DESCENT

Peter Burr & Mark Fingerhut

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

DESCENT – United States

In 1562, Pieter Bruegel the Elder completed The Triumph Of Death, a panorama where black smoke blots out the sky, dead fish litter the shore, and skeletons test a myriad of death techniques. Over 200 years earlier, the Black Death wiped out half of Europe’s population, triggering upheavals that shaped medieval history. Alongside Mark Fingerhut and Forma, Burr created DESCENT, a desktop application that meditates on this darkness through a spiraling digital plague—ending with a single eye watching the rats destroy themselves.

BIO

Peter Burr is a Brooklyn-based artist whose immersive environments transform computational systems into emotional, sensory experiences. Working across video, software, and installation, he explores the relationship between human-machine interfaces and the systems that shape them. A Guggenheim Fellow and Creative Capital grantee, his work has been exhibited internationally at institutions including MoMA, the Whitney, and Centre Pompidou.

Mark Fingerhut is a New York-based artist, programmer, performer, and writer whose work spans software art, video, installation, and live digital performance. Using code, choreography, humor, and experimental storytelling, he creates works that explore network culture, computer interfaces, and the poetics of everyday digital experience.

Tunnel
“Tunnel” è una scultura cinetica, immersiva e interattiva, composta da 92 portici disordinati a seconda della posizione e della massa corporea dell’interattore. Molti utenti possono entrare e interagire contemporaneamente con la macchina. Gli interattori agiscono sulla macchina in base alla loro posizione e al loro peso. Un esempio di interazione è: entri nel “Tunnel” e ti trovi vicino a una delle pareti laterali. In questo caso, la posizione relativa e la forza gravitazionale del tuo corpo provocano variazioni dell’altezza del suolo. Il terreno è inclinato fino a 5 °, i relativi portali ruotano gradualmente nella direzione e nell’angolo corrispondenti, che propaga movimenti ondulatori per tutta l’installazione. All’osservatore esterno, il movimento interno o il tuo spostamento rispetto all’installazione produce effetti ottici cinetici.

FALA
File Festival
It is an autonomous and interactive talking machine, designed to establish automatic communication and synchronization between humans and machines, and between machines and machines. At installation, a microphone interfaces with a “chorus” of forty cell phones. All devices are in a listening state to capture voices and other sounds The autonomous talking machine analyzes the information and establishes equivalence with its memory. If so, the machine generates an audiovisual result with a semantic meaning similar to the sound captured, that is, it speaks and displays on the screens a word identical or similar to the word heard. Speakers and visualization of words on the screens of cell phones allow a “dialogue”, and for humans, to listen and see the machine conversation.

Tunnel
File Festival
“Tunnel” is a kinetic, immersive and interactive sculpture, composed of 92 porticos that become disordered in function of the position and body mass of the interactor. Numerous users can simultaneously enter and interact with the machine. Interactors agency the machine via their position and weight. An example of interaction is: you go into the “Tunnel” and stand by one of the side walls. In this case, the relative position and the gravitational force of your body provoke variations of floor height. The floor inclines up to 5º, the associated porticos progressively rotate in the corresponding direction and angle, and this propagates ondulatory movements throughout the entire installation. For the outside observer, the internal movement or your displacement in relation to the installation produces kinetic optic effects.

Túnel
«Tunnel» est une sculpture cinétique, immersive et interactive, composée de 92 portiques qui se désordonnent en fonction de la position et de la masse corporelle de l’interacteur. De nombreux utilisateurs peuvent simultanément entrer et interagir avec la machine. Les interacteurs agissent sur la machine par leur position et leur poids. Un exemple d’interaction est: vous entrez dans le «Tunnel» et vous vous tenez près de l’un des murs latéraux. Dans ce cas, la position relative et la force gravitationnelle de votre corps provoquent des variations de hauteur du sol. Le sol s’incline jusqu’à 5 °, les portiques associés tournent progressivement dans la direction et l’angle correspondants, ce qui propage des mouvements ondulatoires dans toute l’installation. Pour l’observateur extérieur, le mouvement interne ou votre déplacement par rapport à l’installation produit des effets optiques cinétiques.

TUNNEL

Solo
File Festival

SOLO
File Festival

CAIRN

Game Bakers

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

Cairn – France

Reach an unexplored summit in this climbing and survival game from the creators of Furi and Haven. Plan your route and climb wherever you choose, carefully managing pitons and resources to survive the unforgiving Mount Kami. Discover what Aava is willing to sacrifice to complete the greatest ascent of her life. 

