GILBERT GARCIN
吉尔伯特加尔辛
Гилберт Гарцин
RENE LALOUX
Рене Лалу
fantastic planet
El planeta salvaje (en francés La planète sauvage) es una película francesa animada de ciencia ficción de 1973 dirigida por el francés René Laloux, es hoy uno de los grandes clásicos de la animación europea. A través de una historia de ciencia ficción, el film nos sumerge en el drama de dos sociedades enfrentadas entre sí, a través de la opresión, y en el incierto destino al que se enfrentan, abocadas a la propia destrucción. A destacar, además de la trama, la impactante estética que presenta, heredera de los cánones de la época y el lugar en que fue creada.
MARCIO AMBROSIO
Patmap
File Festival
PATMAP is an augmented interactive sculpture customized in real time by the audience who may choose colors and patterns for each face of the sculpture and create unique sequence of animation.
When people touch the sculpture, the aesthetic transforms itself, creating movements and synchrony.
BRENNAN BUCK
Technicolor Bloom
KARINA SMIGLA-BOBINSKI
Simulacri
file festival
“Simulacri” è un arrangiamento sperimentale optophysical. Al centro ci sono quattro pannelli per monitor LCD, assemblati sotto forma di un quadrato cavo e installati all’altezza degli occhi al centro della stanza. L’insieme appare internamente sventrato, ricoperto di vegetazione e abbracciato. Un groviglio di cavi e dispositivi di controllo si riversa al centro della riversa. Tutt’intorno diverse lenti d’ingrandimento pendono da catene. Il raggio abbagliante senza immagini dei monitor sembra come se le immagini fossero cadute da loro. Ciò che rimane è l’essenza del mezzo: la luce. È un’esperienza impressionante e meravigliosa quando le immagini appaiono improvvisamente dal bianco puro al semplice sguardo attraverso una pellicola apparentemente trasparente. Ma se giri l’obiettivo davanti ai tuoi occhi, la struttura polarizzante della pellicola crea sbalzi di colore o addirittura immagini negative complementari.
Christine Comeau
Halte Nomade Rimouskoise
FEEL SEATING SYSTEM
Animi Causa
Feel Seating Deluxe can shift into many different shapes and sizes, making it incredibly diverse and cosy. You can fold it and mold it any way you like. This seating system is made of 120 plush soft balls which you can lay, sit or lounge on. Feel Seating comes in bright red and blue colour which will lighten any room. The balls are made of 100% foam, while the upholstery is made of special stretch fabric. Although this sectional sofa might be too risqué for some, its comfort is undeniable.
Eddie Peake
ENDYMION
Gilles AZZARO – Voice Sculptor
질 아자로
BARACK OBAMA: NEXT INDUSTRIAL REVOLUTION
This monumental 3D Printed sculpture is the three-dimensional materialisation of President Obama’s voiceprint. The 3D voiceprint portrays an extract of President Obama’s February 2013 State of the Union Address. It represents the materialisation of the very thoughts and words of the President of the USA. The sculpture is interactive. A movement sensor activates the system and a laser beam scans the 3D recording to reveal the President’s words and message. The work was printed using a 3D desktop printer and the housing designed by Patrick SARRAN.
Rachel Harrison
راشيل هاريسون
雷切尔·哈里森
レイチェル·ハリソン
רחל הריסון
Рэйчел Харрисон
Alexander the Great
richard tuttle
Таттл, Ричард
理查德·塔特尔
리처드 터틀
ריצ’רד טאטל
リチャード・タトル
I Don’t Know
Richard Tuttle emploie magistralement différents matériaux pour élaborer un lexique personnel où le carton, le métal, le bois, le papier ou le textile deviennent comme les mots d’un poème ou les notes d’une partition. Ses sculptures se caractérisent également par l’absence de référence ou d’interprétation. “Faire une chose qui ne ressemble qu’à elle même, c’est là le problème, c’est là la solution. Faire quelque chose qui soit son propre dénouement, sa propre justification, cela ressemble au rêve. Il n’y a là aucun paradoxe, car ceci n’est qu’un adieu au réel. Nous n’avons pas d’esprit, nous n’avons que son rêve d’existence, un rêve de substance quand il y en a une”.
NICOLE COHEN
Please Be Seated
Пожалуйста, присаживайтесь – это видеоинсталляция современной художницы Николь Коэн, которая позволяет вам взаимодействовать с французскими стульями 18-го века в музее Гетти. Инсталляция объединяет кадры из галерей декоративно-прикладного искусства в Музее Гетти и трех французских музеев с живым видео, снятым системой наблюдения. камера. Когда вы сидите в репродукциях оригинальных стульев, вы становитесь частью инсталляции, фактически входя в исторические воссозданные французские пространства 18-го века. В этой инсталляции Коэн сжимает время и пространство, создавая метафорическую игру музыкальных стульев.
Посетители взаимодействуют с инсталляцией Коэна.
