GRAVIDADE VR

Amir Admoni & Fabito Rychter

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

 Gravidade VR – Brazil

Gravidade VR takes place in a surreal world where everything, including the public, is constantly falling. In this universe, with no walls, horizon, or sense of up and down, there is no room for vertigo or fear. Within this setting, we meet Osório and Benedito, two brothers who have spent their entire lives in this endless fall. But, as with all things in life, this journey is about to come to an end.

BIO
Amir Admoni and Fabito Rychter have collaborated for over 10 years, creating films, TV shows, and theatrical works marked by a distinctive visual style and singular storytelling. The duo has gained international recognition, earning 71 awards and presenting their work at more than 120 festivals. Gravity VR is their first joint venture into virtual reality, followed in 2021 by Lavrynthos, their second VR project.

I / II / III / IIII

In I/II/III/IIII, choreographer and visual artist Kris Verdonck transforms the stage into a life-size dollhouse. Four female ICK-dancers – not unlike marionettes – are floating in mid-air, suspended from a huge machine. A solo, a duet, a trio and a quartet follow one another in this choreography of identical movements. A game of surrendering to the machine and at the same time, searching for control. The images evoked by I/II/III/IIII are confusing and ambiguous: the dancers almost look like graceful, fragile swans … but they also remind us of animal carcasses being dragged along, floating angels, falling human bodies and everything in between.

Falling Black
Unfalling Black is an augmented reality experience that reveals digitally manipulated weather formation in an enclosed environment. Treating the mobile device as a digital window, the work uncovers the displacing choreography of rain, storms and snow, occurring all around the audience and yet witnessed only through the computerized lens.

Toki Ori Ori Nasu – Falling Records

FILE FESTIVAL

In this work, open reel tape recorders are placed on top of high pedestals and, as they play back, the magnetic tape unspools down into plastic receptacle below. The tape that accumulates in the container piles up as time passes, weaving an unusual pattern in the space. When the tape stops accumulating it is wound back up at high speed to a symphonic soundtrack. The pattern that had existed until then is extinguished and a new pattern is then woven.

Falling Chandelier
L’installation audiovisuelle Fallen Chandelier est basée sur une sonification d’un système de contrôle provoquant le scintillement de quarante ampoules à l’intérieur d’un lustre tombé. Vingt starters interconnectés, similaires à ceux que l’on trouve couramment dans les tubes fluorescents, génèrent un rythme lumineux irrégulier. Cela se produit au moyen de bilames qui sont chauffés dans un tube et entrent ainsi en contact les uns avec les autres en séquence rapide. Ce processus est audible. Chaque démarreur génère son propre rythme, qui a un son différent selon la marque, la composition et le degré d’usure des démarreurs. « J’écoute d’abord beaucoup de starters avant de les utiliser pour une installation dans le sens de la composition. »

From, the Future
The art is about waiting, something the entire world population knows since the onslaught of Covid-19. The title was also inspired by a dream where I told a scientist I was from the future and he believed me. My interpretation of the dream relates to my interest in the luminous thoughts of the 13th-century Persian poet Rumi, he clearly describes what our souls really are, beautiful, sacred, beyond time. I am fascinated by the existential impermanence of beauty. Beauty offers us a deep connection to the experience of life. The animation consists of cut flowers continuously falling from the sky, it can be seen by looking up to the ceiling. The title infers the signature on the note of a gift.

Blooming
“Blooming” is an interactive audiovisual installation that highlights the importance of human connection. It takes the form of a life-size 3D Cherry blossom tree, which is a common symbol of social ties and transience of life in East Asian culture. As a response to participants’ skin-to-skin contacts, heart rate, and gestures, “Blooming” blossoms according to their intimacy. As audience members hold hands or embrace, the digital Cherry tree flowers bloom and scatter. When they let go off their physical contacts, the flower return to its pre-bloom state. The color of the flowers turns white or red based on participants’ heart rate as they interact with each other. (the faster the heart rate, the redder the tonality; the slower the heart rate, the whiter the tonality). In addition to the visual responses, sounds are also modulated according to the tree’s different stages: pre-bloom, blooming, petals falling.

HYPER FRACTAL

When I was a child I had some vivid dreams. They felt like I was falling and flying into an infinite multi-dimensional environment. They were satisfying and terrifying at the same time but I couldn’t find any explanation for them. 6 years ago I read about Benoit Mandelbrot’s theory, the fractals, and it changed my perspective. I realized that my dreams were fractals. So I tried to remake my dreams as a visual VR experience. According to Benoit Mandelbrot’s theory, Fractals are the mathematical\visual explanation of the nature’s structural geometry. Geometry for irregularity.

