gillian wearing

Los autorretratos de Wearing exploran la fotografía como farsa, además de examinar concepto de identidad y representación. Con una meticulosa atención al detalle y sofisticadas prótesis de silicona, Wearing crea extraordinarios autorretratos que imitan fotos de su álbum de familia. Estas imágenes triunfan porque formulan preguntas sobre la familia, las relaciones y el yo, aspectos todos ellos importantes en la fotografía contemporánea. Otros retratos de la serie, incluyen a su hermano, su abuela y su abuelo.


The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey


بوب ويلسون
בוב וילסון
밥 윌슨
Боб Уилсон

…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.


The Legible City

In The Legible City the visitor is able to ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated three-dimensional letters that form words and sentences along the sides of the streets. Using the ground plans of actual cities – Manhattan, Amsterdam and Karlsruhe – the existing architecture of these cities is completely replaced by textual formations written and compiled by Dirk Groeneveld. Travelling through these cities of words is consequently a journey of reading; choosing the path one takes is a choice of texts as well as their spontaneous juxtapositions and conjunctions of meaning.

Antoni Rayzhekov

10VE:SEQUENCE FOR TWO is a duet for two amplified bodies equipped with wireless biofeedback and movement devices, measuring the performers heart-rate, stress-level, breath and movement. The synchronizations and correlations of the signals generate a musical representation of the occurring processes between their bodies.


Christoph De Boeck


The intimate topography of the brain is laid out across a grid of 80 steel ceiling tiles as a spatialized form of tapping. The visitor can experience the dynamics of his cognitive self by fitting a wireless EEG interface on his head, that allows him to walk under the acoustic representation of his own brain waves.The accumulating resonances of impacted steel sheets generates penetrating overtones. The spatial distribution of impact and the overlapping of reverberations create a very physical soundspace to house an intangible stream of consciousness.‘Staalhemel’ (‘steel sky’, 2009) articulates the contradictory relationship we entertain with our own nervous system. Neurological feedback makes that the cognitive focus is repeatedly interrupted by the representation of this focus. Concentrated thinking attempts to portray itself in a space that is reshaped by thinking itself nearly every split second.

Refik Anadol

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

gillian wearing

Los autorretratos de Wearing exploran la fotografía como farsa, además de examinar concepto de identidad y representación. Con una meticulosa atención al detalle y sofisticadas prótesis de silicona, Wearing crea extraordinarios autorretratos que imitan fotos de su álbum de familia. Estas imágenes triunfan porque formulan preguntas sobre la familia, las relaciones y el yo, aspectos todos ellos importantes en la fotografía contemporánea. Otros retratos de la serie, incluyen a su hermano, su abuela y su abuelo.

South Georgia Heritage

NEON – Fantastical Architecture, Art and Design

South Georgia Heritage Trust launched an open call for a site-specific commission to be located on Grytviken the former whaling station of sub-Antarctic Island of South Georgia. The project was required to celebrate the whale through a reinterpretation of the former Flensing Plan (a large timber deck used to process the captured whales) and offer a message of hope for future generations by demonstrating how humankind can move from exploitation to conservation. Our proposal imagines that the deck of the Flensing plan has been cut like a piece of flesh from the ground and bent upwards to form an arc. The timber deck is replaced with concrete pavers which are coloured based on the activities which took place in the sites past and present (whale processing and whale watching). The coloured pavers are positioned to create a gradient which provides the visitor with a visual representation of the way the site has changed over time.

Vitor Freire

Projeto IJO
“IJO” means dance in Yoruba. The project was born inside a series of actions with the objective of reframing the place of dance and a re-appropriation of the public spaces. Adapted to FILE FESTIVAL, the project unfolds its initial ambition, painting the walls and buildings of the city with dancing. By positioning themselves in front of “IJO”, the participants will have a visual representation of their bodies exhibited in real time on the FIESP building. Dance to tell who you are.


جوزيف سفوبودا
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.

Suguru Goto

L’homme transcendé
Suguru Goto explore l’extension des potentialités dans la relation homme-machine. Ses performances joue sur l’interaction entre la représentation vidéo de corps virtuels et les vrais corps présents sur la scène, qui peuvent grâce au BodySuit, transformer ces images en temps réel. Un puzzle est créé autour des différences et des ressemblances entre le vrai corps et le corps virtuel.



In this work the movement of a large video monitor mounted on an industrial fork-lift truck creates a virtual representation of a larger than life size ballerina. As the forklift moves the monitor up and down the ballerina is presented from head to toe, and as the forklift truck rotates the ballerina also appears to turn. In this way the monitor functions as a window that gradually reveals the virtual presence of the ballerina who is dancing in the same axis as the rotating forklift truck. Also visible inside the motor compartment of the forklift truck is a small rotating ballerina figurine in front of which a video camera moves up and down. This mechanism is electronically synchronised with the movement of the forklift itself and provides the closed circuit source for the video image of the ballerina that is seen on the monitor screen. Disappearance evokes and celebrates the memory of the ballerina on a music box (a first generation robot) and generates her virtual reconstruction to the extent that the machinery of reproduction itself now incarnates her pirouettes.

