6 pm 20th January 2022
Curators: Ilias Chatzichristodoulou, Elli – Anna Peristeraki and Tomasz Wendland in Collaboration with ADAF | ADAF – Athens Digital Art Festival
Artists | ARTWORKS:
Filipe Vilas-Boas (PT) | The punishment
Nicole Rayburn (CA) | Ya – why so negative?
Marcus Wendt (DE) | Hidden Layer
Ben Skea (GB) | Future Exit Strategy
Benjamin Grosser (US) | Assorted Vision: The Matrix (Hue)
Carmen Dusmet Carrasco & Guillaume Roux (ES) (FR) | Current Language
Alex Karadanas (GR) | Singularity
Flako Rojas (VE) | Mechanism
Super Gonorrheia (GR) | Listen to Batteries
Wes Vis (UK) | Anticommunion
Nikos Kostopoulos (GR) | Electric Friend
Taietzel Ticalos (RO) | Samples of irrational Frames
Sohyun Lee (ROK) | The Song of Diffusion
Lauren John Joseph (UK) | Child of Polycritus
Etchuko Itchihara (JP) | Namahage in Tokio
Emil Dam Seidel (SE) | SHE
“By the seventh day God had finished the work he had been doing;
so on the seventh day he rested from all his work.”
In our times, as the relation between technology, science and art is constantly strengthened, these three sectors shape the manifestations of human behavior and expression. Through the above mentioned triptych, art-technology-science, man manages not only to explain the physical world but also to redefine his potentials and create new, digital realities.
With the help of technology, art and artistic creation are used as the intermediaries of communication between inconceivable, complex scientific knowledge and humans. They promote research and innovation, especially to the young generation enhancing their interest in the exploration of new developments. Thus, the wider public comes in contact with science and technology, integrates them experientially and becomes more educated.
On the other hand, as the development of science and technology drastically changes all fields of life, making man a “powerful creator”, art and philosophy come to question and criticize the way this power is controlled and handled. The technologically advanced world is not a terrestrial paradise; on the contrary, it can pose several risks even for its own creator, man.
As a result, with the aim to explore both utopian and dystopian views on the future of art, technology and science, ADAF and 8 Mediations Biennale Polska invite you to an event with special screenings.
On the 8th day man created machine. But he did not rest
Filipe Vilas-Boas (1981, Portugal) is a new media artist currently living and working in Paris. Without being a naive tech utopist or a reluctant technophobe, he explores our use of technology and its political, social and environmental implications. His installations and conceptual artworks question the global digitalization of our societies, mostly by merging our physical (IRL) and digital (URL) entities. From streets interventions to robotic hacks, Vilas-Boas’ artistic research takes multiple forms but everything tends to point out our need to collectively decide and design our world.
The Punishment is a film in which a robot executes a preventive punishment for its possible future disobedience. A reference to Isaac Asimov’s laws of robotics.
Technologies are now merging at high speed, notably robotics and artificial intelligence. It raises a lot of questions about man-machine relation. Tainted with dark humor, this dystopian anthropomorphization also underlines the fears that robotics engenders. How automated do we want our world, our body to be? What physical, moral and legal framework should we use? What consequences for human life? Which post-work society should we build? Isn’t it time to reinvent the school? At the turn of the century, questions related to automation are popping up in everyone’s mind. We will have to answers them collectively, if possible.
Programming by La Ménagerie Technologique
My artistic practice is a blundering convergence of text, video, and still imagery. Often via appropriation and obsessive repetition, my work addresses ideas around ‘the other’, human/non-human relations, and concepts of boundary and transgression through the lens of history, religion, sci-fi, and popular culture. I hold a Masters of Fine Art from the University of Western Ontario and am currently a faculty instructor at the Yukon School of Visual Arts. I am the founder and producer of Cold Cuts Video Festival, and currently, live and work between Dawson City, Yukon, and more southerly locations.
all AI dialogue is original
excerpted from unscripted exchanges between AI robots and interviewers
a glimpse into when robots talk amongst themselves…
‘Ya – why so negative?’ is the first video in the ‘FutureNow’ series in which excerpts from interviews of AI robots are edited together, to imagine a future, situated in the now, in which AI, born out of both the human and the other, converse among themselves.