SOL
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.

a leaf (falling)
Die Installation von Hei Ng besteht aus Hämmern, aus deren Griffen Häuser geschnitzt sind. In Bezug auf das Nagelhaus in Sichuan spielt der Künstler mit dem Oxymoron zwischen Bewahrung und Zerstörung, dem Antagonismus zwischen Staatsmacht und der Integrität eines gewöhnlichen Menschen. Roy Ngs kinetische Installation ist von Yang Xinguangs Blatt 2 inspiriert, in dem ein in einem scharfen Ast perforiertes Blatt die Grenze zwischen absichtlich und zufällig verdeckt. Vor dem Fall des Blattes ahmt es ein Blatt nach, das durch die Strömung segelt.

The Roe’s Room
opera movie
In this “absolutely singular autobiographical film opera” (Time Out London), multi-talented composer, writer, director and artist Lech Majewski presents a stunning, intimate, and ultimately magical work of unbridled creativity. A ravishing ode to the imagination, THE ROE’S ROOM is a place where the energy of youth and the eternal power of the natural world triumph over the banalities and deprivations of the commonplace.Within their apartment, a father, mother and son bear the dulling yoke of an ordinary urban life. His mind and heart borne aloft by the cycle of the seasons and the images and music within him, the son transforms his cloistered existence into a richly poetic emotional utopia. As autumn arrives, cracking flakes of plaster become falling leaves. With spring, a cold hard floor comes alive with meadow grass and love beckons in the form of a beautiful young girl’s outstretched hand.

your unerasable text
“your unerasable text” is an interactive installation, dealing with the topics of data storage and elimination of data. The installation can be placed in an exhibition, but ideally it’s exhibited in a public space window, where it can be used by people passing by 24h a day. The participant is asked to send a textmessage to the number written on a sign next to the installation. “send your unerasable textmessage to +43 664 1788374”. The receiver mobile transfers it to a computer, which is layouting the message automatically. Then it is printed on to a DIN A6 paper, which is falling directly on to a papershredder. There the message remains readable for a few moments and gets destroyed then. The shredded paper forms a visible heap on the floor, which reminds of a generative graphic.

Particle Falls

Particle Falls is a large-scale, real-time visualization of air-quality data.On a background of falling blue light, spots of bright, fiery color emerge and crackle, representing the presence of fine particulate matter, as detected by a nearby air monitor. Fewer bright spots over the falls mean fewer particles in the air.Particle Falls draws our attention to the invisible particles that surround us and that may affect our health. While the visible smog that plagued many U.S. urban centers decades ago has been mitigated by technology and regulatory measures, microscopic threats to our air continue to exist and often go unnoticed. Particle Falls is one way we can learn more about the quality of air around us.

Chijikinkutsu
“Chijikinkutsu” is a coinage, specially created for the title of this work by mingling two Japanese words: “Chijiki” and “Suikinkutsu”.”Chijiki” means geomagnetism: terrestrial magnetic properties that cannot be sensed by the human body but that exists everywhere on earth. Since long before the Age of Discovery, people have traveled with navigation using compasses employing geomagnetism. In recent years, various devises that utilize geomagnetism have even been incorporated into smartphones[…] “Suikinkutsu” is a sound installation for a Japanese traditional garden, invented in the Edo period. The sounds of water drops falling into an earthenware pot buried under a stone wash basin resonate through hollow bamboo utensils. The concept of the work “Chijikinkutsu” does not derive from experimentalism of science and technology on which media arts rely, nor from architectural theory of western music upon which some sound arts lay their foundation. While utilizing the action of geomagnetism normally treated as a subject of science, this sound installation expands the subtle sounds of “Suikinkutsu” in the context of Japanese perspective on Nature.

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

KVADRAT Exploration
R&D for Danish textile company Kvadrat that predominantly revolves around the idea of coating fragments of furniture with fabric rather than falling back on the more commonly seen real world simulation of fabrics. Employing a fluid, almost water-like approach to motion we see abstract furniture fragments emerging from the fabric; its amorphous forms continually re-configuring itself for a graphic, textural delight.

كورنيليا باركر
科妮莉亚·帕克
קורנליה פרקר
コーネリア·パーカー
코넬리아 파커
Корнелии Паркер
two rooms
For some years Cornelia Parker’s work has been concerned with formalising things beyond our control, containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’. She is fascinated with processes in the world that mimic cartoon ‘deaths’ – steamrollering, shooting full of holes, falling from cliffs and explosions. Through a combination of visual and verbal allusions her work triggers cultural metaphors and personal associations, which allow the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary.

musings on a glass box
‘Musings on a glass box’ occupies the entire ground floor of the jean nouvel-designed building, generating an immersive and captivating environment split between two adjacent gallery spaces. In the first volume, a fabricated leak in the ceiling generates single droplets of water, which then fall from 12 specified points in the structure’s roof. Each drip is then caught below in a red robotic bucket that moves in synchronization with the falling water. At the same time, an enormous LED screen hung within the neighboring gallery invites visitors to view nouvel’s ceiling from the perspective of the bucket, projecting a wavy and distorted image.