Инсталляция Коэна предлагает вам сесть в репродукции стульев 18-го века и увидеть, как вы переноситесь в историческую обстановку стульев на видеомониторах. Музей Гетти заказал эту инсталляцию, чтобы открыть новые перспективы для своей коллекции французского декоративного искусства. Галереи, предназначенные для демонстрации исторической архитектуры, декоративного искусства и мебели, напоминают оригинальные интерьеры и образ жизни определенной эпохи. В этих музейных инсталляциях посетителей приглашают путешествовать через пространство и время, чтобы представить себе повседневные ритуалы, социальные взаимодействия и личные повествования, которые могли иметь место в таких домашних условиях. Посредством своей инсталляции в Гетти Николь Коэн раздвигает границы этого. опыт в сфере активного участия и фантазии. Пересечение современной популярной культуры с исторической и социальной средой было темой в работах Николь Коэн, которые часто сопоставляют реальных и идеальных людей и обстановку с провокационным и сказочным эффектом.
FILE SÃO PAULO 2025: SYNTHETIKA – CRUDE_CASTIN
Leonardo Da Vinci Project: Neo-Renaissance
CRUDE_CASTIN
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – CGI VIDEOS
Electronic Language International Festival
Leonardo Da Vinci Project: Neo-Renaissance – China
Neo-Renaissance uses the protagonist and Leonardo da Vinci as clues to tell the story of people’s prosperous lives in the “cloud,” the emergence of a latent crisis, and the connection of digital subjects in the context of decentralization in the near future. The film makes extensive use of artificial intelligence-generated materials (AIGC), interweaving the Renaissance and Web 3.0 into a single narrative, aiming to reflect on the fading of popular power in the lower echelons of various social processes and on imaginations for the future.
BIO
CRUDE_CASTIN is a creative collective of young artists. Their focus is on revealing the hidden power structures behind technology and using diverse methods to explore the tension between technology and humanity. Their work combines art and technology, reflecting on the dilemmas of today’s technological society through themes such as technology and power, history, and nature.
Simon Denny
Security Though Obscurity
CORY ARCANGEL
Untitled Kinetic Sculpture #2
The old train station, having itself become a contemporary art museum, presents another kinetic sculpture within the exhibition dedicated to Cory Arcangel: “Untitled Kinetic Sculpture #2”. It is majestic and almost as banal as it is intriguing. Banal because it is composed of two columns of shelves on rollers and intriguing because these literally dance, synchronised in their bending. It takes a bit of time to get used to the work. The time needed to convince oneself that it is not an hallucinatory vision but shelves very much like every day ones, except for the fact that they are not inert. Powered by electricity, they are animated by perpetual undulatory movements that sublimate them while conferring upon them their status as a work of art. Though made of metal, they seem as supple and graceful as dancers and almost fragile, but with a regularity that is entirely robotic.
Abel Gance
Napoleon
Kevin Brownlow’ restoration
Gance embarked on his greatest project, a six-part life of Napoléon. Only the first part was completed, tracing Bonaparte’s early life, through the Revolution, and up to the invasion of Italy, but even this occupied a vast canvas with meticulously recreated historical scenes and scores of characters. The film was full of experimental techniques, combining rapid cutting, hand-held cameras, superimposition of images, and, in wide-screen sequences, shot using a system he called Polyvision needing triple cameras (and projectors), achieved a spectacular panoramic effect, including a finale in which the outer two film panels were tinted blue and red, creating a widescreen image of a French flag. The original version of the film ran for around 6 hours. A shortened version received a triumphant première at the Paris Opéra in April 1927 before a distinguished audience that included the future General de Gaulle. The length was reduced still further for French and European distribution, and it became even shorter when it was shown in America. Napoleon is a silent film directed by Abel Gance, dramatising the youth and early career of Napoleon Bonaparte. Its most complete screening, said to be nine hours long, took place in Paris in 1927 – but this version was subsequently lost. British film-maker Kevin Brownlow saw a version as a schoolboy and subsequently restored the film to close to its original length from various prints. His restoration was first shown in London in 1980 with a score by Carl Davis.
Adam Ferriss
Glitch art
Finding his own niche between new media arts and conceptualism, Adam Ferriss creates unique digital coding that manipulates, distorts, and engineers images into psychedelic terrains. At times, his technicolor abstractions feel organic despite their technological roots – an ambiguous craft born of the RGB Tricolor separation process and pixel sorting algorithms he so carefully employs. Using these “procedural mechanisms,” Ferriss initiates iterative changes in light and pixel structure of his given source material – creating a literally infinite array of compositional possibilities that grapple with human perception during an era of ubiquitous manufacture.
Robertina Sebjanic
Aurelia 1+Hz / proto viva sonification
via highlike submit
Project ‘Aurelia 1+Hz / proto viva generator’ addresses the possibilities of coexistence of animals and machines. In contrast to robots, which are driven by digital artificial intelligence, the project uses a live organism to process the “aliveness” of a simple machine.