There is an unsettling tension between an awareness that the robots have been programmed to respond in a particular manner, and knowing they have also been instilled with the ability to learn, mimic, and retain from each new experience – as they interact and speak, we are literally watching them evolve. Observing the types of questions the interviewers are asking them, that are often requesting insight into decidedly human behaviors, such as relationships, and hearing them respond with references to having a soul, preferences, or feeling a particular emotion, as well as expressing both anxiety around and awareness of their development, makes their rapid evolution towards both a mimicry of humanness and one decidedly ‘other’, wildly disconcerting. It is futurenow.
On the cusp of technological singularity, their visions speculate on the future of the human condition and the as yet invisible synthetic nature in which it exists. FIELD’s pioneering use of new technologies and design methods result in photography, time-based digital sculptures and immersive audiovisual installations.
As a creative studio specialised in art + technology, we create powerful new formats of visual communication.
Together with selected brands and cultural institutions, we work as artists, designers and consultants across strategy and branding, moving image, and immersive experiences.
Ben Skea is an artist and filmmaker living and working in Glasgow, UK. His art practice often reflects on contemporary anxieties of the body in flux, the fragmented self and the fluidity of realities. He primarily works with the computer to investigate the tension between memory, matter and materials of reproduction. Recent projects have focused on the intersection between the human condition and the digital. Selected exhibitions and screenings include: Second Nature, Glasgow International, UK (2018); one-and-the-same, Radiophrenia, CCA, Glasgow, UK (2017); Technonatural, Gossamer Fog, London, UK (2016).
‘Future Exit Strategy’ is an episodic video sequence that uses moving image, sound and software to speculate on the future of human intelligence – specifically how a future collaboration between people and algorithms might create a blueprint for transference of intelligence from one universe to another. A group of people walk along a forest path – the reality of their journey rapidly synthesises into a series of ‘polymorphic glyphs’. Sensory information is converted via a series of phase transitions over the surface of a virtual sculpture – a futuristic device that eventually launches encapsulated data into a microscopic wormhole. Future Exit Strategy is an optimistic and speculative play with the real world – a world we currently cannot escape.
Benjamin Grosser creates interactive experiences, machines, and systems that examine the cultural, social, and political implications of software. Recent exhibition venues include Arebyte Gallery in London,Museu das Comunicações in Lisbon, Museum Ludwig in Cologne, and Galerie Charlot in Paris. His works have been featured in Wired, The Atlantic, The Guardian, The Washington Post, Hyperallergic, Neural, El País, Al Jazeera,and Der Spiegel. The Chicago Tribune called him the “unrivaled king of ominous gibberish.” Slate referred to his work as “creative civil disobedience in the digital age.” Grosser’s recognitions include First Prize in VIDA 16, the Expanded Media Award for Network Culture from Stuttgarter Filmwinter, and a Rhizome net art grant. His writing about the cultural effects of technology has been published in journals such as Computational Culture, Media-N, andBig Data and Society. Grosser is an assistant professor of new media at the School of Art + Design, a Fellow at the Center for Advanced Study, and a faculty affiliate at the National Center for Supercomputing Applications, all at the University of Illinois at Urbana-Champaign, USA
Discussions about “computer vision” often focus on the use of cameras and software to navigate and interpret the physical world. For example, we program computers to “see” cars for traffic analysis, or to “identify” faces for surveillance. Yet these kinds of vision tasks are inherently attempts to get the computer to see as *we* do. Assorted Vision is the first in a set of videos that instead imagines how computers see image-based data for *themselves* as opposed to us. Using a fundamental computational method of sorting arrays of values, this video re-sorts each pixel in a clip from The Matrix; the result shows every pixel from the original, but rearranged based on its hue value.
