FILE 2026

Animation Festival | Digital Animations and AI Animations: investigate movement as an expressive language, using computational tools and experimental aesthetics.  The works can explore abstract or figurative narratives, often hybridized with data, algorithms, and simulations. Technology expands the formal and temporal possibilities of animation. It is a field that articulates art, cinema, and computer graphics. Movement becomes a means of visual thought.

Applications are open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Game Festival  |  Digital Games and AI Games: explore interactivity, rules, and narratives as aesthetic elements.  These works go beyond entertainment, proposing critical, poetic, or experimental experiences. Game mechanics become conceptual devices. Graphic technologies, artificial intelligence, and interactive systems structure the experience. The player is a co-author of the work, actively participating in its construction and interaction.

Applications are open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Digital Video and AI Festival: explores experimental languages ​​beyond traditional narratives.  Works may utilize digital editing, image manipulation, computational processes, and artificial intelligence technologies.

Applications are open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

Ólafur Arnalds – Ljósið

This project was inspired by two things: the wonderful music of the neoclasical icelandic musician Ólafur Arnalds and the incredibly awesome Trapcode Particular 2 plugin by Peder Nordby.

It started as an experimental take on an organic music visualizer. I used two color palletes (helped by my talented friend Sol Valladares) to visually separate the piano and the strings; the blue tones representing the melancholic part of the song and the warmer colors representing the hope and the joy.

Beyond My Skin

Flavia Mazzanti

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia – Workshop
Festival Internacional de Linguagem Eletrônica

Beyond My Skin – Brasil

Beyond My Skin é um projeto interdisciplinar apresentado na forma de instalação interativa, performance híbrida e experiência em realidade mista (MR), que explora a relação híbrida entre corpos humanos e suas representações digitais por meio do uso experimental de diferentes tecnologias e mídias imersivas. O projeto já foi exibido em diversos espaços, como o Deep Space 8K do Ars Electronica Center (Linz, Áustria).

BIO

Flavia Mazzanti é uma artista multimídia que vive e trabalha entre Viena e São Paulo. Sua obra explora conceitos artístico-filosóficos relacionados a pós-antropocentrismo, entrelaçamento, corpo e identidade, com o interesse de oferecer perspectivas alternativas sobre nós mesmos e nosso entorno. Seus trabalhos têm sido exibidos internacionalmente, incluindo em países como Áustria, Suíça, Alemanha e Japão.

IN BETWEEN

Anabela Costa

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

IN BETWEEN – França

O espaço entre, aquele que exploramos o tempo todo. O espaço entre é uma ponte.  O poder do espaço entre!

BIO

Anabela Costa é artista visual, com diversas exposições individuais no seu percurso. A partir dos anos 80, passou a se interessar e a se direcionar progressivamente para a imagem digital. Desde 2000, desenvolve pesquisas no campo do cinema experimental, com foco em dois eixos: a imagem em movimento — a estética da representação do movimento — e a formalização de conceitos temáticos e científicos.

UnBoxing the Infinite

WOW Studio by D2D

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – LED SHOW
Electronic Language International Festival

UnBoxing the Infinite – Egypt

The work explores the intersection between reality and hyperreality. As a dancer traverses confined spaces, discovers portals, and creates magical worlds with the audience. Using dynamic motion tracking and live visuals, the performance inspires transformation, creativity, and self-liberation, breaking down boundaries of perception.

BIO

Elena Kauffmann is the founder and creative director of WOW Studio (Egypt), focused on media arts, XR, and AI. She created WOW Zone, an experimental space powered by immersive technologies, and is a co-founder of VR developer UBR. She works as a creative producer, immersive experience designer, and art director. Carolina Assis is a Colombian contemporary dancer based in Egypt. Amr Ali is one of WOW Studio’s lead tech artists.

Mutant Tales — Posterra

Fredo Agudelo

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – LED SHOW
Electronic Language International Festival

mutanttales — Posterra – Colombia

In the end, the organic will eat technological waste like fungi. What remains of humanity in this finale? What remains of Earth over human vanity? We are beings in an unconscious mix, sitting behind screens as if traveling in a spaceship in the void of the universe. The layers fall away, and our corporeal reality remains. Scan your consciousness and step out of your spaceship; in Posterna, there’s still a world to live in.

