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QUBIT AI: Banz & Bowinkel

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.

LATURBO AVEDON

Chatrooms II
LaTurbo Avedon is a social media avatar and artist. Her work has been enabled by an ever-growing network of friends and collaborators, allowing her to participate in both online and offline exhibitions internationally. Residing entirely on digital platforms, her work ranges from character creation in video games to constructing entirely new virtual environments to inhabit.

Kaws

Expanded Holiday
Expanded Holiday demonstrated the enormous potential of AR technology, which provides virtual perspectives on real-world environments, and conveys KAWS’s mischievous humour through the juxtaposition of physical and virtual worlds. These virtual sculptures were accessible via the Acute Art app and could be experienced in conjunction with the NGV’s exclusive exhibition KAWS: Companionship in the Age of Loneliness, a comprehensive survey of 25 years of KAWS’s oeuvre and his largest solo survey to date. Full of humour, hope and humanity, the exhibition featured more than 100 works including iconic paintings reappropriating pop-culture figures to more recent largescale, layered works, and an impressive collection of KAWS’s celebrated sculptural figures.

Sam Twidale & Marija Avramovic

After Party

(AI) infinite simulations

‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.

FILE SAO PAULO 2019

SARA SCHNADT

NETWORK
Sara Schnadt explores technology in her work both as subject and media. Her installations and performances use found objects, interactivity, projection, spatial illusions, and movement derived from common gestures. Much of her work involves representations or data that translate large quantities of socially resonant information into poetic forms, including data visualization. Schnadt often performs within accompanying sculptural environments, or sites works within functioning everyday spaces, attempting to articulate the personal within virtual and technological innovation.

KEIICHI MATSUDA

Augmented (hyper)Reality
Keiichi Matsuda (BSc. MArch) is a designer and film-maker. He began working with video during his Masters of Architecture at the Bartlett school (UCL) as a critical tool to understand, construct and represent space. Keiichi’s research examines the implications of emerging technologies for human perception and the built environment, focusing on the integration of media into everyday life. He has a multi-disciplinary approach to his work, using a mixture of video, motion graphics, interaction design, and architecture to create vibrant “hyper-real” environments where the distinctions between physical and virtual start to dissolve.

STELARC

drawing with robot arm
“With gene mapping, gender reassignment, prosthetic limbs and neural implants, what a body is and how a body operates becomes problematic. We generate Fractal Flesh and Phantom Flesh, extended operational systems and virtual task environments. Meat and metal mesh into unexpected and alternate anatomical architectures that perform remotely beyond the boundaries of the skin and beyond the local space it inhabits. The monstrous is no longer the alien other. We inhabit an age of Circulating Flesh. Organs are extracted from one body and inserted into other bodies. Limbs that are amputated from a dead body can be reattached and reanimated on a living body. A face from a donor stitched to the skull of the recipient becomes a Third Face. A skin cell from an impotent male can be recoded into a sperm cell. And more interestingly a skin cell from a female body might be recoded into a sperm cell. Turbine hearts circulate blood without pulsing. In the near future you might rest you head on your loved one’s chest. They are warm to the touch, they are breathing, they are certainly alive. But they will have no heartbeat. A cadaver can be preserved forever through plastination whilst simultaneously a comatose body can be sustained indefinitely on a life-support system. Dead bodies need not decompose, near-dead bodies need not die. Most people will no longer die biological deaths. They will die when their life-support systems are switched off. The dead, the near-dead, the not-yet-born and the partially living exist simultaneously. And cryongenically preserved bodies await reanimation at some imagined future. We live in an age of the Cadaver, the Comatose and the Chimera. Liminal spaces proliferate. Engineering organs, stem-cell growing them or by bio-printing will result in an abundence of organs. An excess of organs. Of organs awaiting bodies. Of Organs Without Bodies.” STELARC