Pedro Veneroso

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

Bill Vorn & Louis-Philippe Demers

루이 필립 멀스
Луи-Филипп Демерс

“Inferno” est un projet de performance robotique inspiré par la représentation des différents “niveaux de l’enfer”, la particularité de ce projet réside dans le fait que les différentes machines faisant partie du spectacle seront installées sur le corps même des spectateurs.


لارس فون ترير
라스 폰 트리에
לארס פון טרייר
Ларс фон Триер
Truth be told, the best thing about Melancholia is its title. In an era where pop therapy abounds, true melancholy and its affinity to beauty needs to be rehabilitated—and of course differentiated from the more banal categories of “mental illness” and “depression.” In a pivotal phase of German Romanticism exemplified by Novalis’ poetry, the quintessentially melancholy category of “longing” is linked with a quest for the “unattainable.” Yet there’s also a tangibly utopian element to Novalis’ melancholy, personified by his dictum, “All representation rests on making present that which is not present.” Or as Max Blechman puts it in his essay “The Revolutionary Dream of Early German Romanticism, the Romantics pantheistic faith points to how art and religion are fundamentally one and the same activity. For is not art the desire to see the real in the ideal, to enliven the ideal behind the real, to transform unconscious idealism into conscious idealism—and is this not done through faith in the ideal?”

Yihan LI

Since the emergence of time as a concept, the circle has been a graphic representation that registers and measures the passing of seconds, minutes, hours, and even decades. . . . The torus may be seen as a three-dimensional form utilized to represent time as it travels through a cyclic loop. The geometric shape of the torus speaks of duration, of looped time, and of transformations along and in time. In this project, Boolean operations between varying tori in multiple dimensions indicate the interaction between durations—possibly time in addition to time, or interactions diluted by time—that reveal a new architectural realm featuring free curves which direct visitors’ movements inside flowing spaces. People will lose the perception of direction or time and find themselves worshipping in open and serene volumes.


Арне Куинз
Chaos Life
The composition of a Chaos artwork started as a self-portrait; the representation of what’s going on in his head. But soon a shift occurred towards an enduring research on the definition of chaos in society. Often these artworks are filled with a mass of small wooden sticks attached to each other, looking enormously chaotic. “There’s no chaos, only structure” is a tagline in some of his work expressing his inner self and how he describes his thoughts. To him there is no chaos, everything is structured even in the chaos you find structure. There’s no such thing as chaos in Quinze’s world or at least not in the sense of how society defines chaos. Chaos does exist, as a form of structure. Chaos is irretrievably linked with life. In life everything is a matter of rhythm. Something without a rigid structure is part of the organic order in life.

benjamin bergery and jim campbell

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

Mathieu Merlet Briand

Google red marble

Digital native et issu d’une famille d’agriculteur, Mathieu s’intéresse à l’influence des technologies sur la perception de notre réalité contemporaine. Il s’interroge sur la matérialité d’internet et ses représentations. Il cherche à traduire l’expérience du web surfer, l’imagination de l’internaute face à ce flux infini d’informations.
Dans ses projets se dégagent de façon récurrente des questions environnementales. Inspiré par la lecture de l’essai philosophique d’Ariel Kyrou « Google God » de 2010, il interroge cette image presque divine associés aux géants du web.
Il utilise comme médium les big datas. Via ses algorithmes qu’il développe, par des processus de recyclage et des analogies à la nature, il façonne des flux de données afin d’en créer des matérialisations tangibles. Abstractions, reliques, cristallisations ou fragment du World Wide Web, son travail protéiforme se matérialise principalement en sculptures et installations multimédia.
Influencé autant par l’histoire de l’abstraction, les artistes du Land Art, que par les Nouveaux Réalistes, ses créations sont associées au Culture Digital, au mouvement Post-Digital ou Post-Internet Art.



File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.

Tobias Putrih

Re-projection: Hoosac

Influenced by the utopian projects — and notable failures — of innovative artists and designers such as Buckminster Fuller, Frederick Kiesler, and Charles Eames, Tobias Putrih likens his works to experiments, or design prototypes. His use of cheap materials, including egg crates, cardboard, and plywood signify both a sense of potential and impending collapse. Many of the artist’s works reference the architecture and spectacle of the cinema: a space suspended between fantasy and reality, image and environment. With Re-projection: Hoosac Putrih distills the cinema to its most basic element: fishing line stretched across the gallery mimics the conical trajectory of a beam of light. A spotlight hits the strands of monofilament which in turn become a screen, reflecting an image in illuminated dots. Inspired by the Hoosac Tunnel just east of North Adams — a storied, engineering marvel that draws ghost-hunters to the area — Putrih’s tunnel is, likewise, both real and a representation, an optical trick that invites both wonder and investigation.


Dina Khuseyn, Patrick K.-H., Oleg Makarov

A multivarious result of visual representation of 3 non-identical structures (dance performance, sound art and animation) points at interactivity as the main possible axis of reference. Necessity of this axis derives from specific interpretations that can only appear by juxtaposing of several systems. It opposes to traditional “parallelism” of media, employed in theater that only imitates causality, but having it already done before performance is starting.
In Cinestetika, each element of each media works as separate PROCESS, but also serves a SIGNAL to other medias. This essential core makes Cinestetika rather an instrument to make a term “live performance” filled with its perfect sense.