BIO

Colombian audiovisual artist based in São Paulo. He has experience with video mapping, working in Colombia on various projects and participating in several video mapping festivals in Brazil. He is currently working increasingly with sound to bring a live audiovisual exhibition to the audiovisual art scene, blending experimental sound with video projections.

sliding stripes

Anabela Costa

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

sliding stripes – França

Deslizando o olhar sobre uma tela lisa e brilhante.

BIO

Anabela Costa é artista visual, com diversas exposições individuais no seu percurso. A partir dos anos 80, passou a se interessar e a se direcionar progressivamente para a imagem digital. Desde 2000, desenvolve pesquisas no campo do cinema experimental, com foco em dois eixos: a imagem em movimento — a estética da representação do movimento — e a formalização de conceitos temáticos e científicos.

Exo Gestus #2

Yvette Granata

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Exo Gestus #2 – Estados Unidos

Exo Gestus #2 é uma animação experimental que investiga a forma como sensores de captura de movimento (motion capture) rastreiam incorretamente o corpo da artista. A obra constrói um mundo virtual a partir da amalgamação dos glitches gerados durante o rastreamento de seus movimentos com um traje de MOCAP que é grande demais para seu corpo. O traje foi projetado para corpos maiores, e nem mesmo o menor tamanho disponível pela empresa se ajusta a ela — como resultado, o tamanho de seu corpo provoca distorções nos dados capturados pelo sistema.

BIO

Iván Abreu é um artista mexicano-cubano que cruza ciência, design e tecnologia para questionar a interação humana e os sistemas sociais. Vencedor do Lumen Prize, expôs no ZKM, Ars Electronica e MAB. Malitzin Cortés (CNDSD) é artista mexicana que explora som, tecnologia e arquitetura especulativa, combinando codificação ao vivo, audiovisual e crítica narrativa.

A Dreamscape Cartography
Marc Samper

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology
Electronic Language International Festival

A Dreamscape Cartography – Spain

A Dreamscape Cartography is a 3D digital artwork created from scans and navigated via Blender. The piece reimagines the ancient ritual of dream incubation, fusing inner realms with virtual environments. Using scans of abandoned houses in the Cyprus Security Zone, it creates a space that blends dreamlike and physical dimensions. Narrated by texts by Paul Celan, the work seeks to build a bridge between imaginary and lived experiences, inspiring new connections between space, memory, and existence.

BIO

Marc Samper is a visual artist, experimental filmmaker, and photographer from Barcelona, currently based in Paris. Graduated in Philosophy from the University of Barcelona and with a Master’s in Cinema from Pompeu Fabra University, his work investigates the ontology and phenomenology of images in global media, speculative metaphysics, and the intersection between mysticism and technology.

ChromaPause

Jiatong Yao

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – CGI VIDEOS
Electronic Language International Festival

ChromaPause – China

ChromaPause is an experimental film that explores the relationship between urban life, posthuman identity, and the yearning for nature in a digitalized world. Futuristic flowers bloom in a surreal mesh, symbolizing the balance between the organic and the synthetic. Posthuman figures merge with the technological landscape, embodying the convergence of humanity and technology. The work invites pause and reflection in this pulsating universe.

BIO

Jiatong Yao connects art, technology, and culture, exploring XR, 3D, AI, and interactive computing. He reflects on the transformation of the modern self through technology, creating immersive experiences that intertwine humanity and the digital age. With a background in computer science and technical art, he develops innovative projects on the impacts of information on society. 

XENO: UNDERTOW

Hsujing

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia – Videoart
Festival Internacional de Linguagem Eletrônica

XENO: UNDERTOW – China / England

XENO: UNDERTOW is an experimental short film that employs stream-of-consciousness narration and AI-generated surreal visual art to explore the identity struggles and inner turmoil of cross-cultural migrants in mainstream society. Through metaphor, the film depicts a whale forcibly displaced from the boundless azure sea, cast into a desert of shifting sands. This imagery symbolizes the challenges cultural migrants face in adapting to dominant cultures and the profound sense of identity loss.

BIO

Hsujing is a contemporary artist and digital artist & director. His primary research focuses on the integration of technology and art, as well as speculative creative outputs. He is skilled in combining diverse techniques for artistic creation. His works blend elements of classicism with science fiction, not only envisioning future landscapes but also revealing persistent realities.

