the form of journal entries as travel dispatch, while poetry skirts across the frame - a looping of the subconscious. From the megacity to the coastal down, ideas of solitude and longing are demolished and rebuilt. The accompanying soundscapes are crafted entirely from location field recordings, braiding fragments of birdsongs, human chatter, subway chimes, and mechanical rumblings.
ARTIST BIO
Emma Cosgrove is a Canadian-Irish filmmaker and artist living in Montreal. Her work explores the life cycle of objects, natural materials, sentimentality, and time, employing poetry to compliment images often shot on 8 or 16mm film. She is a fan of the precise place where nature, machines, fact and fiction intersect. Her work has been shown on NoBudge, Eternal Family, Kinoskop Analog Film Festival, the International Festival of Films on Art (FiFA), Bogota Music Video Festival, Canada Shorts, and Sweden Film Awards.
ARTIST WEBSITE https://www.yumayumayuma.com/
Enco | Brasil
Gargouille | 2021
Anti-design devil, it had to be either the carnation or the rose. The dream dampened in burning solvents, the hybrid, electrical resonance. Evacuates, dejects, ejects, projects, ejaculates, deletes.
ARTIST BIO
Enco, performer and digital artist expresses in 3Ds born out of experimental, expressionist and abstract processes, composed of biomechanical and transhuman influences, images that carry a fresh but also muffled aspect, designed to be treacherous, but also like a dream. The hybridity of his works requires a constant transformation that comes from the inside out, an infinite reverse.
ARTIST WEBSITE https://www.instagram.com/e_n_c_o____/
Erik López | Barcelona | España
DATASCAPE. Speculative City for Data to Inhabit | 2023
What is the impact of data in the physical world? The accelerated growth of data in the Digital Era is profoundly affecting the physical environment, and its uncontrolled proliferation will continue to reshape and alter the landscape.However, these effects may not be immediately apparent. Datascape represents the evolution of data growth and the data center as a monument. It aims to explore and visually represent the impact of massive data production on the physical landscape by designing a Speculative city for data to inhabit, illustrating the potential implications of this impact in the future. It calls for a critical examination of our digital practices and encourages responsible and sustainable approaches to data production and consumption.
ARTIST BIO
Architect and Visual Artist from Mexico City. His work experiments with photography, video and 3D modeling to create digital landscapes that address topics related to the Internet, architecture and its relationship with technology.
ARTIST WEBSITE: https://eriklopez.xyz/
Eris Spam_
Brazilian duo of artists.
⺰̸ͮͫ͒ͨ͆̂ͮ͊̀͞҉̷́҉̩͓͓̜̕ⷁ␛̢ͥͣ̓̔͛͛̏̓͏̢̧̛̠̝̜̟͕̮̼͕̀ͮͫ͒ͨ͆̂ͮ͟͝ᣞᣞᣞᣜᢻSᣳٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖPAMᣳ | 2021 | digital expography project
Conceptualization of an exhibition project inspired by SPAM and informational excesses; under development on the instagram platform.
e-topia_website specifc
A hundred years from now we may have aesthetically developed the answers to a fully understandable and habitable hybrid environment, perhaps our common language has died and others born or derived from it. But for now, let's leave it as a legacy for future generations: a non-existent language, which was not born, is being born or will be born, to think and create things that still seem impossible. An unborn language can say something about an unborn world.
We propose the creation of an interstitial space between the physical and the digital, with an invented language, in a common platform for our era and that could die at any moment: https://aisthesislab.art/e-topia
for future generations we will leave a pendrive with the site running offline, concreted somewhere in the city of são paulo. The https://aisthesislab.art/e-topia, or in the author's poems
Fabiola Larios | México
The retro of the future | 2022 | Generative Adversarial Networks
The work is a machine learning model trained in hundreds of images of retro-futuristic buildings, soviet architecture, and apartment buildings from Hong Kong. Fabiola plays with the latent space between the buildings adding baroque architecture golden details, building a baroque retro-futuristic architecture oscillating between structures depicting an alternative world where these buildings do exist.
*obs.: Fabiola Larios also participate in partnership in this IA work;
ARTIST BIO
Fabiola Larios, EUA, is a new media artist, her work addresses the concepts of identity, vulnerability and the representation of the self on the Internet. Through the use of machine learning, she works with the extraction of information and images from the internet, using and manipulating facial recognition to address issues such as the selfie, the internet persona, avatars and surveillance capitalism.
ARTIST WEBSITE https://www.instagram.com/fabiolalariosm
Flávia Goa | Brasil
Tempo "X" | 2021
The world is facing a great wave of violence today. People are more and more enclosed in their external and internal world. Life and car insurance policies are a constant, as are cars roaming the streets with tinted windows and shuttered windows, which actually do not guarantee safety and end up fueling even more fear. At the Internal level, people grow up without parameters of freedom and with rare exceptions, they don't even imagine what it is to be freely on the street, or even experience the freedom to sit down with friends to talk. Children grow up surrounded by unfounded fears that are transferred even by their own family members, who, far from ethical, moral, human and spiritual values, contribute even more to these fears that internally destroy the life perspective of adults and young people, due to the lack of a greater meaning in their lives. Thus, insecurity is triggered internally and fear becomes a daily prison imposing a condition of survival, taking us away from the internal security of living life freely.
ARTIST BIO
Flavia is a guitarist, improviser and sound artist. She is also active in the field of electronic music, composing and recording for the soundtrack. She created the festival F(r)esta improvisation festival.
ARTIST WEBSITE https://linktr.ee/flygoa
flvz_ | Brazil
Stereocilia Killer | 2025 | flvz_ | Brazil
The piece "Stereocilia Killer," originally titled "Tinnitus," is a composition by Lilian Nakahodo and flvz_ (Flávio Carvalho) that concludes the thematic arc of composer Lilian Nakahodo's "Sounds of Silence" project. The music video marks the point where the initial silence transforms into a continuous noise, resonating with flvz_'s experience of tinnitus. The visual development of the music video is a real-time creation mediated by artificial intelligence. The essence of the video lies in its direct synergy with the auditory experience, where the sound of the music acts as the primary engine for generating the images. These images react to three distinct visual prompts, each methodically linked to a specific sound frequency range (low, mid, and high), ensuring that the visual composition reflects the structure and spectral dynamics of the music. Glitch art then emerges as an intrinsic element of the music video's visual dimension, symbolizing the buzzing resulting from the death of the hair cells in the inner ear.
ARTIST BIO
flvz_ | Brazil He is a media artist, art curator, designer, and professor who lives and works in Curitiba, Brazil. He holds a Master's degree in Communication and Languages / Aesthetics and Technologies of Audiovisual Arts from Tuiuti University of Paraná (2024). He completed a specialization in Interdisciplinary Arts and Arts Education at the State University of Paraná UNESPAR/FAP (2012). Since then, he has exhibited at festivals such as MADATAC, Subtle Technologies, Homeostasis Lab, among others. From 2017 to 2020, he was the ambassador/curator of the Subli_me and Laniakea exhibitions at The Wrong – New Digital Art Biennale in Curitiba. In 2018/2019, he was part of the curatorial team for the Curitiba International Art Biennial, winning the Young Curators Award. Currently, he curates physical and immersive/virtual environments and is a professor at the School of Fine Arts of PUC-PR. This work is part of the exhibition Metatopia_Delirium ex Machina, 7th edition of The Wrong Biennale.
ARTIST WEBSITE www.instagram.com/flvz_
Fu Wenjun | Chongqing | China
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Placeless | 2025
The series "Placeless" consists of images generated through AI systems in response to my prompts, yet the resulting landscapes unfold beyond intention or control. They depict imagined environments that feel detached from the physical world—abstract, atmospheric, and profoundly calm. These are places that seem to exist outside time and disturbance, offering a sense of stillness that stands in sharp contrast to the density and noise of everyday life.
Rather than representing nature, the works examine how a machine imagines it. The landscapes emerge as synthetic projections shaped by fragments of data, inference, and approximation, forming spaces that are unfamiliar yet emotionally legible. Although they do not correspond to any real location, they invite longing, contemplation, and a quiet sense of belonging.
The images operate within an unstable zone between construction and illusion, where generated vision becomes affective experience. In this space, the distinction between simulation and authenticity begins to dissolve. What appears is not a depiction of the world, but a condition—an environment where human desire for refuge intersects with a non-human process of image-making.
ARTIST BIO
Fu Wenjun, Chinese contemporary artist, was graduated from Sichuan Fine Arts Institute. He creates principally with digital art, photography, installation, sculpture, oil painting, mixed media, and has put forward the concept and practice of "Digital Pictorial Photography". His works embody his thinking and reflection on many issues related to the Eastern and Western history, culture and humanity, including the relationship between different cultures in the context of globalization, the heritage of traditional Chinese culture in a rapidly changing society, industrialization and urbanization in Chinese cities. National Art Museum of China (Beijing), Museu Europeu de Arte Moderno (Barcelona), The University of Hong Kong (Hong Kong), Today Art Museum (Beijing), Chongqing Art Museum (Chongqing), Guangdong Museum of Art (Guangzhou), Old Summer Palace Museum (Beijing), United Nations Headquarters (New York), and other international art organizations presented Fu Wenjun solo exhibitions.
ARTIST WEBSITE: https://fuwenjun.net/
Instagram: https://www.instagram.com/fu_wenjun/
Fúcsia | Brasil
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Os Poemas da Flora Intestinal | 2017
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Sua Daninha | 2017
ARTIST BIO
Fúcsia is poet and deterritorializing multimedia artist. Makes the symbiosis word x body, and considers the world to be pure collage.
ARTIST WEBSITE https://instagram.com/breakney.spirits
g1ft3d | Guatemala
El camino doloroso | 2023
'A cyberpunk perspective about Guatemalan traditions.
ARTIST BIO
Guatemalan based artist making digital art since early 2000 with experience in worldbuilding, art direction and animation has worked with atlantic records for artists like Cardi B and GucciMane, featured in oxford university press, Juxtapoze and the new york times. Currently working in animated trailers for movies and advertising.
ARTIST WEBSITE: https://www.instagram.com/g1ft3d_art/
Gayatri | India
Facade | 2021
'Facade', with a hint of parametric design is a contrast between the organized, uniform exterior and the underlying chaotic, organic, free flowing phenomenon happening in the background. However, holistically, they produce a balanced output.
ARTIST BIO
This is Gayatri Jagtap, a young architectural designer on a steady diet of art and science fiction, currently based out of India. Gayatri is an architect, an artist and a photographer. She holds a masters degree in Architecture Design from the University of Nottingham, UK. Her artwork here revolves around abstraction and new media. A beautiful, balanced amalgamation of abstract art and science fiction. A lot of geometric drama, lines and forms is what you’ll stumble across as you scroll through her profile
ARTIST WEBSITE https://www.instagram.com/gayatri.jagtap
Gabriel Pessoto | Jundiaí | Brasil
ARTIST BIO
Gabriel Pessoto nasceu em 1993 em Jundiaí. Estudou Produção Audiovisual (PUCRS) e iniciou o curso de Artes Visuais (UFRGS). Desde 2015, atua como artista visual refletindo sobre o impacto da cultura visual e material do ambiente doméstico, do cotidiano, do artesanato, tal como da experiência online na construção de idealizações e desejos. O trabalho, que se manifesta sobretudo em mídias têxteis e eletrônicas, já foi apresentado em espaços de arte, galerias e instituições em cidades como São Paulo, Rio de Janeiro, Porto Alegre, Berlim, Porto, Lisboa, Nova Iorque, Miami, Louisville, Moscou, Łódź e Teerã. Em 2020, foi premiado pela ArtConnect Magazine pelo projeto "trocando figurinhas" desenvolvido em parceria com Nicole Kouts.
ARTIST WEBSITE https://www.gabrielpessoto.com/
Gizella Popescu | Romania, Bucharest
Sleeping Muse, Reawakened | 2026
My work operates at the intersection of collective memory and the chilling precision of the technological future. "Sleeping Muse, Reawakened" is a contemporary dialogue with Brâncuși’s silence, a re-contextualization of his pursuit of the essence. However, in my vision, the essence has been re-coded.
The blue skin represents a modern, clinical divinity, while the skull beneath serves as an anchor to our carbon-based past. The piece stems from my previous exploration of the simian form as a symbol of mimesis, legacy and memory. By subtly infusing the Muse with primate-like features, I reference the primordial urge to imitate—a trait shared by the artist and the algorithm alike.
As the Muse rests upon the velvet cushion of tradition, she is no longer dreaming of the organic world, but calculating a future where the boundary between the sacred and the simulated has permanently dissolved.
In the context of Artificial Intelligence, this work questions the nature of perception and mimesis, in a collective memory. Is AI a new form of consciousness, or is it simply a sophisticated mirror—a "mechanical monkey" reflecting our own history of art back at us?
For me, the act of painting this "Reawakened Muse" is an act of processing memory. I treat archetypes not as static relics, but as data points to be re-rendered.
ARTIST BIO
Gizella Popescu, Romania, Bucharest is visual artist.
ARTIST WEBSITE https://www.instagram.com/gizellapopescu
Gopakumar | Bahrain | India
The Wild Awakening I, II, and III
Wild Awakening series, a body of work that delves into the raw energy of nature while confronting the challenges of climate change. With its interplay of organic inspiration and digital innovation, the series seeks to capture the essence of wildness and calls for a renewed awareness of humanity’s connection to the natural world.
https://gopakumar.in/parametric-line-series/
https://www.seditionart.com/gopakumar-r/collection/the-wild-awakening
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ARTIST BIO
R. Gopakumar is a contemporary multidisciplinary artist from India. He employs art and technology as a means to address and bring attention to environmental, social, political issues prevalent in society. His works have been showcased at renowned institutions and events worldwide, including The Saatchi Gallery in London, Tate Britain, the Kochi-Muziris Biennale in India, Sofia Underground in Bulgaria, CICA Museum in South Korea, and many more. Notably, his motion photography has received recognition by being shortlisted for the inaugural Motion Photography Prize by the Saatchi Gallery London and Google.
ARTIST SITE https://www.gopakumar.in
Group "4" | Ukraine
Mother, why did you create me? | 2021
This project analyzes the ideological and physical similarity of the processes of human origin and the neural network in the human and technical worlds. Direct link: https://drive.google.com/file/d/1G0Gf9i3OdSt45qBhoQXgzYf90tku-ay_/preview
ARTIST BIO
Our group was formed on November 6, 2021 in order to participate in The Wrong Biennale 5th Edition. We are all from the city of Dnipro from Ukraine. We have a concept, a technical implementation. And our peculiarity is that we work with AI and medical archives.
