teamlab
チームラボ
floating flower garden
“Much as Random International’s “Rain Room” allowed visitors to walk through the rain without getting wet, “Floating Flower Garden” is designed so that viewers can walk through a hanging garden without getting … flowered. Sensors that detect an approaching viewer cause flowers in that viewer’s vicinity to rise.” Kriston Capps
SAMUEL SALCEDO
Самуэль Сальседо
塞缪尔·萨尔塞多
사무엘 살 세도
サミュエル・サルセド
FILE SÃO PAULO 2025: SYNTHETIKA – Brit Bunkley
Natural Intelligence
Brit Bunkley
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival
Natural Intelligence – Nova Zelândia
Natural Intelligence is “intelligence created by nature, natural evolutionary mechanisms” as opposed to artificial intelligence. With it, “there is a dynamic movement of natural intelligence that evolves from vague, fuzzy, and unconscious states to more concrete and conscious states, and thus realizing the essence of perception” (Perlovsky and Kozma, 2007). It is beautiful and deeply flawed, but it levels out in the end.
BIO
Bunkley has exhibited at the Museum of New Zealand Te Papa. He participated in the Visions in the Nunnery at the Nunnery/Bows art gallery in London in 2022 and in 2024 at Rencontres Berlin, Haus der Kulturen der Welt, Berlin, and he exhibited in Artweek Gyumri, Armenia. He was the award winner for Best Art | Experimental video/film at the New York City Independent Film Festival 2024 in NYC.
RALF BAECKER
Ральф Беккер
The Conversation
Pataphysical Processing Environment
À travers des installations et des machines, Baecker explore les mécanismes d’action fondamentaux et les effets des nouveaux médias et technologies. Dans ses représentations et spatialisations de processus microscopiques, il cherche à perturber complètement notre perception. Au cœur de ses objets se trouve l’intrication du virtuel avec le réel, ou plutôt avec le monde. Avec une perspective médiatique et archéologique, Ralf Baecker fouille dans des dispositifs obsolètes des traces et des fonctions encore détectables dans les technologies d’aujourd’hui. Son travail cherche à former un hybride entre l’esthétique numérique actuelle et une compréhension historique des matériaux. En conséquence, il appréhende la technologie non pas comme un outil mais plutôt comme un instrument épistémologique, afin de poser des questions élémentaires sur un monde perçu à travers les impressions technologiques.
QUBIT AI: Anna Vasof & VRinMotion Team
The Cage of Time
FILE 2024 | Installations
International Electronic Language Festival
Interactive installation that presents a kinetic instrument object and virtual reality glasses, functioning as a device that animates the illusion of the passage of time in virtual space. In the fabric of existence, time weaves a cage around our ephemeral moments, limiting our perceptions of the past, present and future. By embracing this paradox, we may discover that the cage of time becomes the crucible where the alchemy of experience transforms our understanding of existence.
Bio
Anna Vasof is a multi-award-winning artist who focuses on filmmaking, short videos, and time-based sculptures. VRinMotion is an artistic research project based at St. Pölten University of Applied Sciences in Austria that investigates how features of stop-motion animation and motion capture can be combined with virtual reality to enrich current artistic discourse.
Credits
VRinMotion Team: Franziska Bruckner, Christoph Schmid, Clemens Gürtler, Matthias Husinsky, Christian Munk, Julian Salhofer, Stefan Nebel, Vrääth Öhner.
Concept by: Anna Vasof.
LEANDRO ERLICH
Piscina
[…] Erlich cria espaços com limites fluidos e instáveis. Antes de tentar dar sentido às suas esculturas e instalações, sente-se o estranho. Uma única mudança (para cima é para baixo, para dentro é para fora) pode ser suficiente para perturbar a situação aparentemente normal, desmoronando e expondo nossa realidade como uma falsificação. Por meio dessa transgressão de […] Erlich cria espaços com limites fluidos e instáveis. Antes de tentar dar sentido às suas esculturas e instalações, sente-se o estranho. Uma única mudança (para cima é para baixo, para dentro é para fora) pode ser suficiente para perturbar a situação aparentemente normal, desmoronando e expondo nossa realidade como uma falsificação. Por meio dessa transgressão de limites, o artista enfraquece certos absolutos e as instituições que os reforçam, o artista enfraquece certos absolutos e as instituições que os reforçam.