BIO

Independent game studio dedicated to creating memorable games that make players feel alive and energized. They approach game development the same way they approach cooking: with a lot of heart, unique recipes, and a passion that shines through in every project. The studio focuses on developing original creations and self-publishes its own titles.

IPSERIA

Isabell Bullerschen

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

Ipseria – Switzerland

An unusual experience awaits recipients: a virtual reality with no digitally-generated content. ipseria and its virtual environment have their origin in the physical realm. Various materials like clay, plasticine and latex have been modeled, as well as organic materials, such as lichen or slime molds, have been collected and cultivated. By using 3D scanners the sculpted, collected, and grown elements were digitized, then processed in the 3D program Houdini and finally combined in the gaming software Unity to create a 360° VR experience. Hence, the virtual and physical worlds are intertwined.

BIO

Isabell Bullerschen (she/her) is interested in slimy organisms and the construction and blending of realities. Through installations and videos, she explores the potential that lies in the deconstruction and rewriting of narratives. She employs a meta-surgical method in which her work serves as a scalpel to dissect anthropocentrism. 

CREDITS

Concept/Script/Direction/Modelling/3D Scans/Production: Isabell Bullerschen

3D Animation: Florian Baumann 

Game Design: Sebastiaan Cator

Programming: Arno Justus

Sound: Aske Lyck Pedersen and Paloma López & Leslie García (interspecifics)

Voice Over: Netanya Woodard, Molly Schaad 

Flute: Chantal Dubs

Scent: Andreas Wilhelm 

Seating: Jope Schneider

Project Advisor: Roger Meier

With the support of: Swiss Art Council Pro Helvetia, Kanton Zürich Fachstelle Kultur, Stadt Zürich Kultur, Ernst Göhner Stiftung

ALGORITHMIC PERFUMERY BY EVERYHUMAN

Frederik Duerinck

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

Algorithmic Perfumery by EveryHuman – Netherlands

Algorithmic Perfumery began with a simple question: what if every human could create their own scent? Designed as an object of curiosity, the installation invites people into a dialogue with themselves. Through interaction with an AI, visitors explore memory, imagination, preference and identity, creating a unique fragrance along the way. Scent is one of our most profound senses. It shapes emotion, evokes memory, and influences us long before we become conscious of it. By combining technology and perfumery, Algorithmic Perfumery creates a space for curiosity, reflection, and self-discovery.

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.

64 CCFL

The installation is mainly made from so called cold cathode fluorescent lights which normally are used as backlights for computer screens.
A micro controller, in combination with custom made electronics, regulates the power supply and therewith the height of the illuminated part of each tube.

Parmenides I

The work continues to build on a visual language rooted in ideal geometries, and a prismatic interplay of light and pattern. The cascading faceted surface carries an implied motion, rolling away from the spectator with meditative ease. This energy potential is given breath by luminescent washes which crash, ebb and flow with internal symmetry.

While best understood directly and perceptually, Dev’s work presents an infinitely reproducible formal structure and lucid logic that can be known universally without empirical knowledge. Light and projection become representative of perceptual knowledge by directly invoking temporal optical phenomenon, but a pure idealized form remains intact. It is this interplay that reproduces the sublime conflict in the viewer, who must choose to ride this crest uncertainly and find exhilaration in the balance.

Afterlives-Chimeras: Wetland Carbonized Memories

Clarissa Ribeiro

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

Afterlives-Chimeras: Wetland Carbonized Memories – Brazil

Afterlives-Chimeras: Wetland Carbonized Memories reimagines ancient Egyptian animal mummification through the lens of ecological tragedy. Inspired by Brazilian swamps and the destruction of wildlife caused by agribusiness, mining, and the steel industry, the project uses AI (Krea.AI and Meshy.AI) to create hybrid creatures from images of charred animals. The chimeras, 3D printed with PLA, reminiscent of mummified linen, symbolize loss, transformation, and the urgency of ecological balance.

BIO

Clarissa Ribeiro is an Assistant Professor of Visual Arts at USP and former Director of Roy Ascott’s Technoetic Arts Studio in Shanghai. A PhD holder with a Fulbright postdoctoral degree, she intersects art, science, and technology in morphogenetic practices, adopting animism as a way to navigate ecologies as cosmologies.