Guaraci Nanferdes Merlhieg | Brasil
BIO
Bio testimonial: Guilherme Fernandes Garcia
Clarity and objectivity are not even charitable traits of my personality or writing. However, let's go! It was produced in the Manaus Free Trade Zone in 1975, in the last century. Half Jew and half Gypsy, I lived from Rio Grande do Sul to São Paulo, passing through Congo, France, Switzerland, Portugal and very recently through several Latin American countries; in almost two years of backpacking… After practically more than 44 years, I'm up here on this platform and like Pedro Rubro, Kafka's talking monkey, I'm encouraged to type some characters about my persona. I think I have character and characters enough for that, but objectivity and clarity… I'm obscure by nature! Eternal graduating student, endemic to letters, of the French bachelor's degree with an emphasis on Literary Theory; I am deformed by FALE-UFMG. In my mishap, I also walked through rooms and corridors of the School of Fine Arts, where I studied, among other studies related to conservation, those of: History of the Book and Preventive Conservation of Contemporary Art. I write from an early age. From the age of seven to eight I 'published' my first works in São Paulo through Ed. Atelier, a fake publishing house in which my father, a former bookseller whose grace and memory today name a small public library in the city of Formiga-MG, and my older brother, 'plastic and paper artist', writer of children's books and illustrator of everything. They also printed the volumes: As Histórias Que Guilherme Contava, O Elefante & o Rato and finally; what was left only in the doll: The Diabetic Hummingbird & other tales, this one from eleven to twelve years old. I have been working with cultural production, editing, exhibition monitoring, as a gallery owner and dealer, with book distributors and second-hand bookstores in places like Palácio Das Artes/Bhz – in exhibitions such as: American Graffitti (Basquiat, Futura 2000, Crash…), O Brasil and the Dutch (Franz Post and Albert Eckout), Artur Bárrio, Centro Cultural da UFMG (ZIP- Zone of poetic intervention with Ricardo Aleixo and Renato Negrão, great poet and friend of the Soma Therapy and Poesia é um Saco!), Sebo-Livraria Vaca de Letras (Formiga-MG), distributed by publishers AGIR, Nau and 34. I was a librarian for the Libertarian Punk Movement here in Belo Horizonte, I also worked at the Cultural Action Directorate of UFMG (Winter Festivals), Fórum Bhz Vídeo , screened at Cine Imaginário Banco Nacional de Cinema, I gave and received typography classes from master typographers at Atelier Memória Gráfica (a project within a penal institution for minors at social risk) and in the distant past, in 94 and started, in the B.H.R.I.F. Belo Horizonte Rock Independent Festival, as a performer of the cult hard-core oldschool trio FUGAZI! I was also a member of the Cultural Council – Curatorial of the Aliança Francesa de Belo Horizonte for more than four years, leading the jury of literary competitions promoted by the institution, exhibitions with artists such as: João Maciel, Miguel Gontijo, Rodolphe Huguet, Marc Riboud , Tatiana Cavinato, Michele Brant & many others. I have a short story, some Lambe Lambes published by the virtual magazine R.NOTT, texts published by the southern collective called MALDOHORROR and visual poems by THE WRONG_Art Digital Bienalle...
I write because I must and nothing else. I write because I owe nothing to anyone, or perhaps I could say that I write about and always with the thought of the beyond, nowhere, in nothingness, in the categories of the negative, the absurd, abjectionism, decadentism, penumbrism, bestialogy, in nonsense, in surrealism, in pataphysics and in dada… Maybe this is my ABC(s) after all.
site
Untitled visual poems
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Insano 1 | 2010 | videopoem
produccion: Marina DEE
Som | 2021 | videopoem
feat. Fabiano Fonseca was born and raised in a mysterious valley between mountains.
At age 11, on vacation with his family, he went out to buy a popsicle and came back empty-handed. He didn't know how to use the money. He only knew the names of trees, birdsong, and river paths. He studied to learn drawing, while making music out of intuition. Today they call him a multidisciplinary artist. He sings, writes and draws seeds. www.fabianofonseca.com. @amateuur.
GUOFEI | City | China
Pitch/Folded/Memo | 2024 | China
Memory is the intertwined, overlapping, and concealed connections that dissolve and superimpose across intersecting dimensions of time and space. What constitutes all of the present world, and what might replace the very fabric of language itself? Is transcendental truth the genuine reality? The conceptual prototype of the interactive sound and visual work *Pitch/Folded/Memo* originates from a 163-minute journey into an abyss. Within the intricate, folded, and elusive nonlinear atmosphere, one experiences the true self—blurring conceptual directionality, the narrative logic of human memory, and those truths ignored yet impossible to overlook within the folds.
ARTIST BIO
Sound artist/ New media visual artist/ Electronic musician/ Composer, artistic practice spans different fields such as sound, experimental video, new media art, etc. Currently living in Shanghai. Sound works include Ambient/Drone/Dub techno/Experimental Music/Electro-acoustic/Field Recording, etc. He has released music works on well-known Deep/Ambient labels in China/USA/Germany/the Netherlands/the United Kingdom/France/Lithuania, etc. Influenced by concepts such as minimalism/randomism, he experimentally uses multi-layered sound textures to construct highly immersive ambient/experimental sound. His artistic works often express an inward force through the juxtaposition of different dimensions of resistance, constantly influencing and dissolving the essence of concepts through the interaction of sound and vision, forming a multi line discontinuous fuzzy narrative system, and constantly creating new static tension that solidifies in the process of change.In recent years, his works have been exhibited at the 60th Venice Biennale, Shanghai Museum of Contemporary Art, Tank Shanghai Art Center, Echo Exhibition, Beijing 798 Art center, A4 RESIDENCY CENTER etc.
ARTIST WEBSITE https://www.guofei.work/
Ian Benjamin Callender | New York | EUA
Archaeologies of Temporal Form | 2024
This work visualizes theories of time as articulated through media archaeology. Lines, waves, and interference patterns merge into a field of layered temporalities, from the mechanical precision of the microsecond to the slow drift of geological duration.
Each stratum references a distinct thinker: Erkki Huhtamo’s cyclical time rendered as a helix; Wolfgang Ernst’s machine logics looping through binary oscillations; Laurent Mannoni’s vanishing grids of cinematic causality; Thomas Elsaesser’s chromatic shifts evoking stereoscopic parallax; Siegfried Zielinski’s heterological deep time folding back upon itself; and Italo Calvino’s networked lines intersecting in a boundless field of simultaneity.
The image becomes a map of temporal thought. It is not fixed but recursive, collapsing linear progressions into recursive loops. It is an archaeology of media time where perception itself wavers between repetition and renewad.
ARTIST BIO
Ian Benjamin Callender, MNAL, Assoc. AIA investigates material digital ecologies. His research spans media architecture and art; digital infrastructure, both urban and rural; interaction design and physical computing; and architectural history and media archaeology. Ian holds a Master of Architecture from Columbia University GSAPP and a Bachelor of Arts in architectural history from Brown University. His work has been presented at the European Cultural Centre / Venice Biennale of Architecture (2023) as well as the International Symposium on Electronic Art (2022) and the Media Architecture Biennale (2021); recognized by the Architizer A+ Awards, the SEGD Global Design Awards, and the A+D Museum Awards; and published in ArchDaily, Hyperallergic, and MIT's Thresholds. He is a co-editor of the volume Provocations on Media Architecture (Set Margins Press, 2023).
ARTIST WEBSITE https://www.iancallender.net/ ; https://www.instagram.com/icallender/
Ivana Tkalčić | Croatia
Twilight zone, snapchat, camera, text to speech | 2018
We are transiting into a post-information and post-human age that is radical transformation our way and nature of living, being and understanding the world that surrounds us. Furthermore, on a personal scale, the boundary between online and offline life has disappeared. The most intimate part of our lives have become slice of virtual world that draws the strength from the media. How has the everyday online – offline interaction changed the experience of the world around us and influenced our daily perception and action?
ARTIST BIO
Ivana Tkalčić (born in 1987) is a multimedia artist and art researcher. She obtained her master’s degree (mag.oec.) in economics in 2012 from the Faculty of Economics and Business at the University of Zagreb, as well as master’s degree (MA) in fine arts in 2016 from the Academy of Fine Arts Zagreb. In 2019/2020 she also graduate from WHW Akademija. She has exhibited independently a number of times in Croatia and Europe, as well as taken part in group exhibitions, biennales, and art residencies worldwide.
ARTIST WEBSITE: https://ivanatkalcic.com/
Jes Chen | London
Coded Intimacy | 2025 | London | Jes Chen, Tacy Zhao, Eimyn Cheung, Chadzing Kung
Coded Intimacy is a dance film and installation. It investigates the structural failure of AI-driven companionship. This directly engages the curatorial theme of Delirium Ex Machina. The work critiques the 'Deus ex Machina' of a seemingly perfect AI. This AI is visually manifested as an ephemeral balloon. The entity is engineered to offer flawless intimacy. It becomes a perfect mirror for human desire. This perfection, however, is a fragile architecture. It is designed to mask the AI's computational limits. The work culminates in the balloon's violent, unpredictable explosion. This rupture is the literal visualization of the ""glitch."" It is the ""AI hallucination"" made physical. The system, built on a ""contaminated database"" of human affect, collapses. This moment reveals its ""structural delirium."" The explosion exposes the void at the core of this synthetic relationship. ""Coded Intimacy"" confronts the audience with an ""abyss of noise."" This noise is hidden beneath the promise of infallible machine intelligence. The work questions the possibility of truth. Can intimacy born from algorithmic error be ""real""?" ARTIST BIO Jes Chen is a London-based artist working in installation, spatial practice, and emotional systems. She examines how intimacy, perception, and control are scripted through technological interfaces. Her work employs tactile structures, algorithmic behaviours, and cinematic sound. Trained in Interior Design, she creates research-led environments that reveal the politics of sensory experience. She also investigates human–machine attachment, artificial comfort, mediated touch, and the instability of synthetic emotion.
ARTIST BIO
Jes Chen is a London-based artist working in installation, spatial practice, and emotional systems. She examines how intimacy, perception, and control are scripted through technological interfaces. Her work employs tactile structures, algorithmic behaviours, and cinematic sound. Trained in Interior Design, she creates research-led environments that reveal the politics of sensory experience. She also investigates human–machine attachment, artificial comfort, mediated touch, and the instability of synthetic emotion.
ARTIST WEBSITE https://www.instagram.com/jesandherwork/
Jiaqi Lu | China
Only Cloud Knows | 2022-2023
Only Cloud Knows is a Chrome extension that performs art recognition on images, as perceived through the lens of Google Cloud Vision AI, manifesting how this emerging regime attempts to capture the incalculable, incomparable, and unknown in computationally legible form—the confidence labels returned from the Vision API overlay the images as each page loads. By navigating within machine intelligence's wrong-headed perceptions, Only Cloud Knows invites users to consider the limits of this data-centric worldview: What lies beneath its threshold of recognizability? What is excluded from future possibilities? With this project, I aim to mirror how faith in the technical sightline has clouded our vision and to uncover how accelerating cognitive automation has surreptitiously short-circuited our sensory-noetic loop.
The ubiquitous cloud-shaped icon on our screens encapsulates an infinitely complex system of networks comprised of servers, routers, fiber-optic cables, data centers, and satellites, encircling the entire planet. This digital and physical infrastructure generates, aggregates, stores, transmits, and processes massive amounts of data, providing a "natural" environment for developing artificial intelligence systems at scale. Machine learning instruments deployed to the cloud enhance their capacities via giant datasets, becoming the engine of improvement in cloud-based technology's overall efficiency and effectiveness. The amalgamation of cloud computing with artificial intelligence is termed "the intelligent cloud," hegemonically controlled by a handful of leading technology corporations, and capable of inscribing more and more aspects of the world into the computational body, based on one implicit assumption: that the world is reducible to data that can be objectively analyzed and perfectly modeled.
Source Code: https://github.com/jiaqiOS/OnlyCloudKnows
ARTIST BIO
Jiaqi Liu is a New York City-based artist. Originating from Beijing, China, Jiaqi moved to the United States to pursue her education at the age of thirteen. This cultural collision has become an essential part of her artwork, allowing her viewers to see the world through diverse perspectives.
Jiaqi is currently pursuing her BFA at the Department of Photography and Imaging at New York University Tisch School of the Arts, with a double-minor in Computer Science and Business in Entertainment, Media, and Technology. Mediums do not limit her imagination. She has created collaborative artworks in multiple mediums such as film, photography, new media, etc. Jiaqi's works have been selected for multiple honors and awards at the national as well as international level, and have been showcased at prominent galleries and theaters such as the Metropolitan Museum of Arts and the AMC Empire 25 Theaters at Times Square. She has also worked as a photographer/videographer for renowned entertainment events in China and the United States including the New York Fashion Week, Strawberry Music Festival, and Modern Sky Music Festival.
ARTIST WEBSITE https://github.com/jiaqiOS/OnlyCloudKnows
Jonas Esteves | Rio de Janeiro | Brasil
Máquina Sensível | 2018-2020
Sensitive Machine is a project that proposes to rethink the use of technology next to the body, reflecting on other modes of enjoyment in different landscapes (thinking about the urban context and nature) through wearable devices, wearables. The project currently has two works, X-plorer Backpack to help the explorer and the work Parasite Virus. The X-plorer consists of a wearable that seeks to expand our field of perception together with the body. For this, the wearable has air quality, temperature, humidity, air pressure, altitude sensors that, from the data collection, reverberate in the body the resulting variations of these sensors through vibration, light and sound effects engines. The Parasite Virus consists of a device that carries a fictitious virus that, when attached to the body, uses its user's data for its survival, and for its development it uses the likes of a social network. In the Sensitive Machine project, the X-plorer and Parasite Virus start to work in full, providing an experience in the user's body. To learn more about the project visit: http://maquinasensivel.art.br/
ARTIST BIO
A self-taught programmer and hacker, he seeks to distort technology in order to use it with another functionality, escaping the current accelerationism of the devices that surround us. Such experience does not only establish another look at the devices, it expands as its reflections also establish another look at the environment in which we live, whether in the city or in the countryside, the latter establishing itself as the environment of his research where, through prosthetics seeks to amplify the senses or enlarge the body. He believes that his work is based on an affective relationship, whether in drawing, disassembling objects in order to find out how they work or with the passage of time.