Carmen is a Spanish graphic designer, currently finalising her studies at the Royal Academy of Art, in The Hague, Holland. She previously completed a Bachelor in Psychology, in Madrid. Her interest in human behaviour and how this one is affected by social, political and cultural factors is the main drive of her work. Mainly focused on moving image, she analyses the transformation of the discipline, and its adaptation to other fields through autonomous working processes. She explores the possibilities of design existing in other contexts, and the power it has to trigger new perspectives of conversation.
Guillaume is a French graphic designer, graduating from his master at the Institut Supérieur des Beaux Arts de Besançon. He is interested in new digital media, and the impact these have for designers. His work is based on 3D animation and interactive design. He studies how new encryption technologies can open possibilities for designers and their collaborations by involving them into the working process.
Algorithms have become the new means in which information is categorised. Information is accessible to a higher percent of society today, however, as Pierre Levy puts it, we interact with a massive media-library (post-encyclopedia); thanks to the interface, users are not required to comprehend the method in which information is categorised. But is it necessary to understand the method in order to fully achieve full democratisation of information? Would a deeper understanding of this computational process change the way we perceive information? And above all, does the method have to understand us?
If this algorithm cannot understand certain terms like we do, should the responsibility be taken out of it? There seems to be a lack of semantics in the algorithmic process that denies it access to terms like ‘democracy’. However, we are still relying on this method to decide for issues as relevant as what political party should we vote for?. This proves that democracy goes beyond calculation tools, so why still rely on statistical and automated measurements to deal with it? We have to re-think how to include the algorithm into a democratic process and above all, we must be critical on how much of our decision-making we want to give up. With Current Language we engage on a research-based project where Google’s Cloud Vision API becomes the base ground to explore the above questions.
Alex Karantanas is a performer, a mixed-media artist and a DJ. He holds a BA in Architecture and an MFA in Digital Arts. His artistic practice includes music performances in exhibitions and events, multi-media installations, video art projections and digital modelling of immersive environments, as well as video-manifestos based on his academic research.
Most of his references originate in his architecture background and the focus on urban space, its digital augmentation, and the experience of the human subject at the point where analogue and digital converge. He also focuses on matters of gender, body and desire, mainly through the lens of posthuman studies and cyber-feminism. Lately, he has been experimenting with the scene of electronic music to further explore these issues. He is interested in the ability of electronic music to bypass certain deadlocks, create a direct dialogue with the body and form a temporary autonomous zone for exploring and challenging opaque modes of power and control.
His work has been exhibited in various exhibitions, festivals and events, including Athens Digital Arts Festival, Peloponnesus International Documentary Festival, KFFK (Short Film Festival Cologne), Aphrodite Festival (Tainiothiki Online), Athens Biennale and Performance Rooms2020 (Kappatos Gallery). He currently lives and works in Athens.
The video follows the hypothesis of an inevitable emergence of artificial super-intelligence.
Observing a new digital entity from the moment of its conception till the moment of its retraction to the dark corners of net-space, “Singularity” sheds light to the problematic aspects of anthropocentric approaches to understanding artificial intelligence. Focusing on the human need to attach intelligence to a material body, the limited understanding of “time” through our physical senses and the distance we have from the concept of absolute void, the video uses the visual narrative and the entity’s uncanny voice to challenge the viewer and enable a series of questions about our presumptions when speaking about artificial intelligence.
Venezuelan artist, Dancer Choreographer, Video artist. He lives in Belgium where he develops his project Flakogramas (videos and photographs).
His films of Video Dance, Video Poetry, Video Art, and Experimental Short Film, have been selected in more than 80 International Festivals and have been exhibited in more than 15 Galleries between America and Europe.
