GEOSONIC

Richard McCormick

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

GeoSonic – United Kingdom

GeoSonic is an audiovisual piece that takes sound from the earth, and other materials and creates visual representations of them with the use of an oscilloscope. Conceptually, the piece is aimed to highlight the fragile nature of the Earth, how each day more and more erodes away. There is a point at which each section breaks or fades to nothing. This is an intentional choice to emphasise the scale of what we are losing and have already lost.

BIO

Richard McCormick is a composer, visual artist and sound designer with previous work ranging from film scores, electroacoustic, audiovisual and his own electronic music. Having studied a Masters in Music Composition at Sheffield University, Richard’s work expanded and developed exponentially under the tutelage of Adrian Moore.

PAISAGEM MENTAL

Affar Oppip

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

Paisagem Mental – Brazil / Italy

Composed of 12 static works produced during a psychiatric hospitalization (2021-2022), images generated by GAN interpolation, manipulations of “Trenzinho do Caipira” (a traditional Brazilian children’s song), personal recordings, and soundscapes of São Paulo, Paisagem Mental (Mental Landscape) explores the non linearity of human thought, highlighting its flows, speeds, and conflicts in interaction with the structural logic of algorithms.

BIO

Affar Oppip is a visual artist based in São Paulo, active since 2011. His research encompasses glitch art, generative processes, and experiences in the South American metropolis. Through glitches, noises, and overlays, he investigates memory, conflict, and technology, exploring new perspectives, interpretations, and reflections.

BIOVOLT

Yves Peitzner

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

BIOVOLT – Germany

BIOVOLT is an interactive light installation that explores the relationship between human interaction, technology, and electricity. The 15-meter structure, composed of LED strips, responds to touch and movement, symbolizing the connection between human energy and electrical power. Participants influence the installation through motion sensors, highlighting the synergy between human intention and technology.

BIO

Munich-based artist, creative director, and educator. His practice explores how data, human interaction, and environmental conditions take spatial form in responsive installations and sculptural environments. He works across exhibitions and spatial experiences, often collaborating with studios, brands, and cultural institutions. Using light, sound, moving image, and computational media, he creates works that explore how we perceive and experience the world.

Digital Origami: Exploring Procedural Animation

John Otero

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

Digital Origami: Exploring Procedural Animation – Brazil

This workshop introduces procedural animation, a technique that uses mathematical parameters to create automated movements. Using the free version of Houdini software, participants will learn how to digitally assemble and animate origami, exploring the software’s features to simulate movements and behaviors. The creative possibilities of this approach will also be discussed, highlighting applications in animation, generative design, and visual effects.

BIO

João Otero is a visual artist, illustrator, animator, teacher, and visual arts graduate student at ECA-USP. He is a member of the Realidades research and outreach group. He holds a scholarship from the CAPES Teaching Initiation Program in the arts field; he also received a PUB scientific initiation scholarship, researching digital techniques applied to comic book production.

Approximations of a Body Part

Jon Chambers

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

Approximations of a Body Part – United States

A machine learning experiment that takes custom model outputs trained on 3D body scans and uses them in other model inputs. After a few cycles, the resulting videos depict terrifying, seductive and uncanny distant echoes of the original body.

BIO

Jon Chambers is an artist and educator based in New Orleans. His work explores how we negotiate our physical and virtual lives to highlight a fractured sense of self as we attempt to coalesce disparate echoes of reference into something coherent amidst the difficulty of manifesting or orienting oneself within approximation and simulation overload.

Impression: São Paulo

#FFFF00

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

Impression: São Paulo – Taiwan

This is a silent video of colors sourced from São Paulo, which #FFFF00 have never been to, photos found on the Internet. While Impressionists painted outdoors in order to capture “the realistic scenes outside the studio,” today’s artists no longer do this — for the world now comes to us in the form of image. The work highlights this mediated reality, evoking the impression of the place with a hypnotic atmosphere.

BIO

#FFFF00 is imagining another art. Her mi̍h-kiānn swings between joke and protest against institutions. With appropriation, multiplicity and low-budget as main tools, strives to pave the way for outsiders. Graduated from National Taiwan University of Arts, has participated in group exhibitions in Asia, Europe, and America.