AI Created a Sci-Fi World You Won’t Believe!

Cornelis Clement

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

AI Created a Sci-Fi World You Won’t Believe! – Germany

AI Created a Sci-Fi World You Won’t Believe! is a science fiction universe generated by artificial intelligence. Custom-created images for this world were brought to life with motion and an original soundtrack, resulting in an immersive experience. The work invites the audi ence to explore breathtaking alien landscapes, futuristic cities, and cosmic phenomena reminiscent of Dune and No Man’s Sky. This AI-generated video transports viewers into a realm of visual marvels and hypnotic atmospheres.

BIO

Cornelis is a Berlin-based artist specializing in AI-generated art. He views technology as the dawn of a new era in artistic creation and seeks to be an active part of this movement. His work aims to push creative boundaries, offering audiences new ways to experience imagined worlds.

Modern Guru
Modern Guru is a translucent ovoid with four huge digital eyes, floating above a ceremonial ring of LEDs. From his mouth flows a ream of absurdist messages, and in a statement about the true nature of lived experience, a new message is delivered when visitors take a photo of Modern Guru – a missive produced only for those who seek to photograph life rather than live the moment. This immersive new media art installation uses the intersection of art and technology to explore modern paths to happiness through unique interactions with characters along a mystical journey of discovery. Visitors are asked to commit to the path – a tight and winding trail with subtle points of connection along the way – a glowing landscape of oversized, whimsical mountains that chant incantations and blink innocently from digital eyes.
Having communed with the Guru, visitors then weave their way back through this warped and strange world full of illusions and delusions, perceptions and deceptions, all the while bathing in luminescent light; embracing big, gentle forms; and following their own path up the pink tongue staircase to meet the one who oversees the whole fantastic dominion, the Sun God.

Metronome
Alter-Projects and Servaire & Co have partnered to design Metronome, an oscillating installation at the London Design Biennale created to trigger memories through sounds and smells. The installation is a room with a scent-diffusing physical metronome at its centre accompanied by an ASMR soundscape by designer Steve Lastro.

Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.

CAPACITIVE BODY
file festival

The installation “capacitive body” is a modular light system that reacts to the sound of its environment. Each custom-built module consists of an electro-luminescent light wire linked to a piezoelectric sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces. The sensors are used to measure vibrations of architectural solids in a range of low frequencies. These oscillations are triggered by surrounding ambient noise, for example traffic noise. The data sensor controls the light wires, which are tensed to a spatial net structure. According to the values of the measurement, light flashes are generated. With increasing vibrations the time between flashes becomes shorter and shorter. The stability of this nervous system gets to an end where it collapses and restarts again. A dynamic light space is thereby created, which creates a visual feedback of the aural activity around the installation.

Biomimicry
For the ‘Biomimicry’ film, Iris van Herpen and Dutch National Ballet explore the symbiotic relationship between the metamorphic force in which fashion and dance interlace. The film, directed by Ryan McDaniels, sees the mesmeric dancer JingJing Mao undulating into liquescent shapes and transcending into graceful figures that reflect her myriad of movements. The concept of the creation stems from the notion of biomimicry — the design and production of materials and systems that are modelled on biological processes. In line with Iris van Herpen’s continuous pursuit to materialise the invisible forces that structure the world, the film focusses on the bond between humanity and nature.

Ascent
Ascent is a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

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. »

#define Moon_
[#define Moon_ ] consists of 9 rotating kinect light installations. It presents different postures of moon shape, exerting new sense experiences. The audience is allowed to explore through various ways of looking and bring curiosity to the installation by watching from different angles. By thinking of the science spirit, once again, viewer can define and understand the concept of this work of their own.

Piccolo mondo
small world wide si basa sul fenomeno small world che dice che tutti nel mondo sono collegati attraverso una corta catena di conoscenze dirette. Nel 2013, l’artista del suono Denise Ritter ha assegnato 10 registratori audio a 10 persone in partenza, che dovrebbero dirigere i registratori a raggiungere 10 destinazioni pianificate tramite una serie di conoscenze personali. Tali luoghi e le tappe intermedie devono essere documentati mediante una registrazione sonora. Questi possono essere, ad esempio, suoni o suoni caratteristici della vita quotidiana o dello spazio abitativo. Ma non vengono fornite linee guida. È consentito trasmettere il registratore solo a conoscenti diretti. Non è consentito il percorso diretto alla destinazione tramite estraneo o non imparentato. Così sono state create 10 rotte in tutto il mondo e fino ad oggi l’artista ha ricevuto più di 30 ore di registrazioni sonore da tutto il mondo. Le registrazioni sonore mostrano somiglianze globali inaspettate nei luoghi di registrazione e nelle situazioni scelte dai partecipanti.