The Source
The Source, an eight storey high kinetic sculpture, is the new symbol for the London Stock Exchange. Every morning, millions of viewers around the world will watch the installation come to life, signifying the opening of the London Markets.
“The Source is formed from a grid of cables arranged in a square, 162 cables in all, reaching eight stories to the glass roof. Nine spheres are mounted on each cable and are free to move independently up and down its length. In essence the spheres act like animated pixels, able to model any shape in three dimensions a fluid, dynamic, three dimensional television.Visitors to the atrium are greeted by this motion: its particles rising and falling, generating an infinite range of figurative and abstract shapes that rise, dissolve and reform at different heights in the atrium. The shape of the sun rising on a new day of trade, the names and positions of currently traded stocks, the DNA helix at the center of life formed by the work, and floating in the 32m void of the atrium.”

阿兰达\拉希
アランダ\ラッシュ
Primitives
Primitives is an installation that combines the romantic tradition of ruined landscapes with modular fractals. First realized across the entry of the Venice Biennale in 2010, it is comprised of loosely dispersed furniture elements that appear like rock piles, each one unique but formed from the same universal building block. Like microcosms in the distance, the clusters are imagined as islands falling apart and building back up, organizing and eroding at once.

Джейсон Миддлбрук
Falling Water
[…] Middlebrook’s work consistently references art-historical traditions, styles, and movements. For instance, his sculptures crafted from hardwood planks, which he began in 2008 after relocating from New York City to Hudson, New York, feature painted abstractions. They are collisions of nature, art-making, and history that exemplify the artist’s approach.

SPIRALALALA
The audience has been invited to experiment with various spatialised sound effects applied to their vocalisations that were synchronised with the movement of the balls falling along 35m long track. The interaction starts with insertion of the ball into the microphone. Then recording starts and after the recorded sound stops the ball is released to slide down along the track.

falling star
“The role of translation, the passage between gesture, body and voice, the shift from Chinese into English and back again, the relationship between performance and prints this is the sense contained within my work. Always movement across surfaces, entering and exiting backwards and forwards therefore I cannot settle on any one point. I am in flux, restless: a pure relationship between motion and the void.”

“These photos are a result of how intriguing the concept of distortion translates to architecture. It creates a sense of falling into itself, like capturing a moment of demolition. I can destroy titanous steel structures with the click of a mouse and create new twisted versions of reality. I was also inspired by San Francisco. I had just moved here and being a new city was disorienting and exciting and I wanted to capture how my whole world had changed.”

1st light

Paul Chan’s work summons the darkness that envelops us despite the greedy illumination of our cities. Evoking our world on the verge of disintegration, it celebrates the light that emerges in too much light.
The fight is no longer the fight between day and night that inaugurates Murnau’s Faust, but that between the light of the spirit and the light of things. In this shadow theater, under the auspices of a telegraph pole shaped like the Golgotha ​​cross, we witness the rise of the objects of our consumerist societies.
Phones, I-Pods, scooters, whole trains rise to the sky, saved, as the shadows of men fall, hurled to the abyss, like the suicide bodies of “September 11” victims falling from burning towers.
The image, gradually modified along the continuum of projection, carries with it the prophecies of the Apocalypse rehashed by American fundamentalist movements, and the obvious disgrace of a society that celebrates its materialist cult.

蔡国强
Цай Го-Цян
Falling Back To Earth

Annabelle, Barbra, Becky, Alexis, Krystle, Ellen, Olive, Eve and Kirsten, not stumbling, sliding, sinking, falling or oblivious

150 prepared dc-motors, 270kg wood, 210m string wire

The sounds of 150 mechanical seesaws striking the floor of a former church in Austria reverberate around its nave in this installation by Swiss artist Zimoun (+ movie).Named after the materials used in its creation, Zimoun’s latest installation is titled: 150 prepared dc-motors, 270kg wood, 210m string wire.The artist used the wood to build 150 simple seesaws, made from long batons that pivot vertically on short upright lengths.Orientated in different directions, these are scattered around the nave and transepts of Klangraum Krems – a Gothic church converted into an events space in the Austrian town of Krems an der Donau.Each seesaw incorporates a motor that powers a thin metal arm, which is attached to one end of the rocking wooden element by piece of wire.When the motor is activated the arm flicks back, pulling the string taught and causing the end of the wood to strike the ground.“Over a simple mechanical system the wooden laths are set in motion and randomly falling back to the floor,” said Zimoun.

the Waterfall Swing

Towering steel swing set holding arrays of mechanical solenoids that create a water plane falling in the path of its riders. Formed from a tangent of ideas raised from the study of interactions of water as space, the swing is the first in a series that play with interaction in rides and installations. Riders pass through openings in a waterfall created by precisely monitoring their path via axel-housed encoders, creating the thrill of narrowly escaping obstacles.