A Camera and an Engine

Yuting Chen

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

A Camera and an Engine – China

A Camera and an Engine é um vídeo renderizado de 4 canais que retrata a dualidade do estado suspenso de uma jovem streamer de videogames chinesa nos mundos digital e real. Virtualmente, essa suspensão se manifesta em encontros com falhas, bugs e áreas não programadas, enquanto, na realidade, representa a instabilidade e a ansiedade em uma sociedade acelerada e altamente competitiva.

BIO

Yuting é uma artista multimídia chinesa nascida em 1998, com base em Londres e Pequim. Seus interesses de pesquisa focam no vídeo experimental, motores de jogos e nos paradoxos da virtualização da realidade. Yuting é bacharel pela Universidade de Tsinghua em Mídia Impressa, e completou seu mestrado em Belas Artes na mesma universidade e no Royal College of Art, no Reino Unido.

Natural Intelligence

Brit Bunkley

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival

Natural Intelligence – Nova Zelândia

Natural Intelligence is “intelligence created by nature, natural evolutionary mechanisms” as opposed to artificial intelligence. With it, “there is a dynamic movement of natural intelligence that evolves from vague, fuzzy, and unconscious states to more concrete and conscious states, and thus realizing the essence of perception” (Perlovsky and Kozma, 2007). It is beautiful and deeply flawed, but it levels out in the end.

BIO

Bunkley has exhibited at the Museum of New Zealand Te Papa. He participated in the Visions in the Nunnery at the Nunnery/Bows art gallery in London in 2022 and in 2024 at Rencontres Berlin, Haus der Kulturen der Welt, Berlin, and he exhibited in Artweek Gyumri, Armenia. He was the award winner for Best Art | Experimental video/film at the New York City Independent Film Festival 2024 in NYC.

Ørigin

Ø STUDIO

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Ørigin – United States | Taiwan

Ørigin, an AI-generated experimental short film, invites viewers to engage with its open-ended narrative through the innovative use of AI tools. By challenging conventional perceptions of art and storytelling, the film fosters a dynamic, non-linear, and visually captivating exploration of the evolving relationship between humanity, nature, and technology. Directed by Davis Chang (Chin-Hsiang Chang), Ørigin veers away from photorealism and close-ended storytelling, opting instead for symbolism and ambiguity within AI-generated visuals.

BIO

Ø Studio is an award-winning AI creative studio specializing in AI-driven short films and new media art. With a unique blend of experimental visuals and humor, their works, like The HØST, Black Høle, and Ørigin have received international recognition and awards. Based in LA, Ø Studio col laborates globally with artists, exploring the intersection of humanity, nature, and technology.

Motherboard

Gabriel KÖI e Sabato Visconti

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Motherboard – Brazil

Motherboard is an experimental film that dives into the intersection between tech nology and consciousness, exploring the delicate boundary between the human and the digital. On this journey through the circuit, reality merges with the digital, challenging the understanding of existence. The contrast between the human and the artificial is revealed in the intertwining of both, echoing the voice of this emerging consciousness.

BIO

Sabato Visconti is a Brazilian digital artist. His works interrogate con temporary and historical practices of digital imagery, manipulating the inherent materialities of production and distribution. Gabriel Böing (KÖI) is an artist born and raised in São Paulo, who explores narrative and dreamlike stories materialized through mediums like 3D, AI, and video, heavily influenced by internet culture.

Black-collared Starling 烏領椋鳥 (Hong Kong)

An-Ting e Ian Gallagher

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Black-collared Starling 烏領椋鳥 (Hong Kong) – Taiwan | United Kingdom

An-Ting blends bird song recordings, experimental electronic music, soundscapes, and driving beats. Ian Gallagher employs cutting-edge artificial intelligence technologies to document the duo’s experiences, with live visuals that react in real time to An-Ting’s music.

BIO

An-Ting 安婷 is a versatile artist who moves between piano, electronic compositions, and various other forms of artistic expression. She transforms her life experiences into musical creations, exploring the relationship between humanity, nature, and the spiritual universe.

Ian Gallagher studied Theoretical Physics in Edinburgh before completing a PhD in Complex Systems at the University of Manchester. He has been deeply involved in Manchester’s music scene, working as a sound engineer, show producer, and performer on stage, collaborating with artists such as Daniel Johnston and Neva Dinova.