Synthetika

Unlike Hegel, who called the set of ideas of a given era the “spirit of the times” (Zeitgeist), we could call our era “Zeitsynthetik” (the time of the synthetic). In the classical period, art was inseparable from religion, whose essence was spirituality; in modernity, spirituality was replaced by the ideologies of grand narratives (capitalism and socialism). The classical arts invented poetics and aesthetics: the beautiful and the sublime. Modern art invented the avant-garde that proposed to be revolutionary, its driving force was the dialectic of the new without the old, and on the other hand, postmodernists mixed everything with everything, including the old with the new. Today we live in the era of synthetic technologies, the era of disruptive technologies. In which the new of modernity is no longer sufficient or surprising. Syntheticity is the new vector: synthetic algorithms; synthetic virtual realities; synthetic intelligences. The driving force behind synthetic art is: 1) the fusion of new art and technological innovation, and 2) the inter-creativity between the artist and artificial creativity. Prompt engineers strategically simulate personas for AIs in order to move away from triviality and thus obtain more creative results. Synthetic intelligences are no longer just instruments, but partners of artists in the construction of a creative and innovative symbiosis.

Art and culture are going through a moment in which creativity ceases to be just human, it becomes artificial; syntheticity thus prospects a post-culture, a new FORM: the form SYNTHETIKA.

Ricardo Barreto

Curator and co-founder of FILE

Electronic Language International Festival

EGO

FILE 2024 | Installations
International Electronic Language Festival

The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.

Bio

Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.

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

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.

Present Shock
Present Shock confronts the viewer with a barrage of statistical clocks representing real-time information about the world—from life-changing global events to the banal trivia of everyday existence—highlighting how the speed and volume of data in the Information Age present new challenges to our limited cognitive apparatus. Many of the statistics presented occur at timescales and spatial horizons that similarly defy our perception or comprehension. Disturbing the inertia of the here and now, they reveal the fluctuating state of dynamic transformation that characterizes life on earth.

Les 1000 vies d’Isis
Les 1000 vies d’Isis (The 1000 lives of Isis) highlights the birth of an imaginary character created entirely by computer. A virtual identity whose daily life is imagined in images. The fictitious staging of these moments photographed in the South of France interrogates Photography and Portraiture by introducing a questioning on the nature of images, their link to reality and to the identity of the living.

24Western Flag
Trails of smoke form an ever-changing black flag in this video footage created by Irish artist John Gerrard to highlight the threat posed by increasing levels of carbon dioxide in the earth’s atmosphere.

Mud Muse

One of the show’s highlights is Mud Muse (1968-71), which is 1,000 gallons of bubbling Bentonite clay in a 12ft by 9ft (365cm x 274cm) tank.The work is also something of a technical feat in that it is listening to itself. The mud’s bubbles and spurts are measured by microphones, which in turn trigger a complex series of pumps to release more air and create more bubbling.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

Grow
Daan Roosegaarde’s latest artwork GROW is an homage to the beauty of agriculture. In the world film premiere GROW appears as a luminous dreamscape of red and blue waves of light over an enormous field. GROW is inspired by scientific light recipes which improve plants’ growth and resilience. Most of the time we hardly notice the huge areas of the Earth which are literally feeding us. GROW highlights the importance of innovation in the agriculture system: How can cutting-edge light design help plants to grow more sustainably? How can we make the farmer the hero?

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.

Glitch Robot
The Installation consists of several robotic actors. When the actors make contact with their instruments, they produce a sonic impression of an omnipresent texture of modern life: electronic music. The music robots used in this performance consists of recycled and 3D-printed parts such as harddisks, relays, tongues, motors and solenoids. Glitch Robot connects mechanical, visible movements to audible sound by using small sound-producing robots. Thus, the installation highlights the origin of the sound in a way no conventional medium of electronic music production is able to. Typically, electronic music eliminates the haptic aspect of sound-generation, creating a void in understanding of how sound, and thus music, is mechanically created.

