БОХЬЮН ЮН
윤보현
To Reverse Yourself

FILE FESTIVAL

My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.

Bots
FILE 2024 | Installations
International Electronic Language Festival

Bots presents a computer-controlled society through a series of algorithmically controlled humanoid avatars that appear on physical carpets using augmented reality (AR). Real-time performances synthesize human behavioral patterns into a formalized digital social study. Omnipresent, combined with our devices and incorporated into virtual environments, the work reminds us of our own digitalized world, in which we are surrounded by invisible bots.

Bio

Giulia Bowinkel (born 1983) and Friedemann Banz (born 1980) live in Berlin and have worked together under the name Banz & Bowinkel since 2009. In 2007 they graduated from the Art Academy with Albert Oehlen and started making art with computers . His work encompasses computer-generated imagery, animation, augmented reality, virtual realities and installations.

Speculative Evolution, Prototype 1

FILE 2024 | Installations
International Electronic Language Festival
Speculative experiment on a future ecosystem under strict control. The narrative takes place in a simulation, 30 years in the future, where artificial intelligence and synthetic biology collaborate to optimize an environment for cultivated species. An AI-powered simulator helps visitors generate new species to balance the ecosystem. Inspiration comes from the book Under the White Sky by Elizabeth Kolbert and artists’ stories about life on a damaged planet.

Bio

Marc Lee is a Swiss artist focused on real-time rendered audiovisual installations, AR, VR and mobile applications, critically exploring creative, cultural, social, ecological, political and speculative themes. His work has been exhibited in important museums and new media art spaces. Shervin Saremi is an Iranian musician and audio engineer specializing in sonic computing, procedural sound design and production. Currently researching immersive audio at UdK Berlin.

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

airmorphologies

when you are close to me i shiver
sound design: Alexander Martinz
“when you are close to me I shiver” is an algorithmically controlled live simulation, a real-time generated virtual reality that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary “Our Planet” narrated by David Attenborough and produced by Silverback Films, the project proposes an intense scenario encompassing our environmental and personal crises. It reflects on how we identify and connect ourselves in different realities while addressing the human condition in a world in ecological and therefore social crisis. On the tablets, virtual cameras scan the environment from various point of views, like surveillance drones. On the main screen, a similar camera randomly targets and focuses on different situations while a familiar voice-over narrates the tragic story.

Diamandini
Diamandini is a 155cm tall custom-made humanoid robot incorporating an omni-directional wheeled motion platform; cameras, laser scanners and computers for real-time tracking and installation control. The humanoid robot is being developed through a five year research project between Mari Velonaki and robotics scientists at the Centre for Social Robotics, Australian Centre for Field Robotics, the University of Sydney.

Reality Show
The artist is known for the union between the neon and fluorescent and socio-political messages. His minimalist and modern sculptures and installations are guided by sharp social and political criticism, which has its origin in the artist personal history – that was born amid the military dictatorship of Augusto Pinochet, in Santiago, in the 1970s. The dictator used to adopt, among other absurd practices, power cut as a way to impose curfews on people. A light to control the masses is a memory of Iván Navarro childhood and eventually became the major subject of his work.

URME

My work, www.youareme.net , explores what happens when the methodology of open sourcing is applied to identity. In effect, I have relinquished control over the creation of my persona online, and have provided to the public my identity and image as material to be manipulated, created, and even destroyed. In our highly surveiled and sensitive society, I am interested in what a public might do with open access to my information. I am not only concerned with the dynamics of supposed public and private information, but also with the carefully curated creation of an online identity. How do social technologies like Facebook shape the way we present ourselves, and how do we go about editing the realities of our lives for online consumption? And if we create or recreate ourselves through our technologies, who exactly could I be, if that process is one open to public discourse. Could this expand the possibilities of who I am, or ruin my cyber-social relations and credibility?