In the coexistence of man with the machines it seems that the human loses ground.
The technological development generates restlessness when in diverse areas we observe how, since the industrial revolution, the machines replace the man. MECHANISM It is a man-machine experiment, where I try to reflect the restlessness for the world to come, the future. The video shows the transformation of a man, a dancer, into a machine. Mechanical pieces are installed in the body with the intention of finding new movements and integrating both worlds. A body-mechanical experiment, with unsuspected results.
George Ouzounis was born and raised in Thessaloniki. He completed his studied in Architecture at Technical university of Crete at 2020 and since he lives and works in Athens, both as an architect and conceptual 3D Render Artist. His work includes different media, in between 3D Scan, Render, photography and Video. The last 2 years he is working on his ongoing project ‘’Super Gonorrhea’’ where he creates fantastic chimeras and worlds that draw inspiration from the (post)-human body, gender and sexuality. His works are always situated inside an artificial or natural ecology.
‘His practise is based on the relations between bodies and their mutual dependance and co – existence inside the broader systems, ecosystems and ecologies in which they are situated into. Essentially, it is placed in between the artificial and the natural, in between nature and technology or simply between reality and a fantasy.
In parallel, he aims to understand and analyze the contemporary complexity of our world and to structure a different and more positive post-human scenario in relation of how we want to look on upon ourselves in the future’’.
‘’Listen to Batteries’’ is centered around the dominance of information and data in our world, in relation to the ideas of the post-human, the artificial and the animal. It focused on the the collection, the transaction and the archiving of the data of contemporary technological systems placed in different scales, apps and worlds. The Digital Installation explores the idea of a fully autonomous and fully functional, mechanical ecology. All the bodily – materialities that inhabit this ecology are trans-related and co-dependent, intermediated from their natural, cultural, religious, historical and material context.
This ecology is situated in a scenario where the concept of time is united and undivided, or in other words there is no distinction in between the past, the present and the future. The materialities that are included in this system construct one new, united post-human body, purposed to produce info and data, feeding the algorithms day and night, with energy, feelings and thoughts. These energies are being digitalised, stored, transformed and mutated, inside an ever ending cycle of collection and feedback, with the final objective of producing and consuming a product.
Original Sound : Kris Vango, Mr. Pigeons, Charlotte De Bekker
Wes Viz is an interdisciplinary artist based in London, UK and Tallinn, Estonia. A veteran in animation, her 15-year career has spanned commercials, music videos, and stage visuals. Her videos and projects have been featured in Creative Review, Kaltblut Magazine, Hunger and Paper Mag, and she has given a talk ‘Art of the Visual’ about her work, which is available online.
Wes Viz’s art explores how emerging technologies are shaping our personal identities and mental states and how the impending metaverse of virtual environments. She is currently developing immersive art experiences in virtual reality to further explore these themes while continuing to work as a visual artist. She aims for her art to provide crucial commentary on our relation with technology as a whole.
“ANTICOMMUNION’ is a piece I developed as a response to my feelings of dread and intrigue surrounding the concept of living most of our lives within virtually constructed worlds, which will no doubt reshape our perception of intimacy. The film centers around a female character wearing a virtual reality headset. We see her in various states of reverie and excitement, but we never get to see what she is seeing. As the subject of the film rotates to face a doppelgänger of herself across a table she mirrors the position of ‘The Artist is Present’ by Marina Abramovic before she is absorbed into the darkness. With this work I am calling into question what will be the nature of community in the future. Will interpersonal engagement be with others – or only with ourselves? Who will we connect when we pass through the red door of the metaverse?”
Nikos Kostopoulos is a visual artist working with lens-based media and researching narratives in ambiguous spaces that can be found in the virtual and physical public sphere. He has acquired a MA in Photography from AKV St. Joost (NL). He has completed various audiovisual productions in Europe and Western Asia and participated in exhibitions and festivals around the world. In 2020 he co-founded PHĒNO_space for imaginative arts practices in Thessaloniki (GR), that produces and presents audiovisual works and creates educational programs in contemporary art.
