Walid Raad

The Atlas Group

In the late 1990s Raad created a fictional foundation called The Atlas Group in order to accommodate and contextualise his growing output of works documenting the Lebanese Civil Wars, generally dated 1975–1990. Within Atlas Group Raad produces artworks, addressing the infrastructural, societal, and psychic devastation wrought by the wars, which he then re-dates and attributes to an array of invented figures who in turn are said to have donated these works directly or by proxy to The Atlas Group archive. Regardless of original medium of the documents, Raad processes and outputs all of his work digitally consciously adding another layer of documentary intervention to his overarching fictional conceit.


Das isophon
Das Isophon ist im Wesentlichen ein Telekommunikationsgerät, das einen Dienst bereitstellt, der einfach als ein Treffen des Telefons und des Schwebetanks beschrieben werden kann.
Der Benutzer trägt einen Helm, der jegliche periphere sensorische Ablenkung ausschließt und gleichzeitig den Kopf über der Wasseroberfläche hält. Das Wasser wird auf Körpertemperatur erwärmt, wodurch die physischen Grenzen des Körpers des Benutzers verwischt werden. Das Schweben auf diese Weise befreit bis zu 90% der Arbeitsbelastung des Gehirns, die normalerweise mit der Berechnung der Schwerkraft verbunden ist. In Kombination wird ein Raum geschaffen, um eine reine, ablenkungsfreie Umgebung für das Telefonieren bereitzustellen. Noch vor ein paar Jahrzehnten war die Telefonzelle unser primäres Telekommunikationsmittel. Dies bietet im Wesentlichen einen kontextneutralen Raum für Ferngespräche. Das Betreten einer Telefonzelle bedeutet effektiv, dass alle anderen Aktivitäten eingestellt werden, sodass sich der Einzelne ausschließlich auf das Gespräch konzentrieren kann. Hier berücksichtigt der Designer nicht nur die Kommunikationstechnologie, sondern auch den Raum, in dem sie genutzt wird. Die zunehmende Nutzung von Mobiltelefonen hat jedoch dazu geführt, dass die Telekommunikation eher effizient als qualitativ praktiziert wird. Das Mobiltelefon dekontextualisiert die Konversation. Es extrahiert Gespräche aus einem bestimmten sozialen Kontext und bietet dem Benutzer die Freiheit, unabhängig von der Eignung aus praktisch jeder sozialen Situation zu kommunizieren. Es liegt in der Sensibilität und Diskretion des Benutzers, zu entscheiden, ob seine Umstände für die Kommunikation geeignet sind. Das Isophone versucht, dieses Ungleichgewicht zu beseitigen, indem es einen Raum bereitstellt, der ausschließlich der Telekommunikation gewidmet ist. Das Iso-Phone widerspricht dem Mainstream-Design und tauscht zeitgemäße Beschäftigung mit effizienten, allgegenwärtigen und multifunktionalen Produkten gegen Qualität und Tiefe eines einzigartigen Erlebnisses aus, das ein vollständiges Eintauchen in die Telekommunikationsmedien erfordert.

Keith Lyk

Cycling Wheel
杜象說他喜歡看到作品《單車輪子》展出時被觀眾轉動的樣 - 即使在之後的展覽中觀眾都沒機會再轉動它。《單車輪子》是杜象首件以「現成物」製成的作品:他的本意是鼓勵觀眾與它互動,可惜它卻一直被封印起來,沒有再和觀眾互動。然而,杜象的概念一直被藝術家們重塑及借用。《 Cycling Wheel: The Orchestra 》就借用了《單車輪子》的概念,讓被封印的輪子重新運作。藝術家將輪子本身轉化為控制聲音和光影的機器,把三台單車輪子塑造成表演工。表演把燈光和聲音和輪子結合,幻化成杜象回憶中那飛舞的火焰。

Chris Fraser

For Atmosphere, glass tubes filled with argon and neon simulated the color of the Arizona sky. Arranged as a column, these tubes altered the shadows of visitors, casting them in pillar-form. The space was designed to respond to the actions of its inhabitants, encouraging them to investigate, play with and probe the air.