Constellations
File Festival
FILE HIPERSONICA

This work begins from the exploration of an imaginary celestial space which is translated into sound space. How does each celestial sphere – starting from its manifestation as a unit – interact with the cosmos where it belongs? How does it react to its law? How does it transform itself integrating with the system, until the loss of identity? In contrast to this process, the constellations act by highlighting the bodies in their uniqueness through the creation of symbolic links: beyond their meaning, they stand as a classification and articulation device of the individual within the system.
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Questo lavoro parte dall’esplorazione di uno spazio celeste immaginario che si traduce in spazio sonoro. In che modo ogni sfera celeste – a partire dalla sua manifestazione come unità – interagisce con il cosmo a cui appartiene? Come reagisce alla sua legge? Come si trasforma integrandosi con il sistema, fino alla perdita di identità? In contrasto con questo processo, le costellazioni agiscono mettendo in evidenza i corpi nella loro unicità attraverso la creazione di collegamenti simbolici: al di là del loro significato, si pongono come dispositivo di classificazione e articolazione dell’individuo all’interno del sistema.

Shirley
Visions of reality
FILE FESTIVAL
Shirley is a woman in America in the 1930s, ‘40s, ‘50s, and early ‘60s. A woman who would like to influence the course of history with her professional and socio-political involvement. A woman who does not accept the reality of the Depression years, WWII, the McCarthy era, race conflicts and civil rights campaigns as given but rather as generated and adjustable.
Edward Hopper movie

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

Orchisoid

“Mobility, technological invention, and artistic invention “It’s not just about putting new media into art, or even making new media art. It is about making new media as an artist, about being an artist in new media. Therefore, if it is not only a question of renewing art by injecting it with new means, new tools, new subjects, it may be a matter of shifting its borders to the point of considering experiments, technological inventions, such as art-related events, as part of the artistic project ”. In my opinion, here is how to re-found art and breathe new life into it for years to come! Fujihata’s work leads us to think of Art as “technical conduct”. In this conduct, technique is not instrumentalised, it is therefore freed from having to serve FOR something, it does not have to be effaced in front of what it serves. But this notion is very “fragile” as Pierre-Damien Huyghe points out to us. Indeed, if the technique “is no longer used for” it is no longer “necessary”. We must therefore consider that what is not necessary is precisely what is useful. Highlighting the usefulness in a technique without going through a notion of service is precisely what is at stake in Masaki Fujiata’s artistic position. In his work, it is about exploring the possibilities of a group of techniques so that they do not end up in the use where they are usually agreed. At the heart of Fujihata’s work we are dealing with techniques rich in possibilities. The artist has an artistic conduct which does not seek the means to do something with these techniques but which seeks to discover them. The artist positions himself as a discoverer making both learned and humorous attempts … “Jorane Rest

The Beach
The Beach is an interactive installation that reimagines the familiar natural and cultural elements of a day at the beach, to create an unexpected and memorable experience for people of all ages. Visitors ascend a ramp before entering an all-white enclosure, where the floor descends towards the highlight of the experience – an ocean of over one million recyclable, antimicrobial plastic balls. A pier extends out into the ‘sea’, allowing people to stand in the center of the space and watch others, while an island invites exploration and discovery. Visual cues such as deck chairs, lifeguard chairs, umbrellas, and signage recall elements of the typical beach-going experience.

file 2023
Call for Entries

FILE – Electronic Language International Festival – is receiving proposals for authorial works and educational projects (talks and workshops) in Art and Technology, from Brazilian and international artists, who are interested in being part of our 2023 exhibitions. Applications will be open from December 19th to February 15th.This announcement opens the opportunity to participate in the 22nd. Edition of the Electronic Language International Festival, which is scheduled to take place at the FIESP Cultural Center, in São Paulo, from July 5th to August 27th. The selected projects will also be able to collaborate in parallel events in different states of Brazil, to be held in the same year of 2023.