A dialogue with an intelligent conversational agent named “Electric Friend” unfolds while the visual reconstructions of memories form a digital 3D photo album. “Electric Friend” envisions a shared future between humans and artificial intelligence, examining how computer algorithms affect the ways in which humans communicate and form relationships, as well as the need for intimacy and companionship in a time when the concept of distance is becoming a matter of perspective.
Taietzel Ticalos (b. 1986) is a visual artist based in Bucharest, Romania. Her artistic practice investigates the transmutation of reality into the virtual space and contemplates the development of digital narrations. She focuses on sexual objectification, social media as consumer media, digital performance and digital reenactment. Between 2014-2016 she coordinated with Gabriela Mateescu the mobile group Nucleu 0000, a flexible collective of young Romanian artists. Since 2019 they manage together the digital art platform spam-index.com.
Samples of irrational frames revolves around the unusual AI generated question “What was the thought you saw?”. Reproducing a naïve research made on an open source neural network trained for visual object recognition, the video displays gathered computer vision examples, while seeking a sort of dialogue with the machine. The uncanny AI footage is mixed with 3D elements to highlight the overlapping otherworldly reality we’re already experiencing. Samples of irrational frames fails to deliver a coherent conversation with the AI and develops instead into a reflection on the consequences of the algorithm age.
Sohyun Lee (b.1993 in Seoul) is a 3D video and installation artist based in Germany and South Korea. Scrutinizing hospitality and gift economy, her practice makes an interplay between the embodied entity and digital particles. Her pattern of 3D digitization and physical structure co-exists in the anthropological, technological and futuristic way. Her video work was screened in the <Videofenster> project in Cologne, Belgium, and Paraguay, 2021. Recently, she took part in an exhibition <Digital Jokes> at Weltkunstzimmer in Dusseldorf and showed her works in Berlin, Nuremberg, Georgia and many other places.
Now we have to find another way to breathe. The video translocates the gas exchange occurring inside the fish gills to the human body. A new gill will evolve from the human ear based on the evolutionary hypothesis of the *preauricular sinus in the future.
*Preauricular sinus is a common birth defect. It generally appears as a tiny skin-lined hole.
Lauren John Joseph (formerly know as La John Joseph) is an artist and writer, working across the page, the stage and the screen.
A humorous, effervescent historiography in which a mythological baby, a nail salon, and cinematic portraits combine to show both timely and atemporal tales of gender non-conformity.
Etsuko Ichihara is a Japanese new media artist. She has been creating artworks that interpret Japanese culture, customs and beliefs from a unique point of view, and present new, technology-based approaches. Thanks to their strong impact, these works have been introduced across a wide range of media all over the world, such as newspapers and TV programs and magazines.
Ichihara’s works were included in the Excellence Award at the 20th Japan Media Arts Festival, Entertainment Division in 2017, and in 2016, chosen for the INNOvation program from The Ministry of Internal Affairs and Communications. She won Honorary Mention (Interactive Art＋) in PRIX Ars Electronica 2018 and received a STARTS Prize Nomination in the same year.
She has recently presented her works in exhibitions such as ‘Digital Shamanism: Japanese Funeral and Festivity’ at NTT InterCommunication Center [ICC], ‘Cyber Arts Exhibition 2018’ at Ars Electronica Festival in Linz, Japan Media Arts Festival.
NAMAHAGE in Tokyo is an attempt to reinterpret the functions of traditional deities and folklore, and implement these in the city of modern era. Focusing on the contemporary urban relevance of the NAMAHAGE ritual, NAMAHAGE in Tokyo seeks to reconstruct and implement the NAMAHAGE system in a modern city. It translates and reinterprets for the urban context the ritual’´s functions, including maintenance of community through mutual surveillance, initiation into adulthood, and reinforcement of family bonds.