MENSKE

Even the standing room only tickets have sold out, and the raging mass of disappointed kids looks like they may start a riot: the atmosphere before Ultima Vez’s performance is akin to a rock concert. Choreographer superstar Wim Vandekeybus’s company has toured the world with their trademark vocabulary of acrobatic, extreme, often violent movement, soaked in multimedia and energetic music. Menske (meaning approximately ‘little human’), their latest work, has all the typical flaws and qualities of classic Vandekeybus. On the conservative end of political intervention, Menske is an explosive concoction of brash statements about the state of the world today, a sequence of rapidly revolving scenes of conflicting logic: intimist, blockbuster, desperate, hysterical. The broad impression is not so much of a sociological portrait, but of a very personal anguish being exorcised right in front of us, as if Vandekeybus is constantly switching format in search of eloquence. Visually, it is stunning, filmic: a slum society falling apart through guerrilla warfare, in which girls handily assume the role of living, moving weapons. A woman descends into madness in an oneiric hospital, led by a costumed and masked group sharpening knives in rhythmic unison. A traumatised figure wanders the city ruins dictating a lamenting letter to invisible ‘Pablo.’ Men hoist a woman on a pole her whole body flapping like a flag. “It’s too much!” intrudes a stage hand, “Too much smoke, too much noise, too much everything!” And the scene responsively changes to a quiet soliloquy. At which point, however, does pure mimesis become complicit with the physical and psychological violence it strives to condemn? Unable to find its way out of visual shock, Menske never resolves into anything more than a loud admission of powerlessness.

Falling

Falling Light
‘Oltre un secolo dopo che Sir Isaac Newton aveva analizzato il fenomeno dell’arcobaleno, il poeta inglese John Keats ha commentato che la scienza aveva privato la natura e l’arcobaleno del suo spettacolo riducendo la sua nozione a colori prismatici. “Falling Light” sfida questa convinzione, con un’accattivante interazione cinematografica tra i prismi di cristallo e l’esperienza soprannaturale che sono in grado di creare.
50 dispositivi meccanici sospesi al soffitto, ciascuno dei quali incorpora una lente ottica in cristallo Swarovski tagliato su misura, un motore programmato da computer e un LED bianco, costituiscono l’installazione di TROIKA “Falling Light”.
Le armature metalliche verniciate di bianco si sollevano in sincope ruotando la camma prima che la gravità le rilasci verso terra, attivando il LED per allontanarsi, più vicino alla lente di cristallo. La lente agisce come un prisma, trasformando attraverso la diffrazione la luce bianca del LED in una miriade di arcobaleno, creando a sua volta il flusso e riflusso ritmico delle goccioline sparse sul pavimento.
Sperimentando piccole gocce di luce che cadono dal soffitto sul pavimento della galleria, il visitatore è immerso in una pioggia di luce, ogni goccia circondata da un vibrante alone di colori arcobaleno. In coro, il suono ronzante del meccanismo è udibile: la luce e il suono si fondono in un’unica esperienza immersiva e multisensoriale, rafforzando l’agenda di TROIKA secondo cui la scienza non distrugge, ma piuttosto scopre la poesia nei modelli della natura. “

줄리 헤퍼
ג’ולי הפרנן
ジュリー·ヘファーナン
Джули Хеффернан
Self Portrait With Falling Sky

Falling Angel

falling

Blue Falling

falling into the mundane world

イリ·キリアン – スティーヴ·ライヒ
יירי קיליאן – סטיב רייך
Иржи Килиана – Стив Райх
Falling Angels
Falling Angels was created in 1989 as one Kylián’s Black and White Ballets. The Black and White ballets consisted of six pieces, with Falling Angel being dance 6. It is choreographed to Steve Reich’s Drumming (Part One) created in 1971, which was based on ceremonial ritual music from Ghana (West Africa). Throughout Fallen Angels there is the use of mesmeric choral movement and repeated phrases. Falling Angels is for 8 women and depicts female dancers in their aim to achieve perfection but succumb in various stages to the human female psyche and female events such as ambition, seduction, pregnancy, birth, death, motherhood and self-awareness. Kylián was influenced by surrealism and minimalism during the creation of this work and the ‘black and white ballets’. In this ballet we see the combination of classical lines and sharp percussive movements that give unpredictability to the piece as a whole

falling and flying