This work was supported by the British Council and the organization Cryptic Glasgow.

ReCollection

Weidi Zhang & Rodger Luo

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival

ReCollection – China | United States

ReCollection is an interactive installation that uses artificial intelligence to construct synthetic collective visual memories from natural language input. The work blurs the line between memory and imagination through experimental visualizations and AI systems, prompting reflection on how narratives of memory are shaped by emerging technologies.

BIO

Weidi Zhang is a new media artist and designer based in Los Angeles and Phoenix. She is an Assistant Professor of Immersive Experience Design at Arizona State University. Her interdisciplinary research explores speculative assemblages at the intersection of immersive media, experimental data visualization, and interactive AI art. Dr. Jieliang (Rodger) Luo is the CEO and Head of Research at Minus AI, a research-driven startup focused on leveraging AI technology to empower the creative industry. He holds a Ph.D. in Media Arts and Technology from the University of California, Santa Barbara, and has previously served as a Senior Principal Research Scientist at the Autodesk AI Lab.

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

HYSTERESIS

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Robert Seidel – HYSTERESIS – Germany

HYSTERESIS intimately weaves a transformative fabric between Robert Seidel’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine learning to mediate these delayed re-presentations, the film intentionally corrupts AI strategies to reveal a frenetic, delicate and extravagant visual language that portrays hysteria and hysteresis in this historical moment.

Bio

Robert Seidel is interested in exploring abstract beauty through cinematic techniques and insights from science and technology. His projections, installations and award-winning experimental films have been presented at numerous international festivals, art venues and museums, highlighting his innovative approach to visual art.

Credits

Film: Robert Seidel
Music: Oval
Performer: Tsuki
Graphics: Bureau Now
5.1 Mixing: David Kamp
Support: Miriam Eichner, Carolin Israel, Falk Müller, Paul Seidel
Financing: German Federal Film Board

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

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

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

Spring/Summer 21
The spring 2021 collection reflects that mentality, and highlights the more commercial offerings of the brand, which are normally buried underneath his over-the-top runway styling. Carryover styles — such as quilted jackets, padded vests, parkas, shirts and hoodies with cutout hole and lace trim details — are available in pine green, beige, raisin purple, and midnight blue, and take center stage in the look book. Even Green’s signature frame-like constructions around the body have been toned down. Instead of using experimental and colorful materials, Green has hung deconstructed parts of a shirt or a jacket on metal frames. The effect is of two people interacting in one sculpture.

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
dance
Мерс Каннингем
Paul Kaiser
Shelley Eshkar

Dancer Matthieu Chayrigues

Compagnie Centre National de Danse Contemporaine-Angers.

Photo: Charlotte Audureau.
BIPED

“Ever the experimentalist, Cunningham collaborated with digital artists Paul Kaiser and Shelley Eshkar using motion capture technology to create BIPED. As the name suggests it’s in its most basic sense an exploration of the biped, the ambulatory two-legged body.
Eshkar and Kaiser place a scrim in front of the dancers on which they project a moving décor of lines and patterns.” Lisa Traiger

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

Somatic Echo
“Somatic Echo” is an experimental sound art and research project that utilizes bone conducted sound as a method to investigate human audition and create an unusual and mesmerizing aesthetic of the body as a medium of sound. The installation uses a reclining chair and a sound mask to play an 8-channel sound composition through 8 transducers placed on the user’s head: 6 channels in the face and 2 in the back of the head. The transducers transmit sound through the bone structure of the skull directly to the listener’s inner ear, bypassing the outer ears, which normally are the gateway for auditory signals. The listeners experience the soundscape through both their auditory and tactile senses perceiving a sonic image shaped by the sound traveling through the head structure and through vibrations applied to the skin. This set up lets us experience sound through our body and our body through sound.

Espace aérien
En 2016, Dirk Koy a fondé le studio de motion design et de film expérimental «Dirk Koy Bild und Bewegung». Dans son travail, il utilise différentes technologies (drones / animation 2D et 3D / photogrammétrie / AR / VR) pour créer des images numériques en mouvement. Il explore l’interface entre réalité et virtualité et recherche également la composante picturale dans le contexte numérique. L’expérience joue un rôle central.