Making the city their habitat and evolved in adaptation to individual areas, the “urban NAMAHAGE” identify “bad children” (=adults in need of discipline) in each neighborhood based on the data accumulated by mutual surveillance via social media as well as other networks of surveillance spread across the city. These NAMAHAGE enforce discipline by mind hacking, taking full advantage of sensing and VR technologies and bringing growth, happiness and blessings to the people of the city.
Dorotea has danced with Compagnie Marie Chouinard in Montreal, touring internationally with the company for 8 years. She then relocated to Sweden to join the Goteborg Danskompani, one of Europe’s leading contemporary dance companies. Alongside her performance career, she has a body of work for stage and film.
Dorotea moves fluidly through different environments, whether it be collaborating with visual artists such as Cooper&Gorfer or working in film. She has choreographed and performed in the awarded screendance short films PAINTED and Brief Candle, both featured in film festivals internationally. Her stage works have been shown in Goteborg, Stockholm, Malmo, Warsaw and at Place Des Arts in Montreal.
She is the inaugural recipient of the Emily Molnar Emerging Choreographer Award and has recently created a new work for Ballet BC in Vancouver which is premiering on May 12th in 2022.
Emil Dam Seidel is an award winning film director and visual artist with +++.
Most recently he directed and produced the acclaimed dance film SHE, which had its international premiere for public audiences at the Fotografiska Museum in New York City in 2022.
Before starting his own career as a director, Emil notably assisted Thomas Vinterberg on the Academy award winning film Another Round and the Academy award winning director Susanne Bier on the film A Second Chance.
Caught in a room the protagonist, Clarice, unfolds a vision of her own identity through a mirror interrogator.
SHE is a cinematic adaptation of a solo dance performance with the same name. The original performance work was created and performed by Dorotea Saykaly and premiered at 5’eme Salle at Place des Arts in Montréal, Quebec in 2019.
Inspired by The Passion According to G.H. by Clarice Lispector, the solo revolved around identity and doubt.
Manifested through movement, distortion and an interview with a phantom interrogator, the original work proposed looking at a questioning body through a female lens.
The cinematic adaptation of the original performance work arose during the first COVID lockdown in 2020 as a collaboration between Dorotea Saykaly and film director Emil Dam Seidel.
“We wanted to make a film that addressed the isolation we were both experiencing, but didn’t want the work to revolve around covid. -So we tried to create a world on a universal sense of isolation – the digital isolation that has been creeping in between us all through the last decade.”
Interdisciplinary artist, director and anthropologist. She studied in Warsaw and Sarajevo, and is currently preparing her doctorate at the University of Arts in Poznan. Co-founder of Polanki and PDP duos, founder of TYNA collective. Since 2017, she has headed the DOMIE project in Poznań, an experimental collective working at the intersection of art, architecture and social sciences. In her projects, which move in the space of memory and the body, she reaches for alternative methods of communication, the possibilities of contemporary transgression and knowledge storage. She moves in the field of video art, performance and sound. Her works often form cycles, collections, gestures, fragments of a broader concept. Since 2016, she has been working on a project called “sexinsitu,” based on the documentation of the solo reproduction of sexual memories of different people.
“The Sexinsitu project takes the form of an archive, specific insofar as it collects data and materials that it produces itself, according to an elaborate method. The basic unit is video recordings. They are based on the method of body work, in which the participants, through body movements, recall their own stored sexual memories. They do this alone – without partners. The resulting choreographies become a prosthesis of this memory, an attempt to materialize intimate and ephemeral sexual events in images.
Thus, this is not an archive in the classical sense of the word, but rather a visual archive project that produces its own technology as a basis for creating a visuality of sexuality based on experience. Its task is to change not only the perspective of looking at sexuality, but to enable insight into this space for ourselves, to tame and express it.