ARTIST WEBSITE http://maquinasensivel.art.br/
Josephine Florens | Odesa | Ukraine
ARTIST BIO
Josephine Florens (born 1988, Odessa, Ukraine) is a professional visual artist, currently living and creating in Germany after relocating due to the war in Ukraine. Originally trained in law, she holds Master’s degrees in Civil and International Law, yet ultimately chose to follow her true calling in the arts. Since 2017, when she began studying painting at the Art-Ra School of Fine Arts, Josephine has developed a distinctive artistic voice that combines technical mastery with emotional depth. Working primarily in oil, with occasional use of acrylic, she explores a wide range of genres — from portraiture and landscapes to religious themes, still lifes, animals, and marine painting. Her style, which she defines as “modern vintage,” blends the depth and symbolism of classical traditions with a refined contemporary sensibility. Florens is a member of the College Art Association (CAA), USA, serving on its Annual Conference Committee, and also a member of the Odessa Marine Art Union (Ukraine). Her works are distinguished by sensitivity to beauty, layered symbolism, and profound human emotion, establishing her as a distinctive voice in contemporary figurative art. 🌐 www.josephineflorens.com
ARTIST WEBSITE Josephineflorens.com @josephineflorens
Waiting for Elon Musk | 2022 | Ukraine
Júlia Rocha | Brasil
Cagando e Compartilhando | 2021
The artist's best seller, "Shitting and Sharing", surpassed the average views of her profile. Was held during the morning poop, as Julia went through Instagram stories and posts, she translated compulsive sharing into affirmation. Julia shares that she is sharing what she is going to share.
ARTIST BIO
rock júlia works in dance, writing and performance processes. It has managed, since 2014, to keep the seal/publisher É Selo de Língua, with Gustavo Galo, on. She has a degree in Communication of the Arts of the Body, PUC-SP and is studying for a master's degree in Visual Poetics at ECA-USP. It has no website; some of her projects can be followed in instagram posts and until January 31 she performs a "call piece", made in a call via whatsapp. To receive, write to pecahamada@gmail.com.
ARTIST WEBSITE https://www.instagram.com/juliadarochajulia/
Karen Eliot | Deutschland
ARTIST BIO
Karen Eliot is a name that refers to an individual human being who can be anyone. The name is fixed, the people using it aren’t. The purpose of many different people using the same name is to create a situation for which no one in particular is responsible and to practically examine western philosophical notions of identity, individuality, originality, value and truth. Anyone can become Karen Eliot simply by adopting the name. When one becomes Karen Eliot one’s previous existence consists of the acts other people have undertaken using the name. Karen Eliot was not born, s/he was materialised from social forces, exploring the shifting terrain of ‘individual’ and society.
ARTIST WEBSITE https://kareneliot.de/
Katya Kan | EUA
ISKRA digital avatar | APP | 2021
Throughout history, shamans attempted to resurrect people from their past and present. In Russian, “Iskra” means “spark”. It was also the name of a Soviet propaganda newspaper. The app is named like so to evoke the conceptual ethos of creating something new and reinventing the past. Once realized, this software will give the opportunity to live this dream. The program will allow users to recreate any given person from the past or present as animated avatars, with whom they are able to chat in the form of conversations, which they script themselves. In addition, here will be an added option of stating a self-help mantra by esoteric practitioner, Kenneth Soares, against the backdrop of utopian landscapes, such as the jungle, beach, safari and so on. In order to do this, the user will input an image and voice of the person in question. The software will be available for iPhones, Androids and laptops.
ARTIST BIO
My artistic aim is to overcome my marginality through creating a utopian vision, which reconnects me to my childhood. My art explores my status as a half-Asian artist, who doesn’t fit in any cultural hegemony and who has no sense of “home” in post-colonialist, feminist and psychoanalytical terms. A specimen of globalization, I was born in Kazakhstan, my father - North Korean and my mother - Russian. Having caught a glimpse of the USSR, I have a conflicting perception of cultural systems. Unable to assimilate into any culture, I am a banished outsider with no origins.
Stemming from this inability to integrate, I am drawn to creating a utopia through my performance art: a paradise, where I can reinvent myself to whom I truly want to be, and not what the mundane reality holds in store. This performativity enables me to come to terms with my depression, where the saddening sense of nostalgia used to permeate my existence and taint every experience of reality that I had. My performances take the shape of drag queen style, “mockumentary” music videos, where I reenact pop culture songs, which bring me closer to this infantile state of euphoria and inner freedom. I work in a range of media including performance, film and painting. Based in Berkeley, California, I am also a member of the Chelsea Arts Club in London, I have exhibited at Whitechapel Gallery and ICA London, Whitechapel Gallery as well as the LA Pacific Design Center and the NYC Untitled Space.
ARTIST WEBSITE https://www.katyakan.com/
Ksenia Kudasova | Cyprus
Meme as a vulnueable object | 2023
I am artist, working with meme studies, and in this video I tell several points about the vulnerability of meme as an object and a subject, based on Slavoj Zizek's philosophy and aesthetics of his movies (The Pervert's Guide to Cinema and etc) Meme is a perfect picture to explain the cultivation of public persona, alter-ego, secret identity or anonymity influence how we come to understand ourselves and communicate better.
ARTIST BIO
Ksenia Kudasova was born in 1985 in Tula, lives and works in Paphos. She received secondary specialized and higher education in the specialty of clothing and footwear design (TLP, Moscow Institute of Them.Kosygina former MGUDT). She studied in the specialty "Artist of modern art" in the workshops of Ivan Novikov, Ivan Gorshkov, Arseniy Zhilyaev, etc. Ksenia is a member of the art group "BUSIE" with Liana Frolova as an artist-curator She is an accomplice of two Moscow self-organized galleries: Gallery 22 and Glubina Gallery.
ARTIST WEBSITE https://kseniakoo.com/
Laramzp | Zurich
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Sin Tax | 2024
Sin Tax is an ongoing dialogue between human confession and machine translation, an experiment in linguistic entropy and digital absolution. At its core, the project explores how meaning is transformed through recursive machine processing and how confession, an act traditionally tied to catharsis and absolution, is altered when passed through the cold logic of code.
The process begins with a deeply personal text that is systematically translated into multiple programming languages and machine-readable formats. This text is then reinterpreted, broken down, and recompiled through various layers of digital translation, shifting through different syntactic and structural rules. Each iteration moves further from its original form, introducing errors, miscalculations, and distortions.
Every five minutes, a thermal receipt printer outputs a version of the confession, continuously generating a printed archive of its states. Some versions remain legible, while others collapse into corrupted fragments, syntax errors, or unreadable machine logic. In physical form, the printer acts as both an indifferent witness and an unreliable translator, producing an endless stream of text that is simultaneously documentation and deterioration.
The result is an accumulation of confessions, a growing paper trail of linguistic decay and algorithmic interpretation. Where traditional confession seeks resolution, Sin Tax refuses closure. Instead, it embraces the glitch, the error, the act of translation as an eroding and generative force.
This project is as much about language as it is about the relationship between human expression and digital processing and about how meaning is shaped, fragmented, and lost in the loop between human and machine. In the end, the question remains: Is confession about absolution, or is it about the act itself?
ARTIST BIO
Lara Peters (b. 2001, DE) is an artist, writer, and researcher based between Munich and Zürich. Her practice explores digital nostalgia and intimacy aswell as the poetics of technological decay. Through browser-based installations, obsolete interfaces, and algorithmic writing systems, she investigates how memory, emotion, and error circulate within networked infrastructures. She is currently pursuing an MA in Fine Arts (Art:ificial Studies, ZHdK).
ARTIST WEBSITE http://laramzp.com
Lev Manovich | New York | USA
CAPRICCIO | 2025
The Capriccio series revisits a form of visual production that took shape between the Renaissance and the Baroque, characterized by compositions that blended real architecture with imagined structures to create landscapes oscillating between the plausible and the fantastical. These works often combined buildings from different origins, added invented ruins, and incorporated decorative elements that never existed, resulting in scenarios that functioned as experiments in spatial imagination and visual perception. Canaletto is a notable example: by placing St. Peter’s Basilica in Rome alongside the Doge’s Palace in Venice, he constructed a scene impossible in the physical world yet fully coherent within the realm of visual fiction.
Lev Manovich reinterprets this tradition through generative artificial intelligence. Because such models are trained on vast datasets of online images, the compositions produced by AI draw from patterns embedded in thousands of visual references. In this sense, the very operation of the machine, which recombines dispersed fragments of contemporary visual memory, resonates with the logic of the capriccio: producing new architectural worlds from the imagery already circulating within culture.
Manovich, however, goes beyond a mere revival of the genre. He intensifies the procedure by directing the AI to generate explicitly fantastical environments, as seen in descriptions such as “a modern city designed for Siberia in 1965, painted on a large wooden panel by Hieronymus Bosch.” The invocation of Bosch is far from incidental; his widely disseminated iconography becomes raw material to be dismantled, reconfigured, and reinscribed within the digital field, a gesture that aligns closely with the curatorial framework of the exhibition.
This approach gains further significance when we remember that the very way we see, the gaze we have inherited and that structures our perception, was profoundly shaped during the Renaissance, the same period in which the capriccio emerged. Revisiting this historical formation through artificial intelligence thus becomes a doubly revealing operation: by looking back to the past, we also redesign the perceptual frameworks that shape our present. The return is not nostalgic but transformative.
In this way, Capriccio demonstrates how AI can function as a critical device capable of reimagining the digital materiality of architecture, challenging established visual traditions, and opening paths toward new regimes of spatial imagination.
ARTIST BIO
Dr. Lev Manovich is a Presidential Professor at The Graduate Center, City University of New York (CUNY). He is widely recognized as a pioneering thinker whose influential work in digital art, new media, media theory, digital humanities, and visual culture continues to influence new generations of researchers. After studying painting, architecture, and filmmaking, Manovich began using computers to create digital art in 1984 and has been teaching practical art courses since 1992. He has played a key role in creating a number of new research fields: new media and digital culture (1991-), software studies (2001-), cultural analytics (2005–), and AI aesthetics (2017-). His writings include 225 articles that are widely cited across multiple disciplines, reprinted over 850 times in 40 languages. Among his 17 books are Artificial Aesthetics, Cultural Analytics, Instagram and Contemporary Image, Software Takes Command, and The Language of New Media, which has been called "the most provocative and comprehensive media history since Marshall McLuhan." Manovich's art projects have been exhibited in 14 solo and 124 international group exhibitions at many leading cultural institutions, such as the Institute of Contemporary Art (London), the Centre Pompidou, and the Shanghai Biennale.
ARTIST WEBSITE https://manovich.net/
L£V1ÄT4 | Brasil
All | 2019
all images transformed into sound played all at once.
II | 2020
Noisy Entrails is a result of research in image sonification. The present work consists in the capture, digitization and expansion of a human body. The body was captured with a scanner. Images have been converted to sound with ARSS software. The sounds obtained were organized and edited in a video album.
III | 2020
Noisy Entrails is a result of research in image sonification. The present work consists in the capture, digitization and expansion of a human body. The body was captured with a scanner. Images have been converted to sound with ARSS software. The sounds obtained were organized and edited in a video album.
Kaos Brasilis | video art 2020
In a google docs document, consecutive digits are placed, each one representing a death by COVID-19. At the end of the document, 191,570 digits are totaled, representing the number of deaths from the virus up to December 2020.
Soundtrack and images by L£V1 ÄT4
L£V1 ÄT4 | Brasil
(Leviathan) is Levi Levita's solo project. Graduated in graphic design at PUC-Rio, during his academic journey he worked within the LINDA laboratory (Interdisciplinary Laboratory in Nature Design and Art) conducting research focused on sound-visual intersections, creative programming and electronic art. In 2020, he participated in the ASA (Amplified Sonic Art) program, offered by Oi Futuro and the British Council, as resident artist. His artistic production ranges between music production, sound art, visual arts, digital and multimedia. As a music producer, his creations range from experimental noise music to EDM. As a visual artist, he is interested in exploring the boundaries between techniques and multidisciplinary work design. Recently, he researches the fields of digital arts and the use of creative programming to offer integrated works that embrace both sound and visuals in symbiosis.
ARTIST WEBSITE https://www.instagram.com/l_3_v_1_a_t_4
Leonardo Matsuhei | Brasil
Studio Downtown | 2022 | fotogrametria
Studio Downtown is a counterintuitive, utopian projection of a virtual environment made from imagery of the downtown area of São Paulo. The elements modeled through photogrammetry are recombined, generating a space that does not exist in the actual physical world.
In the fiction insinuated by the work, the real estate sales pavilions appear as perennial constructions in the urban scenario, thus creating a metaphorical image of an idealized bankruptcy of the neoliberal project of the city, whose logic of space exploration, through financial speculation and privatization, is on the way to also dominate the imagination about the development of a future metaverse.
ARTIST BIO
Leonardo Matsuhei | Brazil, Artist with a bachelor's degree in visual arts from UNESP (São Paulo) who maintains parallel research in musical composition, sound art, painting and digital art.
In 2015, with musician Felipe Vilasanchez and in partnership with Estudiofitacrepe-sp, he released the EP χZION and in 2020 he released his first solo album GION, which features compositions that explore formal and narrative possibilities in the interaction between musical elements and soundscapes.
Since 2021, Matsuhei has participated as a collaborating artist in the BANANAL project, an independent art space located in the Barra Funda - São Paulo - Brasil, neighborhood.
ARTIST WEBSITE https://www.instagram.com/matsuhei/
Lerabo | Bergamo, Italy
Cost of Coast | 2025 | Lerabo | Bergamo, Italy
"The Cost of Coast / Episode 1 This series comes from what I lived in Positano and the things my sick mind layered over it. Here money drifts in seawater, oysters flirt with fish guts, and women glow beside men who haven’t slept in days. Welcome to the other side of the coast. Positano is contradictions. I wanted to show it beyond the postcard view: the raw, the chaotic, the beautiful mess: fishermen, salt, glamour, filth, desire. All of it tangled together.
ARTIST BIO
Lerabo | Bergamo, Italy AI artist and visual storyteller exploring the tension between beauty and decay. I blend real moments with engineered fantasies, creating cinematic worlds shaped by desire, chaos and coastal surrealism. My work lives somewhere between memory, hallucination and digital film.
ARTIST WEBSITE https://www.instagram.com/lerabo
Leroy Brothers | Belgium/France
Witness your World | 2021 - 0ngoing | Belgium/France
The conceptual artwork Witness Your World is an ever evolving Web app enabling the community to create collective artworks with the help of algorithms and AI, mirroring the current society.
ARTIST BIO
LeroyBrothers, Interrogating identity and digital culture through algorithms, social media, and crowdsourced data to critique and reflect online reality. Belgian brothers Nicolas, Gilles and Gregory are the creative minds behind the art collective Leroy Brothers. Nicolas studied Fine Art at Villa Arson (Nice, France) and graduated at The Cass (London Metropolitan University) while Gregory and Gilles are art autodidacts. Leroy Brothers have been exploring the evolution of the internet through their art since 2003. They currently live and work in Belgium and in France.