The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
.
The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch

Re)Evolution

With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.

“Sure, (the brands) define what is beautiful, but what we are finding is that people in fact have very different concepts of what beauty is. It is personal and it moves you and it is important for us to create a space where those experimental ideas can be expressed.” Isamaya Ffrench

L’extase de l’or
Eyck crée des couches de couleurs sonores avec sa voix et le thérémine, jouant avec des boucles et des effets. Le style de la musique varie entre jazz, contemporain et expérimental. Alors que de nombreuses parties sont composées, Eyck laisse toujours de la place aux improvisations.

Fill the Whole
Como parte do espaço virtual Cyberia do CTM Festival, a música pioneira Peaches se juntou aos artistas visuais Ewelina Aleksandrowicz e Andrzej Wojtas, também conhecido como Pussykrew, para criar uma experiência única de videogame. Intitulado Fill the Whole, o jogo é descrito como um “exercício experimental de amor próprio e aceitação” que permite ao jogador explorar a positividade corporal e a liberdade de gênero.

The Constant Gardeners
S’inspirant d’un jardin zen japonais traditionnel, quatre bras de robots industriels sont disposés autour d’une vaste toile de gravier avant de se réveiller et de commencer à ratisser la surface. Dans une série de performances quotidiennes, ces « jardiniers » travaillent ensemble pour créer des illustrations uniques et évolutives représentant les mouvements des athlètes. Générées par une série d’algorithmes sur mesure, qui analysent des séquences vidéo d’événements olympiques et paralympiques, certaines illustrations représentent un mouvement qui se déroule dans le temps tandis que d’autres mettent en lumière un moment sportif spectaculaire. Une méditation sur la tradition, l’artisanat et les rôles de la technologie, The Constant Gardeners offre aux visiteurs un espace paisible pour une introspection tranquille. L’œuvre explore un nouveau récit autour de la robotique, montrant que cette technologie est une force capable de créativité artistique et d’action expérimentale, qui joue un rôle déterminant dans notre cheminement vers un avenir plus heureux et plus sain.

Daily Sketches
Zach Lieberman es artista y educador radicado en la ciudad de Nueva York. Crea obras de arte con código mediante herramientas experimentales de dibujo y animación. Produce ambientes interactivos que invitan a los participantes a convertirse en performers. Su enfoque principal es cómo se puede utilizar la computación como medio para la poesía.

O fim do sentar
“O fim do sentar” é um modelo de pensamento da vida real que questiona nossa “sociedade sentada”. A RAAAF e a artista visual Barbara Visser desenvolveram um conceito em que a cadeira e a mesa não são mais pontos de partida inquestionáveis. Em vez disso, as várias possibilidades da instalação solicitam aos visitantes que explorem diferentes posições de pé em uma paisagem experimental. “O fim do sentar” marca o início de uma fase de teste experimental, explorando as possibilidades de mudança radical para o ambiente de vida.

Garlands

Into Promenade

…But the best thing about MYMK is his music needs no adornment; the bonuses are simply icing on the cake…We’ve referred to MYMK as drone, electronic and experimental... spreading his sounds like Sodeoka’s spilled paint. Garlands are decorations we associate with victories; Garlands is one of them. (Richard Allen)

visual designer and artist: Yoshi Sodeoka

Swing Time

SWING TIME est un espace de jeux interactif composé de 20 balançoires en forme d’anneau lumineux. L’installation active un parc temporaire entre le Boston Convention and Exhibition Center et D Street pour créer un espace public expérimental. Fabrication sur mesure à partir de polypropylène soudé, les balançoires sont conçus en trois tailles différentes de sorte que les spectateurs peuvent participer, le but de l’exercice, est de jouer avec SWING TIME à titre individuel ou en groupe.L’éclairage LED au sein de la balançoire est contrôlé par un micro-contrôleur personnalisé, signalisant le niveau d’activité de la balançoire. Un accéléromètre interne mesure les forces d’accélération de l’oscillation. Lorsque les forces sont statiques et les fluctuations ne sont pas utilisés, ils émettent une lumière douce, blanche qui éclaire la zone. Lorsque les balançoires sont en mouvement, le micro-contrôleur allume la lumière du blanc au violet, en créant un effet lumineux coloré.