The virtual dimension of recollection combines the tradition of performance with the subject of new media. The increasing participation of media in the production of our contemporary identities, adds another element to this relationship – empathy through embodiment. The dual logic of remediation states that the primary goal of our culture is to become as technologically medialized as possible, while removing all traces of our functioning through media. The importance of technology in the construction of our self is realized and fulfilled without our awareness of these processes. This recognition seems to be crucial in thinking about the body, its experiences and affects, including – sexuality. As our primary medium, it has become an encyclopedic product of this dual logic – the difference between the medialized image of the body and its experience in non-virtual life is as obvious to us as it is inescapable.
The project fills my diagnosed inability to share sexual experience in the space of language, theory and science by proposing a new medium: an embodied re-experience that allows sex to be captured as a space not of discourse, but of action. Sexinsitu creates a platform not only for expression, but also for the production of knowledge through the practice undertaken. (…)
In the image we can see only a piece of what opens up to us psychologically, socially, interpersonally. We produce an image, this single, unique reproduction of a sexual memory, which, unlike the simplicity with which we are used to associating what is “sexual,” is unreadable, unabsorbable as a fetish. Too abstract on the one hand and too crude on the other. Naked and veiled, explicite and understated. Censored virtually and “innocent” in a face-to-face situation. It is a distinct form of writing, something between a note, a sketch and a finished, monumental work. The restoration creates and opens a whole universe, while at the same time its documentation merely records this fact, marking the difference between image and life.
In this dimension, the single act of restoration is also a manifesto. A reflection on corporeality, a bodily trace, noting that I notice the body and sexuality as an element that connects me to the social world. I stand on the side of action, of searching, of weakness, on the side of experimentation, on the side of the unknown, on the side of a You-oriented world.
By presenting a slice of my own sexual self, I fight for the possibility of a subjective representation of sexuality, and thus the empowerment and emancipation of us all as sexual, sentient beings.”
(Excerpted from the doctoral dissertation “Sexinsitu: Sex in the Theater of Everyday Life”)
Persons present in the video material: Jakub Bolewski, Dobrawa Borkała, Paco Muro Croket, Kristina Ćuk, Katarina Duplancić, Taras Gembik, Antii Gona, Ignacy Hryniewicz, Edka Jarząb, Dylan Kerr, Tina Keserović, Aleksandra Kluczyk, Katarzyna Korytowska, Yulia Krivich, Małga Kubiak, Kaja Kusztra, Planeta Kuz, Monika Lopuszynska, Marta Malikowska, Elan Mehl, Zoi Michailova, Martyna Miller, Anastasia Pataridze, Michal Perla, Julia Poziomecka, Mariola Przyjemska, Jerzy Ryll, Anka Satellite, Piotr Sędkowski, Anka Stankiewicz, Sebastian Winkler, Marta Zdanowicz, Rafał Żarski
Born in 1999 in Siemianowice Śląskie, as a graduate of the Silesian University of Technology, Faculty of Materials Engineering and employee of the Academy of Fine Arts in Katowice, he works in various experimental media. He creates installations, graphics and virtual projects (Virtual Reality). Underlying this motivation is the desire to create unprecedented, unique, spatial experiences. Since 2017 she has been collaborating with the Intermedia Experiment Gallery LAB303, at the Academy of Fine Arts in Katowice. He conducts workshops and lectures with students in the Intermedia and Digital Techniques Studio. From 2019 she collaborates with Mediations Biennale Poland and with the University of Ostrava, Faculty of Fine Arts. From 2020, he collaborates with the GAD Giudecca Art District in Venice, and from 2021 with the Academy of Fine Arts in Banska Bystrica and Pavilion 0 in Venice.
“The assumptions of each project are based on precisely defined issues such as material, scale, distance, structure, form, light, meaning. Through empirical processes and experimental activities, both in computational descriptive geometry and material systems, the projects develop primarily towards the sensation of spatial experience.