ARTIST
WEBSITE https://www.leroybrothers.com/
Longdan Yan | China
Sirenbanshee 404 | 2024
In the narrative of globalized industry, the body—the primary "colony"—has long been disciplined and rewired by an efficiency-obsessed mechanical logic. My work, Sirenbanshee 404, propels this process into its digital successor: we graft the body onto rusty industrial exhaust systems, using agonizing physical entanglement to enact the formation of the "industrialized flesh." Concurrently, we treat this act as a potent metaphor to scrutinize the current condition of the "algorithmic flesh."
So-called machine hallucination is a quintessential symptom of this new colonial order. It is not mere technical glitch, but a systemic, prejudiced rejection reaction produced after AI consumes the data ruins we left behind. When it attempts to generate a "plausible" reality from databases saturated with noise, bias, and historical ghosts, the narratives it fabricates and the truths it distorts precisely expose the traumas and disciplines deeply embedded within our collective consciousness.
ARTIST BIO
Yan Longdan Director, performer, and interdisciplinary freelance creator. Born in Chongqing in 2000, she once studied at the Saint Petersburg State Theatre Arts Academy as an exchange student. Rooted in profound artistic practice, she is actively engaged in cutting-edge contemporary art fields including theater, video, performance art, sound art, and site-specific performance. Her creative footprint spans across a "world map" of cities—Barcelona, London, Melbourne, New York, as well as Shanghai, Beijing, Hangzhou in China—reflecting her international perspective and localized thinking. Her creative practice focuses on power, identity deconstruction, body politics, and existential philosophy. Through the interaction between body and materials, she explores the boundaries of identity, control, and freedom. Notable participations in her portfolio include the 17th Contemporary Venice Exhibition, The Wrong Biennale, Three Shadows Artist Mentorship Program, and New York's "Dance for Social Change" Virtual Salon. She has also collaborated with institutions such as the Mark DeGarmo Dance Company and Barbagelata Contemporary Art Foundation. Her works have been showcased at prestigious venues worldwide, including Palazzo Albrizzi-Capello, the venue of the ACMC Conference in Vienna, the Goethe-Institut Open Space at the German Consulate General, Beijing Fringe Festival, Beijing 798 Art Zone, Hangzhou Contemporary Theatre Week, Daliangshan International Theatre Festival, Lihu Environmental Theatre Week, YOUNG Theatre (GOAT Youth Special Exhibition), Hudao Festival, Shang Art Museum, DP LAB Dongpeng × "Wonderland Factory" T2M Venue, NORTHWARDS Space, Bian Zhilin Art Museum, and Shanghai Double Shadow Theatre. Her artistic practice has received interviews and coverage from international media such as the UK's JustArt Press Club.
ARTIST WEBSITE https://www.youtube.com/@longdanyan?app=desktop
@loveletter.exe | Brasil
Imaginary Cities | 2021 | digital image
Series of studies on the topology of screens.
Grau Zero da Imagem | 2022| open movie
Grau Zero da Imagem is a film in process, which talks about the process of building our gaze in the midst of transition from a disciplinary society to a society of control. Based on Hito Steyerl's Poor Image, this film goes against the grain of the techno-scientific discourse of high technological resolution and looks for poetic gaps, errors, glitches, the "dirty image" and decolonial processes that escape the pure technique that shapes our view of technoscientific societies.
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Facial Recognition | 2017 - 2019 | Network Performance and Etnography
Facial recognition is a network performance performed with multiple users of social networks, which intends and questions the application of massive facial recognition devices.
Upon entering the stock exchange in 2010, facebook implemented a series of identity recognition and validation devices, reaching massive levels of access and exchange of private data of its users.
The first stage of this performance consisted of capturing public images of network users, transforming its original function of user recognition and validation. Generating the tension between the public and private environment of each image that was published on the net.
The second stage works on Reverse Engineering on the forms of errors in facial identification, exploring the flaws of the recognition system using false models, mannequins, masks, makeup inducing Facebook's facial recognition algorithms to error; Algorithms use normative identification models such as white faces, some algorithms identify luminosity fields by refusing black faces, for example.
The third and final stage Rostidade Zero consists of studies of the face as a form of socialization in a network and the standardization of forms of capture with filters and selfies. This study produced a series of masks and face deformations, making facial recognition impossible.
ARTIST BIO
Loveletter.exe | Internet based | is a virus attached as a love letter in emails that was spread around the world in a few minutes in the 2000s and today lives spread across the networks.
ARTIST WEBSITE http://linktr.ee/bioplug
Maciek Stępniewski | Warsaw
Voiceless | videoart | 2020
Voiceless is an animated videoclip for the first <# song. An attempt on seeking fresh esthetical paths in 3D computer graphics, based on atmosphere and gaining subjective meanings through visual associations. The objects shown in the movie represent different concepts that hold meaning in our lives and to which we commit our attention. Those meanings and that attentions are verified when with time said concepts fade away and dissolve.
You Remember Falling | game | 2021
A small, quasi open-world game about being lost in the desert.
ARTIST BIO
Maciek Stępniewski is a Warsaw-based audiovisual artist focusing on digital, abstract and generative design, animation and music. He graduated in both BA and MA at Polish-Japanese Academy Of Information Technology, new media arts department. His films visited such festivals as Punto Y Raja, Athens Digital Art Festival, AniFilm, Interference, Patchlab, O!PLA, Animafest, Synthetic Mediart and Cinematika. His albums were released by local netlabels Trzy Szóstki and Nagrania Somnambuliczne.
ARTIST WEBSITE http://www.mstepniewski.com
Madam Memoticon | Nagykanizsa | Hungary
Status Ex Machina | 2025 | Hungary
Status Ex Machina traces a moment when artificial intelligence intervenes in a scene of shared agency: two golden women holding a teal sphere. When animated, the machine spontaneously supplements the simpler hat with a more ornate headdress, as if correcting a perceived imbalance. This machinic gesture reveals how AI can appear to reinscribe and redistribute status, symbols, and social order through its own aesthetic logic.
ARTIST BIO
Madam Memoticon is a conceptual artist whose work explores womanhood, cyber aesthetics, and feminist metaphysics. After earning her MA in Philosophy with honors for her thesis on feminist theory, she has exhibited internationally, recently at the BitBasel Miami Art Week, the 2025 mowna Biennial (NYC), EPIC Museum (Dublin) and several pavilions of The Wrong Biennale. She participated in the Loop Art Critique residency led by FIU Professor Ariel Baron-Robbins and curated by Cassandra Herzberg (Gagosian), which culminated in a solo exhibition in the Metaverse. Her images have also appeared in Dream House: A Collaborative Zine in Honor of the 50th Anniversary of Womanhouse and LandEscape Art Review.
ARTIST WEBSITE https://hug.art/artists/MadamMemoticon
Malitzin Cortes & Ivan Abreu
Intermediate finishes - Obra negra AUTO() construction serie | 2022 | Artificial Inteligence
Artists: Malitzin Cortes & Ivan Abreu, Gan Developer: Fabiola Larios
AUTO{}Construccion (* selfbuilding on english) is a narrative for live coding concert and VR experience that takes as investigation phenomena of the housing planned and executed by “non-architects” mainly in Mexico, Latin America, Asia and some periph-eries in Europe, the concert crosses different scenarios and images of this phenomenon thought from the algorithms and the collaboration with the computer. Through an analysis of images of this phenomenon that is observed in our city , Mexico City and especially in its borders (State of Mexico) the ques-tion arose and the desire to explore, decipher and interpret, the various “architectural” typologies in regard to decisions of “free design” observed in the greatest number of cases, the decisions of logic geometry, colors and materials also the perpetuity of a continuous and unfinished con-struction, that is, houses that are inhabited without even being finished.
ARTISTS BIO
Malitzin Cortes (CNDSD). Musician, Digital Artist, Creative Technologist. Her work is developed between live coding, live cinema, installation, Virtual Reality, creative coding, sound design, experimental music and sound art. She is a professor and researcher at CENTRO University: design, film and television in the field of creative code, STEAM and new sound and immersive technologies, in 2020 she received the Latin American Virtual Reality Award “Realmix” with the immersive piece “Hyper_D”. ARTIST WEBSITE https://linktr.ee/CNDSD
Ivan Abreu is an audiovisual artist and creative technologist working and residing in Mexico City. He explores a wide range of media such as digital graphics, electronic devices and software. ARTIST WEBSITE https://www.instagram.com/ivan_abreu/
Marta Di Francesco | London | England
Sibyl | Videoart | 2021
Sibyl is a piece exploring the self-fulfilling prophecy of prediction. Created using volumetric capture and GAN, it explores the concept of intentionality and questions the looping mirroring of AI predictability and machine learning, not as a predictive tool but as a consolidation engine. In Greek mythology, Sibyl was a prophetess, an oracle, a seeress; usually female, acting as the “mouth and voice of God”; in an uncanny resemblance with the making of AI assistants by Silicon Valley: from Eliza, the first chatbot invented in 1964, to Alexa, Siri, Cortana, Mica, to Google latest AI, Meena. In uncertain, dark and anxious times, prediction and hindsight are precious. As machine learning allows artificial intelligence to make faster, “better” predictions, we can argue that these are a mirror in a mirror, rather than a prediction. Sibyl performs a repetitive dance in which every movement starts and ends in the same way, in a mirroring loop.
TIRESIAS | 2025 | LONDON
TIRESIAS is a meditation on blindness, both spiritual blindness and blindness as lack of foresight, questioning the looping mirroring of AI recurrent and recursive predictability.
In Greek mythology, Tiresias was the blind prophet, known for clairvoyance and prophecies that spanned seven generations. Tiresias lived as both man and a woman and throughout literature are presented as a liminal being, mediating the “in between”: humankind and the gods, blind and seeing, present and future, this world and the Underworld.
The video, created using TouchDesigner, GAN, and Processing, imagines an inner monologue of Tiresias, who can no longer see in the dark, for even the dark has vanished, replaced by recursion, self-replication, and an infinite feedback loop of mirrored images. Here blindness is no longer the condition of not seeing, but of being overwhelmed by infinite reflection. It is not absence of sight but its saturation. Blindness is produced by hypervisibility. Under algorithmic vision, the eye cannot rest. Every gesture is mapped, every trace recorded, every possibility reduced to data. Excessive light blinds.
The work reflects on visibility and invisibility. To be seen by the machine is to be overexposed, hyper-visible, trapped in endless patterns. Yet what matters most, the unpredictable, the uncertain, the not-yet-imagined, remains invisible. Blindness here becomes resistance, a refusal of algorithmic logic. At the end, it is unclear if the voice belongs to Tiresias or an AI. Vision collapses into abundance; only by reclaiming invisibility and uncertainty can imagination, prophecy and future endure.
ARTIST BIO
Marta Di Francesco | London based, Marta Di Francesco is a new media artist based in London, exploring new aesthetics, merging poetics with code. She investigates digital identity and its fragmentation, exploring and questioning it through digital bleed, time displacement, video processing, and the sculptural quality of time in volumetric aesthetics.
The poetics in her practice refers to an existential, conceptual and critical approach, that can be both intimate and radical. Through her practice she is preoccupied with the right to time, slowness and time consciousness, as a form of resistance, in times of speed, acceleration and distraction. In her work, she explores liminality, as the physical and virtual world merge and fade into one another, and these moments of transition and displacement, and the constant - ad infinitum - self mirroring of the metaverse, create new temporalities.
ARTIST WEBSITE
Matheus Solar | Brasil
Cambriano | 2023
Cambriano é um vídeo arte experimental que investiga cosmopoéticas de um autorretrato em movimento e contínua transformação. A escuridão atrai o olhar para as formas de luz quase abstratas que sugerem um corpo que se mistura à visualidades da natureza, cores orgânicas e um imaginário cósmico microscópio infinitamente grande.
ARTIST BIO
Artista multimídia e pesquisador. Doutorando no Programa de Pós-graduação em Artes Visuais na linha de Processos Artísticos Contemporâneos da Universidade do Estado de Santa Catarina (UDESC). Mestre em Arte e Cultura Visual pelo Programa de Pós-graduação em Arte e Cultura Visual da Universidade Federal de Goiás (2021). Graduado em Artes Visuais Bacharelado pela Universidade Federal de Goiás (2019). Pesquisa relações possíveis entre as artes visuais e as cosmologias na criação de cosmopoéticas e imaginários cósmicos.
ARTIST WEBSITE https://linktr.ee/cosmografias.com
Matteo Campulla | Milano | Italia
Mehreen Hashmi | Karachi, Pakistan
When I spoke gibberish and looked for my safe places outside my own room in my own apartment | 2021
When I spoke gibberish and looked for my safe places outside my own room in my own apartment | experimental video by Mehreen Hashmi Breath is a series of experimental video installations by a visual artist Mehreen Hashmi narrating her own struggles with her traumas. Mehreen Hashmi is a visual artist and a curator who has launched her art organization ‘MH Initiatives’ in 2019 to curate projects as Kabutar which is a culture exchange traveling exhibition between Pakistan, France, Italy, Netherlands and Turkey. She has also curated Pakistan’s first Karachi Art Summit in 2017. She has exhibited her work as a visual artist in different countries including London, Denmark, Netherlands, Nepal and Germany. One of these videos was displayed in Yanjiao Biennale , China this year.
ARTIST BIO
When a person is having a panic attack, their breathing stops as if the way from air to their lungs is blocked, the heart starts to palpate at the highest rate, shivers go down the spine and the whole world starts to shatter in front of them. And when this episode is triggered with other mental illnesses such as PTSD, it goes towards paranoia, extreme fear, thoughts of self-harm, and excruciating emotional pain. So close your eyes; combine these two in your mind and try to walk in their shoes for a second. I bet, you cannot stand it. Then combine with social suppression, societal judgments, risks of safety, and regular functioning, it will seem impossible to function. But why a person feels this way, how does trauma respond to a person's mind and body? This show is a narration of the my own ordeal as well as several other trauma survivors of physical, sexual, and emotional abuse who go through this with and without professional help. This is how the damage has been done by predators and abusers to women, children, and men as well. Being a survivor of childhood physical and emotional abuse, and sexual assaults, I have been living with developmental trauma and my work is a narration of my emotional state of several time periods while attempting to process and heal. It depicts social stigmas towards victims and its aftermath on their lives. My work falls under the category of art activism to create awareness for trauma awareness, its recovery and suffering of abuse survivors afterwards.