Robert Breer

The Floats – or floating sculptures – that Robert Breer took up producing again at the end of the 1990s, emerged in 1965. The word “float” meaning something floating – a marker, fishing float or buoy – and which also describes those carnival vehicles whose pretend wheels give them the appearance of floating above the tarmac, enabled Robert Breer to apply this principle to works of a new genre. Primary shapes, neutral colours and, for the most recent, an industrial aspect, the Floats were then made with polystyrene, foam, painted plywood, and, more latterly, out of fibreglass. At first glance, these simple structures appear immobile. In fact, they are moving, imperceptibly, within the space they inhabit. Motorised and on mini-rollers – which raise them slightly above ground, giving them an air of weightlessness – they glide unbeknown to the visitor, following random paths that are interrupted by the slightest obstacle that they encounter.

Ben Katz & Jared Di Carlo

The Rubik’s Contraption
“That was a Rubik’s cube being solved in 0.38 seconds. The time is from the moment the keypress is registered on the computer, to when the last face is flipped. It includes image capture and computation time, as well as actually moving the cube. The motion time is ~335 ms, and the remaining time image acquisition and computation. For reference, the current world record is/was 0.637 seconds. The machine can definitely go faster, but the tuning process is really time consuming since debugging needs to be done with the high speed camera, and mistakes often break the cube or blow up FETs. Looking at the high-speed video, each 90 degree move takes ~10 ms, but the machine is actually only doing a move every ~15 ms. For the time being, Jared and I have both lost interest in playing the tuning game, but we might come back to it eventually and shave off another 100 ms or so.” Ben Katz

Michael Najjar

The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.


Skin Sucka

A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.

Iannis Xenakis

Oresteia Opera

Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.



In 1979, projects began to include work with most major studios, on such feature films as Star Trek: The Motion Picture, followed by, Bladerunner, TRON, 2010, Short Circuit, Aliens, Time Cop, Johnny Mnemonic, Mission Impossible-3, and most recently Elysium starring Jodi Foster and Matt Damon, Directed by Neill Blomkamp. Beginning in 1983, Syd began to develop close working relationships with a number of major Japanese corporate clients, including; Sony, Minolta, Dentsu, Dyflex, Tiger, Seibu, Mitsukoshi, Bandai, NHK and Honda as well as contributing to two Japanese film projects, The New Yamato and Crises 2050. In the 1990s’, Syd supplied designs for two Japanese toy icons, “The New Yamato” and all eight robot characters in the new Turn-A Gundam mobile suite series which were also seen as characters in Television shows.


In the process of creating Supraspectives, the artist duo Quadrature has gathered the data of 590 (recent & former) spy satellites, whose trajectory the installation follows. A third of them can be considered space trash, as they are obsolete or damaged, but still, they continue overflying us. The installation calculates the paths of all those satellites in real time and speculatively reconstructs the view they are capturing, offering artistically intervened images of what the satellites could be observing. Mainly satellites passing near the exhibition venue are selected, combined with other specially interesting or suggestive satellite images. Additionally, a specifically built motorized antenna on the roof connects live with the satellites overflying Tabakalera, transforming their real radio signals into sound. Everytime the installation connects with a satellite, the screen shows the data relative to it, such as country of origin or year of launch.





“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic


Hidden Patterns
The co-citation network for Nature: more than 88,000 papers published by the journal since 1900 are each represented by a dot, coloured by discipline. Papers are linked if another scientific paper (of those indexed in the Web of Science) cites both; the dot size reflects the number of these co-citation links.
Invisible, hidden connections and constantly repeating patterns within nature, society, language, and culture can not only be explored but also made visible. Barabási’s network approach promises to deliver a comprehensive, universal method that will illuminate many phenomena with scientific precision.

Richard Hoeck and John Miller

Mannequin Death
Jarring and violent yet strangely hypnotizing, the video references the Kantian sublime landscape and the “sex appeal of the inorganic,” which, the Italian philosopher Mario Perniola argues, marks the transition from an organic, bodily sexuality to an inorganic and artificial one.


Ann Veronica Janssens

States of Mind
Brussels-based artist Ann Veronica Janssens’ practice is concerned primarily with light, colour, and perception. Janssens makes very few art objects. Instead, her work attempts to escape the ‘tyranny of objects’ and what she describes as their ‘overbearing materiality’. Since the late 1990s, Janssens has filled spaces with washes of coloured light or ‘haze sculptures’: dense, illuminated clouds of vapour that render surroundings unfamiliar and sensory perception altered.


big air package
Big Air Package is the largest indoor sculpture in the world. It measures 90 meters in height and 50 meters in diameter. Visitors can enter the inner space of the balloon through airlocks. Inside, Big Air Package reminds of a cathedral that is filled with a diffuse light. Big Air Package is the first project realized without Christo’s late wife and artistic partner Jeanne-Claude.