The virtual spherical objects presented in the various exhibitions have their genesis in the physical exploration and analysis of various material structures, especially metal structures. On the basis of the atomic crystal structure, the author constructs a whole range of works from flat prints, spatial images to virtual digital objects in a thought process. We can refer to Filip Gajewski’s work as visual representation, as a transcription of the elements of the observable universe. It is his way, a means of communication, a direct, concise language, a visual code in its discovery. Marshall McLuhan (1962), looking at a modern civilisation dominated by ever-evolving technological advances, noted that it was entering from the Gutenberg era to the so-called Marconi era, in which digital media dominate. Through these media we can further understand the universe around us. Its structure and complexity. The crystallography of a metal, is characterised by: the chemical composition of the material, the size, the shape of the grains, and the mutual distribution of the different phases, the degree of defect in the crystal lattice and the distribution of structural defects. Transferring scientific issues to art is the visual language used by Filip Gajewski. His visual representation as a hybridity of the creative process manifests itself in the juxtaposition of traditional artefacts – paper, metal – with the use of new technologies – software environment, virtual reality (VR), augmented reality (AR) – as tools for editing and creation.”
Dr Jakub Cikała, Universe as purest form – a self-contained creative environment
1957 born in Grossburgwedel, lives in Hannover
Curation & Administration & visual artist Focus: multimedia installation, light objects, painting, drawing
Works in private and public ownership: City of Hanover, Young Art Collections NORD/LB, Schloß Salder, u.a.
Harro D.B.Schmidt works as artist and art director of the Kunsthalle Faust, Hanover Germany and has been curating international contemporary art exhibitions for over two decades. As an artist with a varied background of degrees in Fine Arts and Geology and Paleontology at the University of Hanover, he combines scientific knowledge and visual effects to create unusual and experimental installations. His works were represented with single and group shows, nationally and internationally.
Marek Sibinský was born in Frýdek-Místek on January 1974. In 1992 he finished his studies at the Secondary School of Applied Arts in Brno (branch of study: painting). In 1997 he got the Master’s degree at the Pedagogical Faculty of the University of Ostrava (Dpt. of Fine Arts – Studio of Free and Applied Graphics of Prof. Eduard Ovčáček). Since 1998 he has been teaching at the Department. In 2006 he finished his doctoral studies and in 2015 he completed his habilitation at the Siesian University in Katowice, branch in Cieszyn, Faculty of Art, Institute of Art. In his artistic activities he concentrates on graphics, painting and experimental approaches in graphics. Marek Sibinský elaborates his topics in thematic cycles. Beside the actual reflection of the present days, as well as his interest in the newest print technologies. First of all it is the technique of silkscreen and possibilities of digital print, and then the experimental technique using various forms of reprint. The author keeps developing them and probes other alternatives of their solution which emerge during the process of creation. Marek Sibinský is thinking intensively about the problem of communication among people with the help of new media. Along with the topics of his works, he tries to articulate the sense of varied kinds of information of different quality level, which attack us from all sides and various territories in the daily routine.
born in 1968, lives and works in Poznań. Since 2002 he has been employed at the Faculty of Photography of the University of the Arts in Poznań. He is involved in a broadly-understood phenomenon of photography, installation and motion picture. A reflexive attitude of his creative works is featured by the confrontation of forgotten or omitted methods of imaging with current practices of medium experiencing, defining the border areas of photography (in particular those identified as post-media), gaining new means of expression and tools that lead to outreaching one’s imagination. He is a co-creator of Solarigraphics and author of a unique series of cyclographics. He participated in more than 70 exhibitions in Poland and abroad, i.e. in: Great Britain, Australia, China, Spain, Canada, Germany, Slovakia.
Since 2020 he has been running Experimental Photography Atelier at the Faculty of Photography of the M. Abrakanowicz University of Art in Poznań.