Waldian
Waldian is a standalone, wall hanging sound and light fixture capable of playing a near infinite amount of melodic permutations over a predetermined musical scale, complemented by emerging light patterns from twelve separate LEDs spread across the sculpture. In technical terms, Waldian contains two oscillators, an envelope generator and a voltage controlled amplifier, all controlled by impulses from a network of logic gates akin to those of early computers. These impulses are essentially the nerves in the electronic ecosystem, deciding over pitch and amplitude changes as well as creating bursts of light to highlight the entrances of each note. Finally, there is a tube overdrive stage that creates harmonic and subharmonics based on how far away the two oscillators are from each other in frequency. Most parameters are customizable, such as the aforementioned pitch, amplitude and overdrive, but the responsiveness and envelope of the light bursts can also be adjusted, directly affecting the appearance of the light patterns.

Wall
Riccardo Blumer Atelier worked with a team of students to create this machine on show at the Venice Architecture Biennale, which is programmed to build and repair an 11-metre-long bubble wall. The robotic installation, called Wall, is designed to highlight the limitations of physical boundaries. It is programmed to fulfil one goal: maintain a complete wall-like structure made up of eleven bubble-like segments for as long as possible.

For, In Your Tongue, I Cannot Fit
‘For, in your tongue, I cannot fit,’ gives voice to 100 poets who have been jailed through time for their writing or their beliefs. The haunting work highlights the fragility and vulnerability of our right to freedom of expression today—and the bravery of those who struggle to resist. Visitors will encounter 100 microphones suspended over 100 metal rods, each piercing a verse of poetry. Over the course of an hour, each microphone in turn recites a fragment of the poets’ words, spoken first by a single voice then echoed by a chorus which shifts across the space.

Hybris – Garbage Truck
Inspired by chaos theory and non-linear dynamics, Hybris invested a few years sitting in the studio to create his debut, and the results of such an amount of time invested in it stand out at first glance because not only has his head blown of how much ordinary human being crosses his music in addition to blowing the minds of Noisia themselves (who surely do not have to be very easy people to surprise), it has also made UKF (the largest d & b / idm community the world) highlight his first single as a piece worthy of freezing in time and that somehow revitalizes and reinvents the d & b that in Hybris Garbage Truck has not only found a new form of expression with what you hear but also with what you see with his precise and perfectly timed video made by Alexander Lehmann.

FALIN MYND
Falin Mynd is an audiovisual installation dedicated to the city of Milan that draws inspiration from the concept of the latent image in the photographic field: an invisible imprint left by the light on the film that is revealed only after its development. Similarly, the data generated by the inhabitants and visitors of the city of Milan produce abstract digital landscapes, leaving a trace from their analysis and interpretation in real-time. In this way, the work makes visible the indissoluble bond between individual and community, highlighting how the two entities influence one another changing the perception of the reality surrounding us made of places, people, colors, and sensations. The data thus constitute an invisible image of the city, a map of what is not manifest and which is revealed in Falin Mynd.

Beyond Cassini
“BEYOND CASSINI” uses this narrative to celebrate the accomplishments of one of the most successful and beloved Satellites in space exploration history. As Cassini begins its final flight into Saturn’s upper atmosphere with a mission of disintegration, visuals flash back through time giving viewers highlights of this dying satellite’s life.

Guerre

A struggle that seems to be of particular relevance today. A metaphorical title, poetry of the line and of colour, that highlights the challenge that each of the parties represents. A kind of symbolic correspondence that flirts with our world, with our history, our human condition. War opens up perspectives of matter, a struggle both real and poetic that blends lines and directions, inscribing the trace, the hue, in the flesh of the dancing body but also in a seductive paradox between line and colour.

吉冈德仁
吉岡徳仁
transparent mannequins
Considered ‘grid bodies’, or the ‘transparent body installation’ yoshioka has specially conceived these figures to highlight issey miyake’s garments. in room A, one finds the 1970s collections of miyake dressing figures composed out of 365 laser cut cardboard parts, arranged as a grid structure to create a futuristic human body. they are adorned by pieces that investigate miyake’s constant innovation in fabric-making, and his deep respect for tradition.