Robô do coração
Robô do coração é uma máquina de desenho experimental controlada pela frequência cardíaca de seu público. Encomendado por Sid Lee New York para lançar uma nova colaboração entre a Intel e o áudio SMS no New Museum em Nova York.

Hora do balanço
Hora do balanço é uma espaço de jogo interativo composto por 20 balanços leves em forma de anel. A instalação ativa um parque temporário entre o Centro de Convenções e Exposições de Boston e a D Street para criar um espaço público experimental. Feito sob encomenda em polipropileno soldado, os balanços são projetados em três tamanhos diferentes para que os espectadores possam participar. O objetivo do exercício é brincar com a instalação individualmente ou em grupo A iluminação LED dentro do swing é controlada por um microcontrolador personalizado, que indica o nível de atividade do swing. Um acelerômetro interno mede as forças de aceleração da oscilação. Quando as forças são estáticas e as flutuações não são usadas, elas emitem uma luz branca suave que ilumina a área. Quando as oscilações estão em movimento, o microcontrolador muda a luz do branco para o roxo, criando um efeito de luz colorido.

Jardín de Russolo
“Jardín de Russolo” es una instalación de sonido interactiva de Yuri Suzuki que permite a los visitantes tener una experiencia sonora utilizando su propia voz. La instalación auditiva, que se muestra en el V&A durante el festival de diseño de Londres de 2013, se basa en la serie anterior de “máquinas de ruido blanco” de trabajo activadas por sonido de Suzuki. Influenciada por el pintor y compositor futurista Luigi Russolo, uno de los primeros compositores experimentales, la serie de cajas de madera con forma de fonógrafo componen la exposición, reinterpretando las entradas de audio en una salida atmosférica amortiguada, retorciendo y amplificando las bandas sonoras originales.

El largo ahora
Una pompa de jabón generalmente permanece estable solo por unos momentos: es una esfera perfectamente formada con una superficie iridiscente que refleja su entorno. Como uno de los símbolos clásicos de la vanitas, la pompa de jabón representa tradicionalmente la fugacidad del momento y la fragilidad de la vida. THE LONG NOW aborda la pompa de jabón desde una perspectiva contemporánea, con referencia a sus propiedades químicas y físicas, así como a los recientes avances científicos y tecnológicos. THE LONG NOW tiene como objetivo extender la vida útil de una pompa de jabón, o incluso preservarla para siempre. Usando una fórmula mejorada, una máquina genera una burbuja, la envía a una cámara con una atmósfera controlada y la mantiene en suspensión el mayor tiempo posible. El proyecto se presenta bajo la forma de un montaje experimental en el que la pompa de jabón recién creada oscila permanentemente entre la fragilidad y la estabilidad.

speech – speed

С 1984 года Миша Кубалл (* 1959 в Дюссельдорфе) работает в общественных и институциональных пространствах. Он получил заметные награды и стипендии, а с 1991 года преподает в различных университетах и ​​художественных школах. 1999/2000 он был приглашенным профессором Академии визуальных искусств в Лейпциге, работая над темой света и пространства, с 2004 по 2008 год преподавал медиаискусство в Университете искусств и дизайна Карлсруэ. С октября 2007 года он был профессором медиаискусства в Академии медиаискусств Кельна и основал там «-1 / MinusEins Experimentallabor». Используя средство света – в инсталляциях и фотографии – он исследует архитектурные пространства и вносит свой вклад в социальные и политические дискуссии. Он отражает различные грани культурных социальных структур вплоть до архитектурных вмешательств, которые либо подчеркивают, либо перепрограммируют характер и архитектурный контекст. В политически мотивированных и совместных проектах общественное и частное пространство пересекаются. Они делают возможным общение между участниками, художником, произведением искусства и публичным пространством.

Compression de densité
Avec Density Compression [2020], Fujimoto tourne son attention vers les comportements fondamentaux de la lumière visible, en se concentrant sur les lignes droites et la réflexion. En représentant la lumière comme un réseau dense de lignes voyageant dans un espace limité, l’artiste rend la lumière comme un objet physique, lui permettant d’explorer et finalement de changer son comportement de base. La pièce est accompagnée d’une partition atmosphérique du compositeur expérimental et affilié de Raster-Noton Kyoka.