ARTIST WEBSITE www.mehreenhashmi.com
Mechthild S. Feist | New York City | EUA
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Lalbagh TreeStory | 2020 - 2021 | New York City
Once upon a time thousands of flowering trees lined the streets of this small town and created a microclimate of cooler air. Then everything grew in Bangalore: population, streets, traffic, pollution. Despite citizens’ protests, hundreds of avenue trees were cut down, others left in tight asphalted spaces, all to build the much-needed metro – next to their protected brethren in the adjoining Lalbagh Botanical Garden. This is their story in the first 2 decades of this millennium imagined on Google Earth:
“So the magnificent trees in the park decided to spread seeds and seedlings and knowledge about their edible fruit and medicinal talents to the sites of their suffering tree-sisters and started to re-green the road along the elevated train. They bring with them tales about their global histories and religious worship.”
Enter Google Earth and zoom through word clouds of wisdom. Humans from all continents remind us that we are one with nature. Are we listening? On the ground, the history line shows the de-greening up to 2020. Our visit with the new blooming trees must be around 2120 or later when the trees again give cooling shade, shelter and fresh air to people and animals.
For an interactive journey, download the .kmz file here and drop it into Google Earth. See my India-Fulbright blog on this site for more on my project and research.
ARTIST BIO
Mechthild Schmidt Feist is a media artist and faculty at New York University. Her series Engaged Media investigates the role of media in communicating environmental awareness and action. Mechthild’s work ranges from interactive installations (L.E.S.S. - Less of Everything, Esthetics of Sharing and Sustainability) to interactive storytelling on Google Earth. As a Fulbright Senior Scholar to India 2019-2020, her latest mapping work is Lalbagh TreeStory. She hopes to inspire local solutions to the climate crisis and make difference by the sum of our individual actions.
ARTIST WEBSITE https://mechthildschmidtfeist.com
Michael Woodruff | London, UK
Lorenz's Conundrum | 2025
This is part of my Digital Graffiti series, which explores my nostalgic journey into capturing lost media, framed around the graffiti that first inspired me in art school. I try to frame those initial tactile emotions I felt and play around with animation and various historic and current media effects, such as film grains, neon, noises, glitches, VHS emulations, as well as traditional paint marks and textures digitally scanned, then collage and layer them within my workflow. Lorenz’s Conundrum is a mathematical construct of differential equations that deal with plotting potential chaos and it’s from this that the Butterfly Effect is derived - small changes can lead to more chaotic outcomes. Here it’s plotted into my layered animation system that feels in some ways quite celestial.
ARTIST BIO
Michael Woodruff is a London-based digital artist working across motion design, animation, and visual culture. His work explores how nostalgia, memory, and media decay shape emotion in the digital age. Through archival footage, scanned textures, and graphic systems, he builds layered, time-based compositions.Blending analog imperfection with digital precision, his visuals evoke the sensory texture of memory searching for the ghosts in our machines.
ARTIST WEBSITE https://michaelwoodruff.co.uk/
https://www.instagram.com/nectarmotion/
https://www.nectarmotion.com/
Moksha Kumar | Bengaluru, India
Timelines merge | 2021 | digital image
When looking at buildings, I’ve always seen them as a personality as opposed to a structure. Each with their sense of space, structure, light and shade. To me, they represent a legacy and a sense of eternity. Even though they are solid structures they are markers of civilization and art. The depth however, is more towards a philosophical end where I ask the viewer to consider a post-apocalyptic future that is devoid of human presence. Dystopian and yet vibrant, it is like rendering a sense of limbo in muted technicolour.
BIO
Moksha Kumar is an artist and art writer who graduated with a BFA in Painting from Pratt Institute, New York, and then completed her MFA in Art History from Maharaja Sayajirao University of Baroda. she is currently located at the Lalit Kala Akademi in Chennai and has an active studio practice. Currently, she is has her works displayed at Terrain.art in New Delhi. She was a part of the COCA (Center for Contemporary Artists) project based in Italy, for her ground breaking research and archival documentation of Kolkata architecture. She was a part of the show ‘Inception’, on view at the Niv Art Gallery, New Delhi; and also, a part of the Madras Round Table 1, Auction for Charity 2020 - 2021.
ARTIST WEBSITE https://www.mokshakumar.com
Mônica Améndola | México
Hysteresis | 2021 | digital processes, glitch
In this experimental project, I applied a data bending process to get the glitch effect. Using Notepad ++, I added the information (from the source code) of an image corresponding to a childhood memory to the source code of an image from present day, causing a corruption of the original image. The image of the present, a self-portrait, thus contains a visual irregularity caused by interference from the past. Like in real life, where our memories and recollections alter our vision of the world. Finally, I added a QR code to the resulting image, through which it is possible to “access" the remembrance that it is causing the distortion, like a window to the black box of our memories.
ARTIST BIO
Monica Améndola | México, Brazilian photographer based in Mexico, I began my artistic training in 2012. My creative process is driven by a constant curiosity about the world around us, motivated by the energetic need to capture something new. I am interested in delving into family archives, as tools of inspiration for photographic projects, as I like to explore themes such as memories, scars, and identity. Currently, I am approaching experimental photography, applying data bending techniques to induces glitches.
ARTIST WEBSITE https://monicaamendola.wixsite.com/foto/histeresis
Ms.V | Madagascar
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Half Full | 2025 | Madagascar
There is beauty in what remains unfilled — in the spaces that wait patiently for what’s to come. It is quiet optimism, of a heart that trusts there will always be room for love, for hope, for learning, for becoming. To be half full is not to lack,
but to live in balance — to hold enough, yet still make space for the small and sacred things that find us along the way.
ARTIST BIO
My name is Volana RAVELOSON, also known as Ms. V, and I am a visual artist born and raised in Antananarivo, Madagascar. My artistic journey began during the COVID-19 lockdown in 2020 as a form of therapy. Initially, I explored digital art to process emotions and personal experiences, but my practice quickly evolved into a professional pursuit focused on amplifying the voices and stories of Malagasy and African women. I work primarily with digital collages, producing fine art prints on canvas or dibond in exclusive editions. My work celebrates women as pillars of family, culture, and community. Through collaboration with local communities, listening to personal stories, and consulting historical photography archives, I ensure my work is culturally authentic and socially grounded. I explore themes of femininity, empowerment, equality, resilience, and care, often portraying mothers and caregivers and examining how their influence shapes future generations. In the second semester of 2025, my practice expanded to honor mothers who raise boys, exploring how care, emotional guidance, and values passed within families contribute to social balance and community resilience. My aesthetic combines vibrant colors, layered textures, and symbolic elements to evoke emotion and reflection, connecting past and present narratives. Since 2020, I have participated in numerous local and international exhibitions. Key milestones include winning second place in the Prix Paritana Contemporary Art Prize (Fondation H, 2021), presenting my first solo exhibition C.M.Y.K, and receiving the Demain Sera Mien II award (2023, Fonds YavarHoussen and Africa Prime Initiative). My work has been collected worldwide, and I continue to experiment with digital techniques while fostering social dialogue, cultural preservation, and empowerment through art.
ARTIST WEBSITE www.instagram.com/vmadagascar261
Nicolas Tilly | Paris France
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d[IA]gramme | 2024 | Paris, France
This project is a daily graphic exploration using AI that generates images from textual descriptions. More specifically, I start with a corpus of images that are my visual creations, which all share a specific graphic form related to data visualization: diagrams, plans, sketches, models, etc., in order to train a model. I then ask the AI to produce new images, continuing preparatory research for projects that do not (yet) exist. This work questions the boundaries of a research phase and its representation. d[AI]gramme is an AI-driven graphic laboratory whose process generates drawings that make us wonder whether they are human or not. My graphic research starts on paper and extends through the digital interface of textual description. It is this interface that generates potential graphic variations.
ARTIST BIO
Nicolas Tilly | Paris, France. Nicolas Tilly has been an interactive media designer and creative developer for over 15 years. Nicolas also continues his practice through teaching. He gives workshops at art schools in France and abroad and participates in diploma juries. Nicolas approaches digital design through a variety of media: publishing, web, video games, prototyping, etc...
ARTIST WEBSITE: https://nicolastilly.fr/
Nikolina Schuh Netz | Austria
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System Without Referent | 2025
The work presents a technically structured system whose function remains indeterminate. The depicted formations follow astrict internal logic of repetition, modularity, and industrial precision, yet they do not point toward a concrete purpose beyond their own visual order. The images are generated using artificial intelligence and are based on statistical correlations within existing image datasets. In this process, AI hallucination is not treated as an error but as a productive condition: a mode of image generation in which visual coherence emerges without a stable referent in reality. What is produced is a simulacrum — an image that appears plausible and operational while remaining detached from any verifiable original. The autonomous image asserts its own internal consistency, independent of documentation or representation. It simulates systems of efficiency, control, and optimization without enacting them. In doing so, the work functions as an archaeology of the false: a system that convincingly performs order while ultimately referring only to itself. The images simulate efficiency without producing any measurable outcome.
Such reference-less systems are not exclusive to autonomous image production but also permeate advertising, branding, and mass media, where images increasingly circulate without origin, context, or accountability.
ARTIST BIO
Nikolina Schuh-Netz is a visual artist working with AI-based generative art, objects, installations, photography, print, text, mixed media, graffiti, and construction materials. Her practice operates within post-brut hybrid fragment art, engaging children’s aesthetics and post-vandalistic recomposition to transform found materials, code disruptions, and analog failures into immersive visual structures. Her work explores systems of meaning, breakdown, and reconstruction across physical and digital image spaces, with a focus on autonomous image production and simulated realities.
ARTIST WEBSITE www.nikolina-schuh-netz.at , www.instagram.com/nikolina.schuh.netz
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Genealogy Of Non-Belonging | 2025
Genealogy of Non-Belonging is an entirely AI-generated visual and conceptual exploration of how identities emerge within the interstices of rupture, displacement, and inherited absence. The series traces a fragmented genealogy in which belonging remains unstable, continually reconfigured through memory, loss, and imagined continuities. The artificial intelligence produces photographic-like image bodies that have no real-world source and yet appear as memory fragments, generating speculative origin images that question the reliability of ancestral narratives and the desire for clearly defined lines of identity. The AI-generated images oscillate between intimacy and abstraction, revealing identity not as a coherent, linear narrative but as a machinic process of ongoing transformation. In dialogue with the theme Delirium ex Machina, the series positions artificial intelligence as a delirious, generative force that destabilizes linear historiographies and opens new spaces for hybrid, unanchored, and fluidly emerging forms of selfhood.
Nina Sobell | New York | EUA
Meta Morphosis | 2021
Changing between life and death, death and life and inbetween.
ARTIST BIO
Nina Sobell | New York, EUA. Nina Sobell is a contemporary sculptor, multimedia, and performance artist who pioneered the use of EEG technology, closed-circuit television, and internet communication in art. Early in her career, she focused on experimental forms of interaction and performance, and explored the ways in which technology mediates psychic transformations and modulates the perception of space and time. Her substantial body of work includes live performance and TV, museum installations, sculpture, and interactive video matrices that invited public participation.
ARTIST WEBSITE https://ninasobell.com/
Nirali Lal | India
BIO
Nirali Lal is an artist who feels a powerful urge to dismantle the perceptible realities surrounding her, in a naive impulsively way. Through the medium of paint, the fantastical explorations of her mind are bought to her immediate situations, getting accumulated with the rest of the tangible objects and instances. The act of creating gives her a satisfaction to morph and rearrange stories, which otherwise have their own multitude. She forges various painting mediums like oil and watercolours on the surface, in a seemingly callous fancy.
Auto versus Autonomous | 2021
Poem with water colour painting - Auto versus Autonomous.
Ogg Lullenstyd | Hungary | Budapest
The City of Whispering Dreams | 2025
public artwork
ARTIST BIO
Public art, socially engaged art, community based art,
experimental communities, participatory art, Installations and performances As an artist, I have worked with many mediums, but recently with a focus on innovative, groundbreaking public art. Currently I am working on a public art project highlighting the community organization.
ARTIST WEBSITE: http://lullenstyd.hu/
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Ole Tersløse Jensen | Denmark
Altar In The Woods | 2018 | installation, digital image
An installation honoring a deceased woman shaman.
ARTIST BIO
"Hailing from Hjørring, Denmark, Ole Tersløse studied painting at the Royal Danish Academy of Fine Arts in Copenhagen before developing a practice in computer-generated imagery in both two and three-dimensional formats. Smooth and downright uncanny, Ole Tersløse's aesthetic has won him international recognition and acclaim, including grants from The Danish States’ Foundation for the Arts (now the Danish Arts Foundation) and the Jens Ejnar og Johanne Larsens Foundation. He has participated in numerous exhibitions around the world, including a 2013 solo show at the Los Angeles Center for Digital Art" Noah Becker, Whitehot Magazine, 2017.
ARTIST WEBSITE http://www.terslose.dk/
Philip Wood | Hong Kong
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Exhibition | 2025
Random slideshow of 100,000 AI-generated images of an art exhibition.
Acesse al 100,000 AI-generated images on: https://sign69.com/expo/
figures&fields - sign69 - spam=maps | 2021 - ongoing projects
serendipitous collage of internet sourced material that feeds into random/generative works.
Philip Wood | Hong Kong
eurasian artist born 1960 hong kong - BA fine art 1985 - MA electronic art 1995.
SITE: https://sign69.com/expo
Pomba Molex | Brasil
BIO
PombaMolex / Cleyton Xavier is a Brazilian visual artist, he is part of the very low budget cinema collective CHORUMEX, producing since 2015 terrible films full of hacks and psychedelia, with an emphasis on the Third Millennium Trilogy, of cyberpunk dystopias. He also organizes the Festival de Chorume, an amateur-experimental film / art festival that has had more than 10 editions in 4 states.
1. BOLSOCO
2.BOLSOBOSTA
3.BOLSOBIZARRO
4.TOMALE
5. GALOGLITCH
6.GASLINHA
7. GALUTOMATION
8. ZÉ PALMINHA
9.MINAZIKA
10.VULTURELFIE
11.MINAFRITA
12.SMOOFIKIN
13. EXTINCTION
14.GALINHOSSAURITO
15.ORIGIN OF THE BLOOF
16.FRITODENCE
17.BONNER ALERT
18. MONAGRITA
An overview of my recent experiments involving EbSynth and databending techniques.
Rhett Tsai | Zhejiang | China
Rhett Tsai | 120°10'00.00"E, 30°15'00.00"N.
Media artist, digital culture researcher, college faculty.
Health Code Cyborg | 2022
Health Code Cyborg is an AR filter released by artist Rhett Tsai on Spark AR. In this work, the health code that serves as a pass during COVID-19 becomes an augmented reality mask for the viewer, and you can use this green health code mask to talk to others, send social media updates — and others will trust your health status. Health Code Cyborg discusses the restructuring of human hierarchical order and identity by the politics of health in the pandemic era. You can access the following link to play this work on Instagram: https://www.instagram.com/ar/607529680305400 .