NO/Escape
Mallorcan artist Bernardi Roig (b. 1965) installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary. Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light—whether a single light bulb, neon tubes, or fluorescent lights—Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.

La trahison des tapis
The title is a reference to the famous work by René Magritte “The Treachery of Images”. Even though the video installation alludes to it, the viewer is immediately aware that this is not a real carpet. What you see is an animation, a digital carpet, its contemporary variant. However, the patterns of the replica show that it could have been made in the west of Iran. The movements, which appear surreal, are reminiscent of a state of intoxication. Whether this was triggered by drugs, or only arose from the lively imagination of a tired child, is left to the speculation of the viewer. The work reflects the importance of traditional arts and crafts in the modern digital world. It is the first of a series of digital carpets.
The animation has a realistic resolution of 4k, is 03:55 minutes, and runs in an infinite loop on a 65-inch display.

Synesthesia Machine
“Synesthesia Machine” is an artificial intelligence with synesthesia, it will emitting corresponding unique scents while perceiving human facial expressions. Through the facial expression recognition algorithm, it can analyze the facial expressions of the audience and output the values ​​of different emotions. At the same time, based on these emotional values, the installation is driven to extract different proportions of scent liquid and atomized and mixed to convert the audience’s facial expression into a unique smell.

tape sao paulo
file sao paulo 2016
Constant wrapping of pillars with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. One line evolves into surface that forms an organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”) slowly turned into two-dimensional plane, which then finally curved into volume.

岑侃倫
The Undercurrent
file festival
In the installation, the distorted image projected on the tabletop is reflected in the cylindrical mirror. While one sequence is distorted and reminiscent of a dreamlike state or the hazy inner workings of the mind, the other is clear and in proportion, which enables us to decipher the anamorphic image, thus to confront the “undercurrent” in our mind.

PLUG-IN ECOLOGY: Urban Farm Pod with Agronomy
The Plug-In Ecology; Urban Farm Pod is a “living” cabin for individuals and urban nuclear families to grow and provide for their daily vegetable needs. It is an interface with the city, potentially touching upon urban farming, air quality levels, DIY agronomy techniques in test tubes, algal energy production, and bioluminescent light sources, to name a few possibilities. It can be outfitted with a number of optional systems to adapt to different locations, lighting conditions, and habitation requirements. While agricultural food sources are usually invisible in cities such as New York, the pod archetype turns the food system itself into a visible artifact, a bio-informatic message system, and a functional space.

Labor
What does labor smell like? Labor is a dynamic, self-regulating art installation that re-creates the scent of people exerting themselves under stressful conditions. There are, however, no people involved in making the smell – it is created by bacteria propagating in the three glass bioreactors. Each bioreactor incubates a unique species of human skin bacteria responsible for the primary scent of sweating bodies: Staphylococcus epidermidis, Corynebacterium xerosis and Propionibacterium avidum. As these bacteria metabolize simple sugars and fats, they create the distinct smells associated with human exertion, stress and anxiety. Their scents combine in the central chamber with which a sweatshop icon, the white t-shirt, is infused as the scents are disseminated. The scent intensifies throughout the exhibition.

Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.

随机国际
future self

‘future self’ is a study in human movement. the installation captures movement in light to create a three dimensional ‘living sculpture’ based on the composite gestures surrounding it, mirroring the actions of those who pass around it. entirely hand-made, 30,000 LED lights line the brass rods which are arranged to create a structure reminiscent of a rectangular prism, 3D cameras record people’s motions which are expressed through a ghostly, illuminated image, constantly changing.