Shu Lea Cheang

Avatar of the artist
Taiwan in Venice 2019
“For those who don’t know her, Shu Lea Cheang is a figure of Net art and the cyberfeminist movement that emerged in the 1990s. Living in New York at the time, she was also an active member of the activist video collective Paper Tiger Television (as was French filmmaker Nathalie Magnan). Since then, Cheang’s work has dealt with “concerns including sex, futures, gender, ecology, money, media, and food [to] encompass film, installation, online work, social processes, and direct intervention in the sociopolitical, technical and aesthetic systems, and the imaginaries which co-compose them,” writes Matthew Fuller

Pedro Veneroso

file festival 2019
‘Tempo: cor’(Time:color) consists of an immersive installation that seeks to modify our experience of time by converting hours into color. A set of chromatic clocks, each set to a different GMT time zone, projects, in a semicircle, the current time in their mathematical and chromatic representations. The conversion between these two forms of time representation is based on an algorithm composed of sinusoidal functions that modulates the RGB colors as a function of the current time, gradually modifying the intensities of blue, green and red throughout the day: at midday yellow predominates, while at four in the afternoon the hour is red; midnight is blue, six o’clock in the morning is green. Side by side, the colors projected by the clocks merge, creating an immersive experience of a continuous and circular time, between the different time zones, that crosses the entire chromatic spectrum. This installation is part of a series of works in which I investigate the relationships between human notations and codes and our experience of space-time, seeking to change the ways we understand it; in this case, visitors immerse themselves in a spatial experience of time that provokes the questioning of notations and perceptions that we usually consider axiomatic. Changing the way we represent time will change our way of experiencing it?


Юлия Фуллертон-Баттен
جوليا فولرتون-باتن
ג’וליה פולרטון-באטן
줄리아 풀러 턴 – 판자

Немка, постоянно проживающая в Англии, Юлия Фуллертон-Баттен (Julia Fullerton-Batten) создает необычные и очень женственные работы. Она пришла в мир профессиональной фотографии шесть лет назад, но за это время успела себя зарекомендовать настоящим мастером.

manuel rossner

surprisingly this rather works
“Surprisingly This Rather Works” is a spatial intervention at ST. AGNES / KÖNIG GALERIE and at the same time a virtual extension of its exterior. The entire gallery is transformed into a gaming environment inspired by the 1990s game show “American Gladiators” and so-called gyms that are used for cutting-edge research in artificial intelligence by companies such as Open AI in San Francisco.
The visitor turns into an avatar and interacts with objects that are part of a parcours. These objects broaden the perspective on what painting and sculpture can be in the digital realm.

Doug Aitken

Desde los años 90, Doug Aitken (Redondo Beach, EUA, 1968; vive en Los Ángeles, EUA) desarrolla una serie de películas, fotografías, instalaciones y vídeos que investigan la relación entre naturaleza, memoria, tiempo y espacio. Su obra habla de lugares inhabitables, ruinas, vestigios donde el tiempo parece tener otro ritmo. El artista ha concentrado buena parte de su investigación reciente en las instalaciones con vídeos y en sus filmes, aunque la preocupación por el espacio arquitectónico siempre esté presente en los trabajos.

anthony howe

Cloud Light III
Kinetic sculpture resides at the intersection of artistic inspiration and mechanical complexity. The making of one of my pieces relies on creative expression, metal fabrication, and a slow design process in equal parts. It aims to alter one’s experience of time and space when witnessed. It also needs to weather winds of 90 mph and still move in a one mile per hour breeze and do so for hundreds of years.” Anthony Howe


Ларс Spuybroek
Lars Spuybroek has been researching the relationship between art, architecture and computing since the early 1990s. He received international recognition after building the HtwoOexpo in 1997, the first building in the world that incorporates new media and consists of a continuous geometry. With his Rotterdam-based office NOX he built the D-Tower, an interactive structure changing color with the emotions of the inhabitants of a city (in collaboration with Q. S. Serafijn), and the Son-O-house, a public artwork that generates music by visitors exploring the space (in collaboration with Edwin van der Heide).


Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings.
His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.


FILE gif

Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS. His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.

Marcel·lí Antúnez Roca

File Festival – Hypersonica
Afasia is a surreal robotic performance that evolves Greek myths, and brings up the tragedy onto-machinal. Marcel.lí Antúnez Roca (Moià, 1959) is well-known in the international art scene for his mechatronic performances and robotic installations. In the 90′s his vanguardist mechatronic performances combined elements such as Bodybots (body-controlled robots), Systematurgy (interactive narration with computers) and Dresskeleton (the exoskeleton body interface). The themes explored in his work include: the use of biological materials in robotics, telematic control, the expansion of body movements with dresskeletons and microbiological transformations.


存在尚的歷史當中,假人模特兒一直都有著重要地位,來自法國的圖形藝術工作者Emmanuel Bossuet,將假人模特兒結幾何立體剪裁的創作藝術,使假人模特兒有著更實用的意義! 這些假人模特兒就像被賦予了新的樣子,不管是擺設在服裝店當中,或者是品牌百貨甚至是一些酒吧以及需要裝置的室內空間,假人模特兒都成了最優質的藝術作品,這樣的意概念也啟發了許多時尚工作者,相信設計師還有攝影師都會成為最首先的愛好者!


جيمس توريل
ג’יימס טורל
설치작품 제임스 터렐
Roden Crater

特瑞爾的作品挑戰人們快速觀看藝術作品的習慣。 他認為觀者在一件藝術作品上花費的觀看時間太短,以致於無法認真欣賞作品本身。
詹姆斯·特瑞爾自己闡述: “我將當作一種料, 但是感知才是我的媒介。我希望你能看你所看,感你所感。”他希望他的作品可以增強人們的感知,並且將這個感知延伸到一個供人沉思和啟示的場所。

Heiner Goebbels

The experience of things
Diese Dokumentation begleitet die Entstehung des Musiktheaterstücks „Stifters Dinge” von Heiner Goebbels und macht die Zuschauer zu Augen- und Ohrenzeugen eines kreativen Arbeitsprozesses, der den Künstler auch und vor allem als Techniker fordert: Ganz ohne Schauspieler und Musiker schafft Goebbels ein modernes multimediales Gesamtkunstwerk, das auf Texten Adalbert Stifters basiert und so unterschiedliche Elemente wie ethnografisch-historische Aufnahmen aus Papua-Neuguinea von 1905, automatisch spielende Klaviere und Geräusche von aneinander reibenden Betonplatten in der Tradition der musique concrète kombiniert und diese Tradition neu zu definieren vermag. Zur Londoner Premiere schrieb The Telegraph:” Stifter‘s Dinge: who cares what it is? It‘s terrific” – Stifters Dinge: Wen kümmert es, was das ist? Es ist großartig.


Animated Apertures

instead of windows, mouths with green “hair” that sway in the wind. This is the Animated Apertures Housing Tower, a project of the American architecture firm B + U. The fun building appears to have been attacked by carnivorous plants. The residential building will be built in Lima, Peru. Architects Herwig Baumgartner and Scott Uriu, known for the use of new materials, explain that they wanted to “show that architecture can exist between nature and technology”. Therefore, the designs and colors that imitate plants, in a building that looks more like a living organism. The “hairs” of the windows will be made of a special silicone and will move with the wind, giving the impression of being tentacles. The project is also innovative in its structure, because instead of several small windows, it proposes few and large openings. Thus, professionals avoided a regular facade. The building will have 20 floors and 90 car spaces in an underground car park. The coverage will also have a garden and swimming pool for residents.


ג’ני הולצר
제니 홀저
Дженни Хольцер
PROTECT PROTECT centers on Holzer’s work since the 1990s and is the artist’s most comprehensive exhibition in the United States in more than fifteen years. Using language as her medium, Jenny Holzer has created a critically important body of work over the past three decades. Her texts have appeared in nontraditional media such as posters and electronic signs, billboards and T-shirts, and most recently as dematerialized, luminous projections on surfaces as different as crashing ocean waves and the Louvre’s large glass pyramid. Perhaps surprising for those who have followed the work of this artist for many years, her chosen texts recently have been rendered in oil paintings and in dazzling, large-scale electronic sculptures.