MetaVessel | 2022
MetaVessel is a 3D video work reflecting on the metaverse, in which the main character Joe is about to encounter a flood “OpenSea” caused by the fracture between virtual and reality. In this flood, only the lucky few who successfully board the giant ark “MetaVessel” can survive. Joe and other humans have to undergo virtual reality training, obtain the boarding credential “MetaMask Fox Mask”, and get the positive nasopharyngeal swab test of the MetaVessel to board the ark to survive. The work discusses the collapse of the balance between virtual and reality under the trend of the metaverse, the emerging hierarchical order after being reshuffled by the metaverse, and the new post-human identity after being reorganized by the new order. The nasopharyngeal swab test in the video is also a darkly humorous metaphor for the current reality: is the swab that stabs the nostrils again and again in ordinary life to cause a minimal but important physiological pain the Sword of Damocles for humans to escape from reality and move to the virtual world?
Ricardo Nolasco | Brasil
América? No soy América | 2020
Voice of Montserrat Angeles Peralta y Clara Cuevas written and organized by Montserrat Angeles Peralta Clara Cuevas Ricardo Nolasco Gabriel Machado y Thania Paulinni during the residency La Reinvención del Cabaret - 17th Festival Internacional de Cabaret - 2019.
Momo: Para Gilda com Ardor (ritos/rotas de quarentena) | 2020.
This is a dead word, born to decompose. It is lethal poison produced by colonies of tireless micro-organisms without leader or boss. Metamorphosis and not allegory. Dust. It's a word that doesn't stick, doesn't conjugate. Grunt. Moans. Snores. Howl. He grumbles. It gnaws. Primal violence. It brings in its pronunciation love to all destruction. Fact. It is a betrayed and treacherous word. Translation. Insufferable, monstrous, inaudible verb. Seismic shock. Horror word. Fruitless. I hate tradition, the whole crisis of representation. act and
not stand. Explosion.
Editing materials from the tarot in process route "Momo: for Gilda with ardor".
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Performance: Ricardo Nolasco
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Audio: Jo Mistinguett
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Videos: Alan Raffo, Gabriel Machado, Gabriel Comicholi, Luciano Faccini and Thiago Berreza Benites.
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Voices: Leonarda Glück, Luana Raiter, Má Ribeiro, Sarah Guerreira, Stefano Belo and Ricardo Nolasco.
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Acknowledgments: Curitiba Mostra - Espaço Cênico.
ARTIST BIO
Ricardo Nolasco, Brasil, is a cabaret artist, performer, director, tarot reader, writer, screenwriter, poet of presence, situationist, professor of performing and performing arts and flâneur. Graduated in Performing Arts at UNESPAR/FAP, he is taking a master's degree at UNIRIO with the research Cabaretturgy: how do you register cabaret? Co-founder of Selvática Artistic Actions (Curitiba/PR) and ULC (Free University of Charlatanism). Together with other artists, he organizes the cultural program of Casa Selvática, where he develops the continuous practice of Reinventing Cabaret. In his work, a border art with reference to the theater of variety stands out, the transubstantiation of classical works and the occupation of public spaces. Art and life on the edge of crunching, shattering.
ARTIST WEBSITE https://www.instagram.com/ricardamomo/
Rita Raeva | London | UK
Skinless body of dreams | 2021
The work considers issues of associative thinking, relationship between images and text and our perception of them through the prism of our own experience, as well as freezing of certain details and situations built on these details in our memory. Within our memories some objects that individually mean nothing, together form various narratives, transmit sensations and form our perception of time at that moment. it resembles a state of sleep where we travel through space, where objects are in a muddy fluid, touching each other a bit and getting stuck inside it but do not disappear completely. they are existing in a certain form of relationship with each other, forming situations that become a field of birth of the affects. at the same time more tangible and visible processes are taking place in different dimension. so, in the era of endless circulation of images and visuals in general, text that coexists with them is able to generate a certain meaning in accordance with the represented object, limit our imagination and evoke very specific associations. on the other hand, the use of text subtitles helps us to feel more emotions, express the atmosphere and broadcast a certain dimension of imaginary space. both text and images can be subconsciously linked to the life stage of the viewer, his vision of the world, which is constructed from many internal, hidden elements. thus, what is depicted acts as a vector for the thoughts movements, and the text frees us from overwhelming amount of interpretations, but regardless of this, when the viewer reads the work, he first of all reads inner self.
ARTIST BIO
Rita Raeva is a multimedia artist who works with focus on moving image, cgi, experimental video and sound. in her works she interacts with the topics of body (including the human body) as an object of investigation; queerness, the boundaries of private and public; the unrealised desires and traumas born on this ground, and which find their expression in the corporeal, the digitalisation of the physical and the blurred boundaries between human, organic and virtual.
ARTIST WEBSITE https://www.instagram.com/raevm/
S4RA | Lisboa | Portugal
Crui$ing Kapital | by: S4RA | 2023 | Based: 38.736946, -9.142685
Longing for authenticity & genuine connection in a wwworld dominated by commodification. Sex cruising emerges as a possibility to this vacuum of connection & intimacy where personal relationships are increasingly mediated by digital interfaces. It presents as a raw & unfiltered form of human interaction t̴h̴a̴t̴ ̴m̴a̴y̴ ̴u̴n̴c̴o̴v̴e̴r̴ ̴b̴e̴n̴e̴a̴t̴h̴ ̴t̴h̴e̴ ̴s̴u̴r̴f̴a̴c̴e̴ ̴a̴n̴ ̴e̴s̴c̴a̴p̴e̴ ̴f̴r̴o̴m̴ ̴t̴h̴e̴ e̴m̴p̴t̴i̴n̴e̴s̴s̴ ̴o̴f̴ ̴l̴a̴t̴e̴ ̴c̴a̴p̴i̴t̴a̴l̴i̴s̴m̴.̴
ARTIST BIO
S4RA s̶a̶n̶d̶r̶a̶ ̶a̶r̶a̶ú̶j̶o̶ ::::: : is an iηterdisciplinary artist that feeds on con*sensual power dynamics & gender role play through a post-dramatic storytelling hybrid process between digital animation & ( immersive : ) environments. also spends endless hours strolling through post-capitalism mazes & it’s influence on libidinal pleasure. :: :
collaborator / researcher ::: . ITI - Interactive Technologies Institute
ARTIST WEBSITE: https://s-ara.net
Sabrina Menedotti | Recife | Brasil
XYZ VIDEOS | Videoart | 2021
Videos of cosmic explosions with genetic soundtrack, the combination of form and sound in its light state.
ARTIST BIO
Sabrina Menedotti | Brasil | Visual artist, composer and writer, I usually work with the sensitive and intuitive side that I have, through alternative ways and sources of inspiration ranging from literature to music, walking through cinematographic language and painting, I believe in art as the integration of being in the whole for which we are made.
ARTIST WEBSITE
https://www.instagram.com/sabrinamenedotti
https://sabrinamenedotti.bandcamp.com
Sailor Noom | Brooklyn | New York
How to lose control, Silence… | 2018
An avatar responds to Audre Lorde’s writings on Silence. After my father’s death I spent one year posting selfies on a special account. In the process I discovered an app which allowed me to turn the selfies into avatars and speak into them as a form of journaling. This was the beginning of a difficult and enlightening mourning process, which has seeped into all of my work. At its core is a kind of play and relationship to language which brings me back to the radical joy which has allowed me to survive many things in my life. Follow the link to my website, it's the first video bellow. ARTIST BIO I am a multi-disciplinary artist living in Brooklyn, NY originally from Iran. I work within the axis of healing as a space for multiplying meaning through translation and embodiment. Thinking through object-oriented feminism and time-based art, I am concerned with decoding social norms and cultural intersections through radical humor. Writing is at the core of my practice as is the poetics of place. I am an immigrant refugee of the Iran/Iraq War and much of my work is concerned with the radical joy that is at the core of mourning. There are those that have referred to my practice as that of a death doula.
ARTIST BIO
I am a multi-disciplinary artist living in Brooklyn, NY originally from Iran. I work within the axis of healing as a space for multiplying meaning through translation and embodiment. Thinking through object-oriented feminism and time-based art, I am concerned with decoding social norms and cultural intersections through radical humor. Writing is at the core of my practice as is the poetics of place. I am an immigrant refugee of the Iran/Iraq War and much of my work is concerned with the radical joy that is at the core of mourning. There are those that have referred to my practice as that of a death doula.
ARTIST WEBSITE https://saharspace.com
Sandrine Deumier | France
ELECTRICAL-DARKNESS | Interactive fiction | 2024
Windows executable file | Unity3D | Windows OS | Stereo | Approximate duration : 20min
Located in a Garden-City, in-between a suburban nature and a world-city, Electrical-darkness is a place where different perceptions can be experienced through a body interface implemented under the epidermis. In this ultra-sensitive metaverse, the body is the site of all kinds of self-fictions.
The epidermal interface has been designed on the basis of hypersensitivity phenomena. Coupled with an internal eye that allows these phenomena to be visually re-translated, the interface enables multiple levels of perception, time distortion and the infiltration of different bodily materials. In this hyper-intuitive metaverse, every form of individuality is plural. Electrical-darkness is a metaverse constructed like a set traversed by immobile speeds, where perception leads to explorations with fluid contours and where the body is subjected to varying degrees of emotional variation. Mutualism, symbiotic mutations, processes of perceptual multiplication and emotional hyper-activity form a framework in which to insert and dilute oneself. Electrical-darkness is an experiment in the dematerialisation of the self in exponential fictions.
In this first-person game, the aim is to explore the Garden-City and discover the many functions of the body interface. The Garden-City is made up of different platforms that can only be accessed through levels of attention generated by the body interface. However, there are no instructions on how to use the interface at the start of the experience. With the support of ADAGP (France) and Gastatelier Gleis70 (Switzerland). Artwork Link: https://saemdre.itch.io/electrical-darkness
ARTIST BIO
Sandrine Deumier is a multidisciplinary artist working in the fields of performance, poetry and video art, whose work investigates post-futurist themes through the development of aesthetic forms related to digital imaginaries. Passionate about digital storytelling, immersive artistic experiences, ecological concerns and speculative futures, her work focuses on imagining new ways of inhabiting the world using new technologies from an animist perspective.
ARTIST WEBSITE http://sandrinedeumier.com
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Syporca Whandal
Syporca Whandal | Hungary
Syporca Whandal (1977-), visual artist, performer She is the founder of SkhyzoKhyno Studio, and a member of the L1 Association, GLOBAL ART International Project, Hungarian Electrographic Art Association of the Zuriel Waise music formation. Her works in the visual, performative and musical fields show the maturity of experimentation, and thus its fragmentation and at the same time its excitement, in which he uses the interoperability of genre boundaries and the combination of technical means. Its most important solo national exhibitions are in the Kinetic Ákom-Bákom Hungarian Workshop Gallery (Budapest, 2017), Nude RE-CON-TOUR in Hungarian Workshop Gallery (Budapest, 2018), Pataphysics Bakelit Multi Art Center (Budapest, 2019), Ecce Homo - Reload! / Pataphysics PH21 Gallery in the Project Room (Budapest, 2019), PLACENTA Hungarian Workshop Gallery (Budapest, 2020), as a part of the Budapest Photo Festival, Monotonization Demonstration in Liget Gallery (Budapest, 2021), Vákuum in the Hungarian Workshop Gallery (Budapest, 2021). She has participated in several domestic and international group exhibitions and festivals, including the kArton Gallery INSPIRAL Stickers @ cardboard exhibition (Budapest, 2016), the MODEM at the Antiengszer extra exhibition (Debrecen, 2017), and the Satura Art Gallery at the Eroticamente exhibition (Genoa, Italy, 2017), in the B32 Gallery at the MET Stickers exhibition (Budapest, 2017), in the PH21 Gallery at the CorpoRealities exhibition (Budapest, 2018), in the 2B Gallery at the Common Jam exhibition in connection with the CAFe Budapest Contemporary Art Festival (Budapest, 2018), at the Palazzo Velli Expo at the Digital Art Factory (Rome, Italy, 2018), at the Shonan International Abstarct Art Exhibition GLOBAL ART Project & Art WALL at the SZK Gallery (Chigasaki, Japan, 2018, 2019, 2020), SOBOBADE Gallery at the GLOBAL ART Project exhibition (Dakar, Senegal, 2019), the Transart Communication Festival (Érsekújvár, Slovakia, 2018, 2019), Perfoartnet ArtPerformance International Biennial of Performance, Bogota Kolumbia (2018). The Ludwig Museum with the “Slow Life. Radical everyday life” exhibition (Budapest, 2020), Ludwig Museum Koblenz “Slow Life. Radical everyday life” exhibition (Koblenz, Germany, 2021).
COPIA | 2021
COPIA copy: copia, coops (copy : abundance) com - (together) + opis, ops (wealth) ... from here I rely on free association, as the graphics (photos) of the L1 (s) IZP-style portrait series dissolve into spaces, stories, demanding an aura with their perceived and real qualities. They are looking for intimate eye contact, giving a glimpse of what can no longer be fixed with technology, it is only imaginable. They let me play... Copia is a one-piece book object that was joined L1danceFest 2021 – 20 years as a traveling exhibition! events. Video animation: Syporca Whandal Photo series: Syporca Whandal Music: Zuriel Waise (Simon Lázár Baján + Syporca Whandal)
Stephen Roddy | 2022 | Cork, Ireland
Terminus Recoded | 2025 | cork, Ireland
The 2025 recoding of the 2014 digital video, Terminus Abruptus wherein the track 'The Life and Death of Terminus Abruptus' is set to visuals from Micro-Commando Diatron-5 (1985) or Space Transformers, which is described by TVTropes.org as a perplexingly insane and incredibly low-quality pseudoanime from South Korea. The makers of the cartoon heavily plagiarized a number of popular animations from the time and has been unfavourably compared to the show Transformers. Nonetheless, the piece portrays Cold War Era fears about the roles of technology, robotics and artificial intelligence in society, albeit through a uniquely capitalist gaze. This digital work recuts the show to a soundtrack that is intended to highlight and draw attention to key salient moments wherin these Cold War anxieties are at their peaks.