Consciência crescente
“Usando um vestido de coquetel, montei uma grande estrutura cinética feita de vigas de madeira e escadas na frente do público. Em seguida, caminhei e me equilibrei na estrutura de seis metros de largura, a 2,5 metros do chão. “Consciência crescente” aborda minhas preocupações contínuas sobre a fisicalidade da experiência, habitando o corpo, a propriocepção como o possível sentido mais forte do eu, como a consciência espacial se correlaciona com a consciência geral e a autoconsciência, como a fisicalidade aumenta a criatividade, encontrando o equilíbrio entre a gravidade e a ausência de fundamento, um conceito de felicidade como a expressão mais plena do potencial cognitivo particular de alguém, ultrapassando limites e a atual política irreverente de responsabilidade.” Eve Bailey

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.

Резиний рубль
スターリングルビー
Стерлинг Руби
Στερλίνα Ρουμπίνι
Specter
El monolito naranja fluorescente de Sterling Ruby, SPECTRE, aparece como una aparición en el desierto. La brillante escultura geométrica crea una ilusión óptica discordante, que se asemeja a un compuesto o collage con Photoshop, como si algo se hubiera eliminado o borrado del paisaje. El bloque actúa como un cifrado o sustituto, imitando la forma que podría ser: un contenedor de envío, un búnker militar, un objeto no identificado, un hogar abandonado. La naranja fluorescente se usa tradicionalmente por seguridad, como advertencia. Aquí esa lógica se invierte: un objeto fantasmal, apartado del entorno natural, escondido a plena vista.

Rimpicciolire
Due grandi fogli di plastica trasparente e un dispositivo che aspira gradualmente l’aria tra di loro lasciano il corpo (in questo caso l’artista stesso) confezionato sottovuoto e sospeso verticalmente. Il tubo trasparente inserito tra le due superfici permette alla persona all’interno dell’impianto di regolare il flusso d’aria. Come risultato della crescente pressione tra i fogli di plastica, la superficie del corpo imballato si congela gradualmente in più micro pieghe. Per tutta la durata dello spettacolo, la persona all’interno si muove lentamente e cambia posizione, che varia da una posizione quasi embrionale a una che assomiglia a un corpo crocifisso.

10 colonnes
Son travail le plus récent, simplement intitulé «10 colonnes», inaugure Bridge Projects en transformant l’espace d’exposition de 7 000 pieds carrés à Hollywood en un lever / coucher de soleil synthétique […] Smith a programmé les diodes électroluminescentes de chaque panneau pour faire défiler un séquence d’une heure de couleurs. La palette est baroque de l’ère spatiale, ses primaires et secondaires dotés du zing artificiellement amélioré de tertiaires délicieusement mélangés.

INFINITY III
Infinity III est une invitation à un voyage mental perturbant créé à partir d’images de synthèses. Dans la continuité de son travail autour des cycles naturels (avec la série d’installations « Infinity »), HeeWon Lee nous projette au coeur de nuées d’oiseaux lumineuses et évanescentes… En évoluant dans ce ballet animal, la notion de temporalité et d’espace s’effacent.

The shimmering pulse
The installation consists of 451 independent modules arranged in a form of hexagon – each module reacts to light it receives by spinning iridescent disc that spreads out thanks to centrifugal force, creating a unique kinetic “physical pixel”. That field of shimmering pixels is combined with light projection mapped onto the installation surface to visualize real-time data of the traffic in the Shenzhen area – the hexagon is divided into sections corresponding the 9 city districts. As a result the public can observe and interact with the object that represents the pulse of life of the city in an artful and unexpected way.

Biologizing the Machine
In Biologizing the Machine (tentacular trouble), the artist uses a stretched leather-like kelp to create hanging incandescent sculptures that conjure up images of organisms such as human organs and insect eggs through chrysalis-like pods within which animatronic insects flutter about. The use of this material calls attention to the ecological history and exciting potential uses of algae, a powerful and shapeshifting entity comprising the largest biomass on the planet. The ground beneath evokes a swamp (not too dissimilar from the watery underbelly of Venice) from which these organisms and other primordial beings may have come.

Zoryas
Six formes reposent au centre d’un grand disque plat. L’une rappelle les morceaux de silice amorphe produits par l’impact de la foudre sur le sable, les autres semblent pareilles à des méduses, coraux ou algues qui peupleraient des fonds marins dont on ne sait rien. Chacune d’elle est emplie d’une matière-énergie de teinte et de structure à nulle autre égale. Les six formes sont toutes différentes mais elles appartiennent sans aucun doute à la même classe d’objet, la même catégorie de choses. Aux physiciens, elles rappellent les tubes utilisés par Heinrich Geissler pour expérimenter sur le comportement de certains gaz lorsqu’ils sont traversés par des courants électriques. A ceux qui fréquentent les boutiques des musées de sciences, elles rappellent les globes luminescents qui réagissent aux toucher. Aux explorateur des hautes latitudes, elles rappellent les aurores boréales. Elles sont à la fois tout cela et rien de cela.

