EGLE RAKAUSKAITE
The screw
Egle Rakauskaite is a leading Lithuanian artist, prominent on the world scene for her highly individual and memorable works. Born in 1967, she studied painting at Vilnius Academy of Arts and graduated in 1993. Described by critic Lolita Jablonskiene as “a unique artist, who does not follow any current trends of Lithuanian art”, Rakauskaite works in various media (video, performance, photography, making objects), free to associate and assemble them in different configurations as the project demands.In the early years of her career, she made objects out of unconventional and perishable materials such as chocolate, jasmine flowers, human hair, honey and fat. As she states, “these materials were used to protest against paint and canvas. Many critics attributed this interest in unconventional materials and also some of the images I constructed to my interest in feminist art. However, I think that at present the differences between male and female creation are not that visible any more. It is important that the art work opens itself to the consciousness and sub-consciousness of the viewer”.
Rob Ley
Pangaea
Named after the prehistoric supercontinent of Pangaea, the artist explains, “this large-scale artwork is a collection of autonomous ‘islands’ that assemble into a singular, 3-story composition.”The art installation is made from a series of layered aluminum ribbons that interact with a field of points located throughout this exterior wall, creating a collection of interconnected nodes, hubs, and conduits.
Lenka PETRÁKOVÁ & Arpapan CHANTANAKAJORNFUNG
Arc de celerité
QUBIT AI: FILE QUANTUM WORKSHOP 2024 – São Paulo – Art and Technology
FILE 2024
QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center
Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena
QUBIT AI
In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.
Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.
Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.
Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.
Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival
JUSTIN SWINDLE
love shadow
Studio Drift
Franchise Freedom
Franchise Freedom is een performatieve kunstinstallatie van DRIFT die de relatie tussen mens, natuur en technologie onderzoekt. Een autonoom vliegende zwerm van honderden drones stelt het menselijke concept van vrijheid en sociale constructie in vraag. Het nodigt je uit om een poëtische kant van technische innovatie te bekijken en terug te verbinden met de natuur. Gebaseerd op een biologisch algoritme van meer dan 10 jaar onderzoek naar het vlieggedrag van spreeuwen, verlegt het kunstwerk de grenzen tussen natuur en technologie en genereert het een impactvolle sociale verbinding.
KILIAN ENG
Çalışmalarında sürrealizm ve Sci-fi tarzını harmanlayıp 80′lerin futuristik havasını pastel renklerle birleştiriyor ve sonucunda ortaya çok değişik ve dikkat çekici işler çıkıyor[…] Çalışmalarındaki güzellik detaylardan çok renkleri çok doğru ve oranlı kullanması ve bunun yanında sürekli bakmanızı sağlayan bir odak noktası yaratması olsa gerek. Genellikle uzay temalı ve karmaşık renkli sürreal çalışmalar üretmektedir.
mariana manhaes
Entao
Vaso Azul
我的工作包括发明和制作由动画对象视频命令的小工具。这些物品是从我的视觉日常生活中摘下来的：工作室中的门，客厅橱柜中的茶壶，母亲收藏中的碗和罐子。为了制作类似于人类和动物行为的卡通手势，所有这些人都被拍摄并在编辑过程中强调了他们的动作。视频时间的操纵对于图像的变形起决定性作用，而图像的变形不仅限于实物的表示。我将自己的声音传达给对象，并发明对象所使用的语言。视频还发出音符，当被安装在作品主体中的电子电路感知时，它们会协调声音，马达和使作品运动的电子肌肉。在FILE上展出的两件作品“ Liquescer（Jarrinho）”和“ Liquescer（Jarrinho Azul）”中，选定的对象是一壶水，它们的呼吸随着内部液体的进入和流出而具有节奏感。生物根据视频中对象发出的声音做出反应。就像水具有容纳容器的形状一样，作品的声音和运动特性也受到罐子语言的影响。机器中存在着一种自主权，这种自主权是由低端和高科技材料构成的，通过其各部分之间交互的不稳定和不确定的运动来表现出对话。与起初看起来相反，该机制仅对内部刺激作出反应。与公众之间没有直接的互动，而公众仍然是一个以特殊方式进行交流且对我们来说是无法理解的世界的入侵者。
Studio TheGreenEyl
Whispering Table
Four unique festivities celebrated by people of distinct cultures are assembled in an archetypical scene of congregation. Visitors approaching a round table filled with empty dishes discover that these are actually telling personal stories about the symbolic meaning of food and rituals. Written by a story writer, these stories are are based on interviews and research carried out for this piece. The content changes according to the dishes‘ positions and their distance to the others. Similarities and peculiarities of different food ceremonies explored in a playful and entertaining way. By changing table constellations, the visitors reveal more and more stories and become part of a participatory spectacle.
JORGE LOPEZ PARDO
blackbox sighting
JACK FALANGA
Hypotenuse
Elisa Larvego
Sculptur mobile
ANDREI TARKOVSKY
أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
el sacrificio
Para comenzar a hablar de este poema, es recomendable hacerlo utilizando las mismas palabras de Andrei, en su libro ‘Esculpir en el tiempo’, página 44:
“Normalmente se busca una puesta en escena más expresiva, porque con ella se quiere mostrar de forma inmediata la idea, el sentido de la escena y su subtexto. También Eisenstein trabajó de este modo. Además se parte de la base de que la escena cobra así la necesaria profundidad, una expresividad dictada por el sentido. Esto es una idea primitiva, sobre cuya base surgen muchas convenciones superfluas, que diluyen el tejido vivo de la imagen artística”
Esta reflexión estética ya confirma en Tarkovski un artista asombroso, muy superior a prácticamente todos sus coetáneos, principalmente porque pudo contextualizarla en su labor como director, más que nunca en ‘Sacrificio’, como también llevó hasta sus últimas consecuencias su idea del cine como una captura del tiempo real. Y lo hizo homenajeando a Bergman sin perder su propia esencia, y a otros admirados cineastas como Kurosawa, el primero en dirigir una ficción en torno a la amenaza nuclear (lógico, siendo Japón el primer país que sufrió sus aterrador poder de devastación) en ‘Crónica de un ser vivo’ (‘Ikimono no kiroku’, 1955). Los primeros ochenta, con los coletazos finales del imperio soviético y la paranoia sobre una inminente guerra nuclear, vieron nacer la que probablemente sea la obra magna sobre el tema, ‘Terminator’ (‘The Terminator’, James Cameron, 1984), que Tarkovski pudo ver en el Festival de Londres antes del rodaje de su última película, sintiéndose impresionado por ella a pesar de despreciar su extrema brutalidad.
Hablar con Dios
cinema full
Studio Above&Below
‘Semi-Diurnal Spaces’ is a site specific immersive installation in form of a full dome which makes use of local tidal and atmospheric data of South Wales. Locals were invited to experience their close-by waterbody through a meditative environment, connecting to it in a poetic, technological and tele present way. Tidal patterns and atmospheric data such as wind and humidity influence a digital NVIDIA FleX particle system in real-time. The site-specific data influences the gravitational forces, fluid viscosity and flow rate within the dome as a body, resulting in a living digital sculpture and AV experience connecting to aspects of the channel itself.
KOHN PEDERSEN FOX ASSOCIATES
Yongsan IBD Block H
Inspired by crystalline growth patterns found in nature, the tower’s three tiered wings radiate out from the building’s center. Unlike the design of most Y-type high-rise towers, the design of Block H “steps” each wing asymmetrically so there is a low-wing, a mid-wing and a high-wing. The three wing configuration also enables each apartment to have a corner view from the living space, while maximizing its privacy from the adjacent unit.