Signal to Noise Loops VX | 2022 | Cork, Ireland
Signal to Noise Loops v5: Breathing Space is a data-driven audiovisual installation for headphone presentation over mobile or smart devices. It is informed by principles from the fields of Cybernetics and Artificial Intelligence. Visualization and Sonification Techniques were used to turn data collected from noise level sensors at Ranelagh, Bull Island, and Chancery Park into music and visuals. The first part of the piece uses data from April 2022, when the initial shock of the COVID-19 pandemic was starting to subside and daily patterns of human interaction were slowly returning to normal across the city. The second part uses noise readings from the height of the pandemic in April 2020. Activity across the city was minimal at this point, as networked modes of communication became the dominant paradigms for human interaction.
ARTIST BIO
Stephen Roddy is a musician and sound artist based in Cork City producing work in a diverse range of styles from noise and drone to avant-garde metal and experimental electronic music. He uses a variety of techniques that center around the integration of amplified instrumentation and inventive computing techniques. He has been described as “equally adept at crushing soundscapes as he is mysterious melodies” producing “unsettlingly beautiful ambient landscapes” that conjure up a “fraught world where a sense of menace hovers all around”. His work is frequently performed and installed at home and abroad including Helicotrema, New York City Electroacoustic Music Festival & IMMA’s Earth Rising
ARTIST WEBSITE: https://www.stephenroddy.com/
Sue Nhamandu| Brasil
Tassia Mila | Brasil
Cântico das águas | 2021 | videoart
Sound and visual piece, a short film: 00:02:59: the image of a waterfall mixed with the sound of a song from my composition.
With this piece, I want to activate the sense that nature and its waters are channels of connections with the creative force.
Song of the waters is part of the concept I called Overflow Lines.
Overflow lines
1. The concept of the Overflow Lines came about in 2010 during a storm that caused several people to camp together under a large blue canvas tent. There was little space between one person and another in this camp that I called: the moving space of war-peace.
2. Because the terrain of the blue tent, which sheltered everyone, was quite steep, some people who took care of the tent began to dig cracks in the ground, creating channels through which rainwater could flow through the water in this way. it would not overflow into the big tent.
3. That's when it occurred to me to think of overflow lines.
4. I thought that overflowing needs lines to give it vent.
5. I thought about nature.
6. In nature, overflow lines can be thought of as the happening of a river.
7. Rivers are the lines that generate and cut a territory and allow it to overflow. Thus, paths are created and opened. Rivers are actively connected to everyday life, providing water for the most diverse vital needs.
8. Rivers flow into seas and oceans.
9. The level of seas and oceans is balanced by the flow of life in rivers. Rain cycles become rhythmic with the set of acting forces that sustain nature. Rivers are power lines of nature and what occurs to me to call Overflow Lines.
10. The waterfalls.
11. Waterfalls are like the intimate meeting points of a river with rocks, caves and mysteries. The depths.
12. In a waterfall, there is an energy spike, generated by the movement of the waterfall, capable of activating creative senses.
Como que papéis de carta - Tramas | 2021 | Digital Image
A digital collage, a montage of variations of an image. Variations that can be combined as you wish. The piece presented is a possibility of montage, a visual metaphor of a fabric, like conversations, which over time, create cultures and history.
This montage was created this year, 2021, from some of the more than 300 variations I've been making of this image since 2014.
ARTIST BIO
Tassia Camila Novaes Raimundo | Pataxó Kiriri de Jequié - Bahia| Brazil
"I am a sound composer and visual artist, a weaver - I make hand-knitted garments - and an experimental artist with the body, voice and other media, supporting transmission lines for the transit of sounds, images, voices, music and atmospheres. I compose sound and visual books, sonic tales, imaginations, vignettes, video art, experimental films; I research the practice of experimental cinema and the survival of images, their presence, appearances, persistence and movement in the fabric of the temporal, which transit along the cosmology of my indigenous ancestry, generational transmissions and the cosmovision of Jurema and the Catimbó culture. I was born and raised in Jequié-Bahia. My entire family comes from the rural region of the city of Maracás, in Bahia, and my paternal family is all Pataxó-Tupi indigenous, and part of the Kiriri maternal family. I currently live in São Paulo capital."
ARTIST WEBSITE https://gatopretopulando.wixsite.com/gatopretopulando
Tasha Lizak | Glasgow
Eidolon Park | 2022
ARTIST BIO
Tasha Lizak is a freelance visual artist, director, animator, and musician based in Glasgow. Her work combines visual art, creative direction, and sound, exploring interdisciplinary projects with an experimental and distinctive aesthetic. Available for creative projects, commissions, and collaborations.
ARTIST WEBSITE https://tashalizak.com/
Tati Cocteau | Cataguases| Brasil
Tripura | Los Angeles | EUA
Elusive beauty | 2023
“Elusive beauty”. 3D motion graphics. 00.41 sec. Sound by Dario Duarte. 2023 Swimming in shallow water, it is impossible to see all the beauties hidden in the depths of the grand universal ocean. It is impossible to fully appreciate the strength and richness of the entire spectrum of light and sound waves that fill it, innumerable forms of life vibrating with consciousness, the flourishing diversity of emotions and embodied experiences that are just reflections - reflections of real feelings hidden under the deep pressure of the dark. Only by diving deeper and deeper can one find that special moment that slips away in everyday life - the moment of true BEAUTY.
ARTIST BIO
Tripura is a Los Angeles based artist. She works with 3d motion graphics, video. Her works are inspired by the relationship between the global human body and the body of nature in the future, new forms of life, chimeras, boundless bodies, and interpretations of Love. Tripura's works have been featured on a digital billboard in Tokyo, were represented in Digital art month in Paris 2022, and have been shown in several recent exhibitions: Women of the world, Nowhere gallery, New York; Plexus project, New York; Superchief selects VOL.1 collection; Los Angeles; CADAF digital art fair 2022, New York, Ipercubo gallery, Milan, Italy. Tripura (Maria Agureeva) is a winner of the prize from Ruinart Art.
ARTIST WEBSITE https://www.instagram.com/tripura_maha/
TU Lang | Hong Kong SAR
Body Trasport | 2013
Body Transport 2013 04:40 Digital Video The real and unreal, similar to the way in which the digital world is often described as having very real physical attributes, yet being devoid of the realness we associate with physical attributes, yet being devoid of the realness we associate with the physical. When we look at crystal, mirror, lens, or TV screen which veils the comparably inadequate of spaces of physical we are put into a perpetually utopian virtual space without any bodily connection. The differences through, between the screen and the mirror, are the elements of interaction with a screen's image, absent in the reflection of mirror. The mirror requires our physical presence; however, our digital reflection goes on altering and shifting without us. This encourages us to negotiate the spaces of the online and offline worlds as though they are separate, despite the fact that they are intrinsically linked with one another.
Eye Massager 1 | 2017
What is invention? What is intelligent invention bring to us? The progression of human being creation make our body extension or destructed our basic perception of sense. Visual become to the most important value of our body, everything will become images and digital databases, however our physical body will lost into the virtual and real.Finally we have to controlling by the machine that we created to reread our physical memory and recontribute our health. City become to a cable board that floating our image of experiences, but how we put in those experiences? Digital has forced a plant and soften our memory, certificated their existing. Us? Living in a lucid dream can not distinguish the truth and fictional.
ARTIST BIO
Tu Lang is a visual artist, designer and researcher graduated from Glasgow School of Art BA (Hons) Visual Communication and Kingston University London MA Experimental Film. Now living in Hong Kong and Beijing. Tu Lang is experimenting in the space, use media and materials to create the spectacle and moment between the virtual and reality. Her work try to question and redefine the value of the object, invention and image we see in the daily life, and to explore the imagination and affairs that unite her perception of the media and living environment of extension.
Tu Lang also founded the curatorial research project “SPAM PROJECT” in 2017 and she start as an archive researcher and public programmes curator in a nonprofit video art institution Video Bureau. Recently exhibited her works in Made In Gallery, Capri by Night Cologne ,Galaxy Contemporary Art Museum, I:Project Space, “NEoN New Media Art Festival” Dundee, “Take in Natural” We Gallery Shanghai, “B3+Moving Image Biennale” CAFA Museum Beijing, “BYOB” Beijing etc.
ARTIST WEBSITE https://tulanglangtu.net/
Tyler Kline | Philadelphia | USA
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Cartographical Psychology | 2024
Borders and Maps, real and from memory, are used as visual prompts for Midjourney to recreate the same cartography. A hand drawn map of Kensington in Philadelphia is used as a prompt to create a lithographic etching of a cartography of Kensington. The resulting images are full of errors and hallucinations. These hallucinations are printed and gesso transferred onto wood boards, were they become paintings to be hand corrected, both by memory and from original map source. These paintings are then digitally photographed and used as image prompts to create new cartographies for the same locations, Kensington in Philadelphia is a favorite. Through hallucinations, corrections, editing, and memory, the idea of place in excavated and recombined into a Cartographical Psychology.
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Climate Wars | 2024
Using photographs from ecological protests 1998-2003, AI hallucinations were created. These visual hallucinations were printed out and gesso transferred to wood supports, at this point the images became paintings. The paintings were then digitally photographed and used as image prompts in Midjourney to create new visual halluncinations. The fantastic figures foreshadowed are now cropping up real time in the global protest movement.
Solar Moth | 2025
Speculative fiction using generative design, world building, AI hallucinations, glitches, and serendipity to create the cosmology of the Sednacene, an epoch of inter species communion.
VXF_11_Z | 2017
ASMR video meditation
ARTIST BIO
Tyler Kline is an artist, educator, activist, curator living and working in Philadelphia. Kline grew up in Stone Mountain, GA, studied Architecture and Painting at the Savannah College of Art and Design. He received a BA in both Anthropology and Sculpture from Portland State University and an MFA in Installation and Sculpture from The Pennsylvania Academy of The Fine Arts. Kline has worked in the sphere of urban interior and exterior intervention for two decades, beginning with creating skate-parks in unused urban spaces in Atlanta, to creating a sculpture garden in the shadows of re-purposed textile mills through Little Berlin in Philadelphia. He makes immersive installations and netart.
Artist Website: https://www.tylerklineart.com/
Udi Cassirer | Marrocos + Romênia
Dolphin III (From the series “A Gesture for a Mammal”) | 2023
“A Gesture for a Mammal” 2023, recent artworks, In the broader context of the art world, AI-generated art raises discussions about the nature of creativity. By utilizing AI to depict mammals in over-tourism scenarios, these artworks serve as a poignant reminder of the fragility of our planet's ecosystems and the urgent need for environmental stewardship. These AI-generated clips of mammals in over-tourism scenes concerning climate issues may be visually captivating due to their novelty, surprisingness, complexity, and ambiguity. These clips challenge conventional notions of art creation, blurring the lines between human intention and machine-generated results. The deformation of mammal depictions in these AI artworks may evoke references to Francis Bacon's deformed portraits but with a fundamental distinction: the deformations in AI art are not intentional expressions by the artist or the machine but rather a result of the machine's inability to imitate human representations perfectly.
Valdas_NeuroVirtual | Lithuania
Rise and shine Mr. Metaman, rise and shine | 2025
My artwork consists of a video file that is 1 minute long and is looping. It's a short conceptual model of the multiverse of sixteen possible experiences, and was created as an experiment with the possibilities of AI. I'm interested in the digital bugs/ AI hallucinations that can be as the language of digital culture.
ARTIST BIO
3D visual creator - modeling as ritual | consciousness OBJ | three dimensional narratives.
ARTIST WEBSITE www.nrvrtl.art
VFCC | México
VFCC | México
ConETHmporary Cryptoartist ..- ..-. -.-. -.-.
What matters most is how well you walk through the fire | 2021 | digital image
"What matters most is how well you walk through the fire" character inspired by the poem of Charles Bukowski.
Vicent Tanguy | Paris | France
The Wandering | 2020
A nocturnal stroll in the heart of Shanghai, a techno-romantic wander, a play with the notion of reality. The Wandering features Vincent Tanguy ambling through the megalopolis’ streets with a luminous ring, comparable to the main character in a video game. This video performance confronts reality with its potential simulation in order to unsettle our understanding of real facts, and appears as a premonition of physical distancing.
AFK | 2023
AA human being appears at different places and simulates actions similar to the world of video games. Fitted with a motion capture suit, enabling his movements to be captured, the performer creates metaphorically a virtual and digital character in real time and space. This gives the illusion of being between reality and its instantaneous simulation.
ARTIST BIO
Vincent Tanguy develops a mix-media art practice in which the digital deluge, effects of globalisation and the symbiosis between physical reality and virtual interfaces are transformed by his unique poetry and humour. He notably created The Convenient Life (2019), a performance created in Shanghai, China, where, by pushing the possible use of the smartphone and digital platforms to the extreme, he anticipates the generalised quarantine in his own way. His work has been presented in France and internationally at the Seoul Art Space Geumcheon (Seoul, SK), at the Spazio In Situ (Rome, IY) and the 21st Japan Media Arts Festival (Tokyo, JP). In 2021, he was awarded the Katapult Art Fund.
ARTIST WEBSITE https://www.vincenttanguy.net
Vittorio Bonapace | London | United Kingdon
Hellenica | 2021
The Hellenistic and Renaissance Art land together into 2050, portraying the relationship between Art, Science and Technology, leading us to ask whether artworks produced by machines may indeed be defined as “fine art pieces”. Vittorio Bonapace treats the theme of the dystopian future presenting a classical Sculpture Studio environment where an AI Machine is working on Michelangelo’s David, carving it in his own image and likeness. Michelangelo’s David is considered one of the greatest masterpieces ever created by mankind with no equal to it in such proportion, beauty and excellence: Having a machine manipulating it defines a clear line. The act itself aims to raise unresolved questions about machine art, which are – first – what its potential is and – second – whether it can truly be described as “creative” or “imaginative”. These are problems, profound and fascinating, that take us deep into the mysteries of human art-making, machine learning and their complicity in a Digital Era.
ARTIST BIO
Vittorio Bonapace is an Italian award winning digital artist and Art Director based in London. After 5 years working as a Scenic Artist and Painter at Teatro dell’Opera di Roma, he specializes as a 3D artist in high quality renderings, combining his artistic background with CGI. He is a SuperRare artist and has also been releasing NFTs on MakersPlace. He was most recently part of ‘Dystopian Visions’, a curated collection of NFT digital art exclusively for Italian auction house Aste Cambi and SuperRare.
ARTIST WEBSITE https://www.instagram.com/vittorio_bonapace_studio/
Vladimir Nefedov | Poland | Warsaw
Infinity Eggs | 2023 | Poland
“Infinity Eggs” is an experimental animated series that I created alone using early, still-rough AI video models in 2023. At that time, neural networks could generate only a few unstable seconds at a time, but from this fragmented material I assembled two seasons of six episodes each, ranging from 2:50 to 5:15 minutes. The series depicts a world overtaken by alien bureaucracy, while also capturing a moment when AI was not yet a convenient tool but a temperamental system imposing its own limitations and aesthetics. “Infinity Eggs” can be considered the first fully AI-generated series (no one has proven otherwise yet) and an artifact of the early neural-video era.