APPARITION
Materiality and process are central to Rebecca Ward’s practice and evoke “architectural garments” ripped, unwoven, and re-stitched from fleshtoned canvas duck, leather hide, and silk organza. In her canvas works, the artist removes the weft (horizontal) threads of the fabric to reveal the underlying stretcher bars, highlighting the physical structure of the painting itself. Ward’s artworks reveal and obscure, and by their nature, entice viewers to closely investigate contrasts in line and material, modulations in color, and multi-dimensional layers.

LA SOCIETE DE LA PLACE DES SPECTACLES
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under the materiality of video, and generate his creative process from the destruction of consumer components.

file sp 2020
ANNOUNCEMENT
We are communicating to all of our partners, to all of our collaborators and to all of our participants, as well as to all of our audiences that FILE SAO PAULO 2020 is temporarily suspended.

solid chair
Der Solid C2 Stuhl von Patrick Jouin ist ein Highlight in der wachsenden Gruppe digital gestalteter und produzierter Werke des Museums. Wir sind unseren Mitgliedern zutiefst dankbar, dass sie diese Akquisition ermöglicht haben. Der Stuhl wurde nach einem Verfahren namens Stereolithographie hergestellt, einer Art 3D-Druck, bei dem ein computergesteuerter Laser ein lichtempfindliches Epoxidharz bei Kontakt erwärmt und verfestigt. Dieser Prozess erstellt eine Form, Schicht für Schicht, um ein einzelnes vollständiges Objekt zu erstellen. Dieses Verfahren unterscheidet sich stark von herkömmlichen handwerklichen oder herkömmlichen Massenproduktionsverfahren wie Zusammenbau, Schnitzen und Formen.

Crystallographica
The futuristic curves highlighted the collection’s minimalistic inspiration. The unusual creations brought to mind robotic-like fixtures, while exuding elegance and grace. We fell instantly in love with the cold yet fascinating faceted dresses.

Rek
With ‘Rek’ (stretch in Dutch) I explore the aesthetic possibilities of the human skin through a mixture of image capturing techniques. By manipulating this curious stretchable material with various low budget materials like nylon fishing rope and cello tape I am able to temporarily shape it into surprising textures and shapes. Highlighting not only it’s flexibility and adaptability but also it’s function as our own biological upholstery that aside from it’s protective capabilities could also serve as a medium for aesthetic expression, possibly in the form of a dress less fashion.

Bangkok-born artist Tintin Cooper‘s collages weave different images in popular media, such as sporting figures, to cut away the different faces and obscuring their identity. The themes of her work highlight society’s obsession with celebrity, and undermines this illusion by forming work that seems to shatter her subjects from within.

Romance & The Landscape
Romance & The Landscape by Justin Hodges disrupts the banality of the day-to-day by re-contextualizing images and objects and highlighting the intricacy of our relationship to our planet. According to the artist, the natural world is a container of sorts for many things, both human and otherwise. With that, he encourages us to think about the routines and convenience of our interactions.

Quipu Womb
Although better known as a poet in her adoptive North American home (she has lived in New York since the 1980s), Cecilia Vicuña has stayed true to her youthful calling as a genre-bending visual artist for more than forty years, and her site-specific projects highlight the artist’s talent for composing poems in space, for a visceral lyricism in three dimensions.

electronic language international festival
Since year 2000, FILE is a non-profit cultural organization that has been promoting exhibitions, workshops and gatherings that seek to investigate the appropriations of the technologic media in artistic accomplishments. With annual exhibitions in Sao Paulo, in addition to participations in national and international events, FILE is the biggest electronic art event in Latin America.more…

Dominic Peternel and Stephen Coorlas’ solution to this timeless question of how to clad a building was answered by creating a pattern to envelop the contradictive personalities of the structure. The pillowing or gator skinned exterior morphs along with the building, highlighting the cuts made in the initial structure, and following the curves and lines of the building […]

Surrounded
“The artist soaked rags simple in resin in order to freeze the time. The use of basic household items highlight the concept of life domestic in contemporary art and refers to the artistic theme of the readymade Duchamp.” – Backlash Galler