Tornado Dress
with Meghan Price & Maryam Golshayan
The lining of the dress has been embroidered with conductive threads and electronic components including super bright white LEDs. Three small photocells have been embroidered to the outside of the dress and detect the amount of ambient light. Depending on the quantity of light that is sensed, different flashing patterns are triggered that are reminiscent of lightning effects that can accompany severe weather situations.

베가 왕
维加王
ВЕГА ВАН
ALPHA LYREA
Beijing-based fashion designer Vega Zaishi Wang’s new Alpha Lyrae collection is very special. Silk dresses of her design were printed with galaxies, constellations, and nebulas, then backed with lightweight and flexible electroluminescent paper, making the garments glow. The name of the collection is quite clever: not only does it reference the space theme of the design, but Alpha Lyrae is the name of the brightest star in the constellation of Vega, which is also the designer’s first name.

White Circle
»White Circle« consists of fluorescent tubes that respond to musical impulses and illuminate the room. Five dedicated compositions by alva noto, byetone, frank bretschneider, and kangding ray playing in a continuous loop (one set takes ca. 45 minutes) model the interrelation between sound, light, and architecture in different ways. Each piece represents an independent and self-contained conceptual proposal by the respective composer. All tracks are multichannel compositions based on the idea of creating a vivid immediate experience of auditory space and visual stimuli. With acoustic material routed to twentyseven speakers placed throughout the gallery, sound itself takes on a threedimensional and indeed sculptural quality.

THE LONG NOW
A soap bubble usually remains stable for only a few moments – it is a perfectly formed sphere with an iridescent surface that reflects its surroundings. As one of the classical vanitas symbols the soap bubble traditionally stands for the transience of the moment and the fragility of life. THE LONG NOW approaches the soap bubble from a contemporary perspective – with reference to its chemical and physical properties as well as recent scientific and technological developments. THE LONG NOW is aimed at extending the lifespan of a soap bubble, or even to preserve it forever. Using an improved formula, a machine generates a bubble, sends it to a chamber with a controlled atmosphere and keeps it there in suspension for as long as possible. The project is presented in the form of an experimental set-up in which the newly created soap bubble oscillates permanently between fragility and stability.

Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).

INDUSTRIAL CREEPER

On the site we envision a antagonistic dialogue between the seemingly biologic units and its abiotic architectural foundation. The units find a home intertwined amongst the predictable regularity of the steel configuration remeniscent of a deteriorating and outdated technological era whose remnants can be found scattered across downtown Los Angeles. These old industrial artifacts, derived from sheer function, act as an all too familiar platform by which the occupant interacts with this new synthetic ecological system. Throughout the site, we see the units stretched and twisted in an extraodinary demonstration of elasticity. In this way, the building lingers in a constant state of mediation between the past and the future; succombing to the complex configuration of the aggressive industrial creeper.

Björk: All Is Full of Love

The video reaches its harmonious climax as the robots join in embrace, still being detailed by the robotic machines beside them.
Each robot was designed by Cunningham, faces reminiscent of Björk’s own delicate visage. The sterility of the room and lighting and the rendered movements of the machines contrasts with the fluid motions of the robots as they connect in a purely human method.

Рафаэль Лозано-Хеммер
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Pulse Room

Pulse Room is an interactive installation featuring one to three hundred clear incandescent light bulbs, 300 W each and hung from a cable at a height of three metres. The bulbs are uniformly distributed over the exhibition room, filling it completely. An interface placed on a side of the room has a sensor that detects the heart rate of participants. When someone holds the interface, a computer detects his or her pulse and immediately sets off the closest bulb to flash at the exact rhythm of his or her heart. The moment the interface is released all the lights turn off briefly and the flashing sequence advances by one position down the queue, to the next bulb in the grid. Each time someone touches the interface a heart pattern is recorded and this is sent to the first bulb in the grid, pushing ahead all the existing recordings. At any given time the installation shows the recordings from the most recent participants.