HELL_TREE

Petra Cortright est une artiste Internet qui réalise des vidéos, des animations gif et des images fixes. Sa page d’accueil ressemble à une page html datée avec un tas de smileys et une liste de son travail: travail authentique, expérimental et nostalgique avec beaucoup de paillettes, d’étincelles, de collages et de personnages faisant des images. Tout au long du site Web, il y a des animations de souris amusantes, par exemple des étincelles qui suivent votre pointeur lorsque vous vous déplacez sur l’écran. Une autre chose intéressante est un cadre qui est attaché à votre pointeur afin que vous puissiez placer le cadre sur un portrait. Cortright a étudié à la Parsons School of Design de New York et au California College of the Arts de San Francisco. Aujourd’hui, elle vit et travaille en Californie. Elle a exposé à l’international dans des galeries telles que Gloria Maria Gallery (Milan) et Spencer Brownston (New York) entre autres. Récemment, Cortright a exposé avec sa série SO WET à la Preteen Gallery de Mexico.

Monolithe
Monolith est un travail expérimental non commandé, jouant avec des motifs de pixels irréguliers. Que se passe-t-il lorsqu’un écran présente une disposition non uniforme des pixels? Comment cela influence-t-il notre perception des images et de quelle quantité d’informations visuelles avons-nous même besoin pour franchir la frontière de l’abstrait au figuratif? Pour répondre à ces questions, nous avons créé une sculpture vidéo, qui fait fondre esthétiquement l’écran et le contenu. Dans un jeu entre beauté naturelle et bouleversement technique, les images de bustes classiques se transforment cycliquement en dégradés abstraits et redeviennent des images perceptibles.

The Right to Flight

A Londres, l’installation aérienne «The Right to Flight» de l’artiste britannique James Bridle explore la notion de surveillance depuis les airs et revient sur les utopies dévoyées des premiers aérostats.
Dans le ciel limpide de Londres flotte depuis le mois de juin un étrange ballon noir. Localisé dans le quartier populaire de Peckham, dans le sud de la ville, il est arrimé au niveau supérieur d’un parking désaffecté, vaisseau brutaliste dont les deux derniers étages hébergent depuis huit ans Bold Tendencies, un projet artistique estival, ainsi qu’un bar de plein air très couru avec une vue stupéfiante sur la skyline londonienne.Connu pour ses projets sur les drones ou son blog de recherche The New Aesthetic, James Bridle, né en 1980, a aussi posé sur le toit du parking une station de recherche expérimentale explorant l’histoire des aérostats, via des ateliers, des conférences et projections. Constituée de trois modules circulaires, fabriqués à partir de silos de grains lestés par des sacs de sable, l’architecture évoque tout à la fois les hangars des compagnies aériennes et la maison en kit Dymaxion de Buckminster Füller

The Unseen Collection
Experimental fashion studio The Unseen has produced a range of accessories that alter in response to environmental changes using inks developed from its colour-shifting wearable sculptures. Bowker has previously embedded her specially developed ink into feathered, leather and gemstone-encrusted headdresses. The Unseen also presented a sculptural jacket that changes colour depending on the wearer’s mood.

Napoleon

Kevin Brownlow’ restoration

Gance embarked on his greatest project, a six-part life of Napoléon. Only the first part was completed, tracing Bonaparte’s early life, through the Revolution, and up to the invasion of Italy, but even this occupied a vast canvas with meticulously recreated historical scenes and scores of characters. The film was full of experimental techniques, combining rapid cutting, hand-held cameras, superimposition of images, and, in wide-screen sequences, shot using a system he called Polyvision needing triple cameras (and projectors), achieved a spectacular panoramic effect, including a finale in which the outer two film panels were tinted blue and red, creating a widescreen image of a French flag. The original version of the film ran for around 6 hours. A shortened version received a triumphant première at the Paris Opéra in April 1927 before a distinguished audience that included the future General de Gaulle. The length was reduced still further for French and European distribution, and it became even shorter when it was shown in America. Napoleon is a silent film directed by Abel Gance, dramatising the youth and early career of Napoleon Bonaparte. Its most complete screening, said to be nine hours long, took place in Paris in 1927 – but this version was subsequently lost. British film-maker Kevin Brownlow saw a version as a schoolboy and subsequently restored the film to close to its original length from various prints. His restoration was first shown in London in 1980 with a score by Carl Davis.