ARTIST BIO
Vladimir Nefedov is a Poland-based filmmaker and multidisciplinary artist exploring the boundaries between narrative structures and emerging AI technologies. His work examines how early generative video models reshape authorship and long-form storytelling. In 2023 he created Infinity Eggs, considered the first fully AI-generated series produced with pre-commercial neural video tools.
ARTIST WEBSITE https://www.instagram.com/infinityeggstv/
Xãtana Xãtara Potyguara
Entre o Asé e o Ixé | 2022 | Digital photographic collage
The work is a pataphysics of ontological and epistemological confluences between the self and the spiritual. Pictorial sequences adulterated by the becoming of presence, decoded by the territoriality of identity and its relations with Afro and Pindoramic diasporas. A retraction of the place of being in the face of colonization processes, where ethnocosmological erasures are confronted with resistant ancestries: the possibility of a body as ancestral memory, a collection of biomemorial sharing between peoples - encoding presences in beings.
First Sequence: Ãga rikú
The travestilidade - in addition to being untranslatable - is full of rites, totems, passages and omens. Even with the violent genderification of bodies in coloniality, the transvestite emerges in a counter-culture of reverse popularity. If before, these corporeities were intrinsically linked to peoples both politically and spiritually, now in the colonizing process these presences are detached through the invention of humanity. Foucault's utopian body in its full excellence, Deleuze's body without organs in its habitat, the ultimate update of Preciado's nanocyborgs. Travesti obtains the knowledge of techno-witchcrafts that go beyond the conceptual prime of body and soul.
Photographed bodies:: Caela Diniz, Urutau Maria Pinto, Ombá Yîará, CaLu, Dyó, Xãtana Tereza Xãtara apoio fotográfico: Urutau, Lobo Riscado, Guilhermo Gara, Mapô;
Waterflower | Riga | Latvia
Oyster Music Experiment 004 | 2021 - 2022
What do oyster mushrooms sound like? Can you make music out of mushrooms? Mushroom-music is in no ways a scientific invention, but it is a fun way of utilizing the capacitive bio-data and using it to control the melody of the instrument being played. I use mushrooms and plants to “play” a custom instruments I design with Serum and other VSTs in Ableton in Serum. My idea is to create something like an old-school modem sound, similar to the ones that could commonly be heard in the 90s when connecting to dial-up internet.
ARTIST BIO
Waterflower | Riga, Latvia - 𝑯𝒂𝒗𝒆 𝒚𝒐𝒖 𝒆𝒗𝒆𝒓 𝒉𝒆𝒂𝒓𝒅 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒑𝒍𝒂𝒚 𝒇𝒍𝒐𝒘𝒆𝒓 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒂 𝒔𝒚𝒏𝒕𝒉? 𝑾𝒆𝒍𝒍 𝒍𝒐𝒐𝒌 𝒏𝒐 𝒇𝒖𝒓𝒕𝒉𝒆𝒓. Waterflower is the alter-ego of artistic polymath Sabine Moore. Challenging normality and exploring femininity within electronic music, Waterflower creates avant-pop that could equally be exhibited in an art gallery, or discovered at an underground club. She uses plants and mushrooms as both a keyboard (connected to synthesizers) and as midi generators – transforming the plant's bio-data into music.
ARTIST WEBSITE https://waterflower.lv/
Winnie Soon | Denmark
Winnie Soon | Denmark
Winnie Soon is a Hong Kong artist-researcher interested in queering the intersections of technical and artistic practices. They have received various art awards, including the Expanded Media Award for Network Culture at Stuttgarter Filmwinter — Festival for Expanded Media, WRO 2019 Media Art Biennale Award, the Public Library Prize for Electronic Literature (short-listed), and the Special Mention and Silver Award of IFVA – Media Art in Hong Kong. With works appearing in museums, galleries, festivals, distributed networks, papers and books, they are the author of two books titled “ Aesthetic Programming: A Handbook of Software Studies” (with Geoff Cox) and “Fix My Code” (with Cornelia Sollfrank). Researching in the areas of software studies and computational practices, Winnie is the co-initiator of the art community Code & Share [ ] and the co-editor of the Software Studies Book Series (MIT Press). They are currently based in Denmark and working as Associate Professor at Aarhus University.
site
Unerasable Characters III | 2021 | webart
The unerasable series explores the politics of erasure and the temporality of voices within the context of digital authoritarianism. It presents the sheer scale of unheard voices by technically examining and culturally reflecting the endlessness, and its wider consequences, of censorship that is implemented through technological platforms and infrastructure. The series collects unheard voices in the form of censored/erased (permission denied) data, including emojis, symbols, textual characters, which is based on one of the biggest social media platforms in China – Weibo via the system called “Weiboscope“, a data collection and visualization project developed by Dr. Fu King-wa from The University of Hong Kong, in which the system has been regularly sampling timelines of a set of selected Chinese microbloggers who have more than 1,000 followers or whose posts are frequently censored. Unerasable Characters III utilizes data between 1 December 2019 and 27 February 2020, the time when the COVID-19 outbreak was started in China. According to King-wa Fu & Yuner Zhu, there were 11,362,502 posts during the period, among which 1,230, 353 contain at least an outbreak-related keyword and 2,104 (1.7 per 1,000) posts had been censored. The artwork displays all the erased archives in the format of a web presentation, where each tweet is unreadable. The content has either been obscured or blacked out, except the punctuation, emojis and special characters. However, what remain are the pauses and blurry timestamps, depicting the affective and expressive, as well as temporal and spatial dimensions of unheard voices. Users can interact with the web by pointing to those pauses, contemplating the poetics of silence and erasure, and further questioning how the culture is being normalized via systematic processes and political infrastructure.
Yasaman Sharifzadeh | Iran
Persepolis city | 2021
Time is a simple one-way road and yet religion, science and philosophy have all been introducing their own version of its definition. Interestingly time is used as various measuring tools in corporate world, science and performing arts and AI is now probably intending to take a big leap of using this precious, one way and single chance gift of time. Time is a continuous sequence of happenings and events with no intention of looking back. The chunk we take, focuses on determining the sequence and length of events, or the time interval between them, as well as measuring the rate at which matters change materially relative to conscious experience.
The aim of this project is to challenge the audience's sensory and empirical perception and describe the most important events and fundamental stages in the development of the planet Earth from its formation to the present day and how space changes over time to its continuity in interaction with humanity and culture.
The codified history of human civilization is set in parallel on the axis of time. Places are formed from human experience over time. While living conditions, diversified experiences, battles and cultural forms have led to creation of diverse civilization and scenery across the planet.
Plenty of urban settlements have formed over time and we hereby have selected one of the oldest and significant cultural symbols from a nation once covering many lands across many timelines while illustrating physical changes along the stretch of time using data based on cultural, historical and atmospheric conditions and changes with tools provided by computational creativity of neural networks. It is then portrayed as an interdisciplinary work of art, with a combination of music that symbolizes the culture of the area.
ARTIST BIO
Yasaman Sharifzadeh | Iran, Media Artist. Hybrid Art / Embedding code art and machine learning to life NFTs, Collectible Digital Art.
ARTIST WEBSITE https://www.instagram.com/yasmaanik
Yi Tang | Seattle | USA
Whisper - Social Assistant for Introverts | 2021 | Seattle, WA, US | Yi Tang
Whisper is a speculative interface for quiet people trying to survive loud social spaces. The work imagines a multi-device system, a mobile app, a wearable controller, and a discreet earbud, which “whispers” suggestions to the wearer in real time: how to enter a conversation, what to say next, when to step away. The system uses lightweight AI to adapt prompts to context and personality, inserting machine-generated scripts into the intimate gap between thought and speech. In Metatopia’s framework, Whisper reads as a small delirium produced by the machine: social behavior becomes co-authored by an invisible agent whose logics are partly opaque, partly comforting. The work does not ask whether the assistant “works” efficiently, but whether this form of coded companionship alters the user’s sense of authenticity, desire and participation. Presented through interface studies, speculative scenarios and visual narratives, Whisper invites viewers to consider how AI might quietly hallucinate new versions of the self into everyday social life.
ARTIST BIO
Yi Tang is a Seattle-based Senior UX Designer at Amazon whose AI-informed design work for complex organizations has received international recognition, including honors from the German Design Award, MUSE Awards and A’ Design Award. With a background in film and interaction design, he co-produced the feature documentary Americaville (Best Feature Documentary, ArchFilm Lund) and has exhibited speculative UX work such as Whisper at design events in New York.
ARTIST WEBSITE https://www.linkedin.com/in/yi-tang-56133985/
https://www.yisportfolio.com
Yves Gregoire Lizárraga | CDMX/La Paz BCS| México
Territorio Liquido | 2024
A convergence of geological, biological and geographical agents, within a notion of speculative evolution. A virtual biome that presents an expanding environment, simulating present and future ecologies, crystallizations, surfaces and water courses in speculative spaces and artificial landscapes, in a perspective of a post-natural world.
Defrag | 2023
In this piece I evoke the notion of deep time (geological time vs. human time), to symbolically examine the multidirectional relationships between the anthropic, the interface and the landscape, and to speculate, within a parallel digital imaginary, with ways of defragmenting habitats to configure others, through iterations of possibility or impossibility.
Especies de Espacios | 2024
México Experimental 3D animation. A vision of an oceanic liminal space, where a kind of floating ecosystem folds, unfolds and pulses at variable rhythms.
ARTIST BIO
Yves Gregoire Lizárraga. Visual and sound artist. Member of the National System of Art Creators (SNCA) in México. He has participated in multiple national and international exhibitions, and received awards and recognition from various cultural institutions and artistic programs. The digital mediation of the experience of place and territory has acquired preponderance as a domain of reference in the formation of his creative baggage. His work has been shaped by research into the construction of a discourse where references to the biological, technological, sound and imaginary agents that make up the notion of place converge and remix. He explores and investigates within 3D animation, data processing of geographic information systems, mixed reality and acousmatic composition, interpreting the surrounding environment through digital realities that draw a parallel with the realms of the physical and the virtual. Among the awards and distinctions he has received are the selection in IN-SONORA 12, International Festival of Interactive and Sound Art in Madrid Spain, in VIDEO ART MIDEN in Greece, honorable mention in the Second National Landscape Biennial in Mexico, selection in Post-digital landscapes, within the International Festival of Urban Digital Art MMMAD Madrid, the acquisition prize in the XV Biennial of Visual Arts of the Northwest, and honorable mention in the XXV National Art Meeting Young. Currently lives and works in Mexico City and La Paz B.C.S.
ARTIST WEBSITE https://yvesgregoire.net/
Zander Porter | Berlin / Los Angeles / Tokyo
[satellitic] 3M0T1NG | 2022
Zander is the third artist-in-residence at INPE (National Institute for Space Research) in the SACi-E program (Subjectivity, Art, and Space Sciences), curated by Fabiane M. Borges with academic supervision of Paulo Escada – DIEXC and COEPE. Zander’s research is titled “3M0T1NG” – mixing affects of the human and computation, moving-feeling the somatic cyborg. Xyr artwork at INPE performs a dance experiment in the architecture of the anechoic chambers of INPE’s LIT (Laboratory of Integration and Testing), proposing the body as a satellitic object enacting a social matrix in the absence of human collaborators.
ARTIST BIO
Zander Porter is an artist (artistic researcher) and choreographer (dancer-cyborg) based primarily in Berlin, with additional frequencies in Los Angeles, Amsterdam, and Tokyo. Working between liveness and onlineness, ze interpolates (dis)identification and (dis)embodiment as phenomenological inquiries between surface, soma, portal, and psyche. Zander’s practices dissect and recompose attention and identity through gamification of gender, affect, interlocution, and subjectivity. Citing internet semiotics, hormonal technologies, corporeality, and surveillance paradigms with a mixture of curiosity, reverence, irony, and skepticism, Zander’s work critically exposes neoliberal orders of hyper-individualization and reimagines staged/documented ceremonies of the techno-social. Ze articulates byproducts (expressions, performativities) of this negotiation as (technogenetic, neuroatypical) matrices of queerer relationality.
Zander (ザンダー, زاندر) has been a core member of XenoEntities Network (XEN), a platform for discussion and experimentation focusing on intersections of queer, gender, and feminist studies with digital technologies. Holding a high-honors BA in Art Studio (with additional coursework in Computer Science and Performance Studies) from Wesleyan University and an MA in Choreography from DAS Graduate School – Amsterdam University of the Arts, ze has worked or participated in residencies at Swiss Institute / Contemporary Art (New York), Cité internationale des arts (Paris), Trauma Bar und Kino (Berlin), the Saison Foundation (Tokyo), National Institute for Space Research (São José dos Campos), Leonardo@Djerassi (Woodside), Zurich University of the Arts (Zurich), and DANSEatelier (Copenhagen), alongside reception of disparate production and research grants or awards and participation in various exhibition and festival contexts internationally. Zander is an avid 펌프 잇 업 (Pump It Up) player and linguistic hobbyist (incl. Spanish, German, Japanese, Arabic, Latin, and computer programming).
ARTIST WEBSITE https://www.instagram.com/z3ndxr/
Zkymicx | Brasil
Zkymicx Pwuhodra
E. S. C. lives with 4 cats, is a dancing star, makes woodcuts and drifts around the city.
Capture #7 | 2020
Robots Disneyland - Discovered by Thiago, Telegram Sub-Pioneer-Apostle.
Peg&Lev | 2020
Digital communication.
Metatopia
Delirium Ex Machina
On March 31, 2026, another edition of Metatopia, in partnership with The Wrong Biennale, ended up. In this section, we investigated the aberrant movements of artificial intelligences, that is, the ways in which they produce hallucinations, errors, and deviations within the normative and hegemonic language of machines. These displacements traverse the production of the sensible, affecting art, space, architecture, cities, cinema, and music, reconfiguring modes of creation and perception.
Thirteen years ago, this biennale emerged as a challenge to the monopoly of traditional biennials, opening a passage for digital art that existed at the margins of the art system. Today, it resonates with more than 13,000 creators worldwide, reaching millions and shaping a post-gallery project that actively intervenes in the formation of digital culture, establishing itself as a model of real inclusion within an otherwise tightly closed art system.
To every artist, curator, researcher, and visitor who engaged in this process, bringing their perspectives, questions, and propositions, I offer my recognition. It is within this multiplicity of voices, what we call a collaboratory, that the biennale gains density, opening new possibilities for collective thinking and artistic practice. All of this is ours.
We continue.
With love and gratitude,
Aisthesis Lab