Yoann Bourgeois
La Mécanique de l’histoire
Trajectoir
Diese ausgewogene Skala, ein Gerät, das für die Bedürfnisse der Show hergestellt wurde, bietet eine weitere Szene. Dort niederzulassen wirft den Körper sofort in eine andere Welt. Ich war noch nie auf dieser Reise. Als Zuschauer bin ich fasziniert und ratlos. Es ist eine fremde Welt, in der man lernen muss, sich durch Erkundung zu bewegen. Kein Bodenkontakt. Das Gewicht ist immer noch da, aber die nahezu perfekte Balance des Gegengewichts ermöglicht ein müheloses vertikales Öffnen. Sie müssen nur ein Bein, einen Arm bewegen. Kaum. Die Waage ermöglicht Unbeweglichkeit in der Luft. Alle Bewegungen des Körpers drehen sich um den Punkt der Befestigung des Gleichgewichts, des Rotationszentrums, des Herzens dieser Welt.
Stefan Tiefengraber
User Generated Server Destruction
The visitors of the website www.ugsd.net can trigger six hammers and drop them onto a server that is located in the exhibition. This server hosts exactly the same website www.ugsd.net, which also shows a video stream to follow what’s happening with the piece. The installation ends when the server is destroyed and thus can not host the website any more. It is then presented as an object along with the documentation of the process.
Studio A N F
Computervisionen 2
Nach mehr Jahrzehnten des Versuchs, einen Apparat zu konstruieren, der denken kann, können wir endlich die Früchte dieser Bemühungen erleben: Maschinen, die es wissen. Das heißt, nicht nur Maschinen, die Informationen messen und nachschlagen können, sondern auch solche, die ein qualitatives Verständnis der Welt zu haben scheinen. Ein auf Gesichtern trainiertes neuronales Netzwerk weiß nicht nur, wie ein menschliches Gesicht aussieht, es hat auch ein Gefühl dafür, was ein Gesicht ist. Obwohl die Algorithmen, die solche para-neuronalen Formationen erzeugen, relativ einfach sind, verstehen wir nicht vollständig, wie sie funktionieren. Eine Vielzahl von Forschungslabors hat solche Netze auch erfolgreich auf fMRT-Scans (Functional Magnetic Resonance Imaging) lebender Gehirne trainiert, um Bilder, Konzepte und Gedanken effektiv aus dem Geist einer Person zu extrahieren. Hier geschieht die Beugung wahrscheinlich als doppelte: eine Technologie, deren Funktionsweise nicht gut verstanden wird und die eine ebenso unklare natürliche Formation mit einem gewissen Erfolg qualitativ analysiert. Andreas N. Fischers Arbeit Computer Visions II scheint kurz hinter dieser Schwelle zu warten, wo sich zwei Arten von wissenden Wesen in einer Art psychotherapeutischer Sitzung treffen […]
Doug Wheeler
Luz, volume, escala, desorientação, infinitude, ilusão e realidade: estes os vetores da arte da luz como praticada por Doug Wheeler no contexto de um movimento ao mesmo tempo minimalista nos materiais físicos da obra e maximalista quanto à amplitude de sensações provocadas. “Luz e espaço” é o título de uma tendência reunindo artistas em torno interessados na luz surgida na Califórnia nos anos 1960. Piloto de aviões, Doug Wheeler anotou as sensações estimulantes e desnorteantes do vôo; de modo análogo, suas obras “desestabilizam nosso sentido de equilíbrio e nos levam a mover-nos em compasso com a Terra na direção de um horizonte inalcançável”. Outro modo de dizer a mesma coisa é destacar que Doug Wheeler busca a experiência do sublime.
FILE SÃO PAULO 2025: SYNTHETIKA – Mario Klingemann
The Noise of Art
Mario Klingemann
FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica
The Noise of Art – Alemanha
Dançando pelo Espaço Latente
Mario Klingemann ama dançar — não profissionalmente — mas, sempre que o faz, tenta traduzir sua interpretação do movimento e dos gestos da música para o espaço multidimensional de seu corpo. Trabalhando com os espaços latentes de redes neurais, particularmente com GANs, encontrou um processo paralelo: traduzir som em imagens. A dança torna a música visível por meio do movimento; sua arte tenta fazer o mesmo com inteligência artificial, permitindo que a música molde imagens. As três obras em vídeo apresentadas — Freeda Beast — Bringing Things to an End (GAN generated beta) (2017), The Noise of Art (2020) e Liberation (2020) — são experimentos nessa tradução, cada uma criada de uma só vez por um código escrito por ele, que responde ao ritmo e ao clima das músicas. Bringing Things to an End, provavelmente um dos primeiros videoclipes totalmente gerados por IA no mundo, utiliza um modelo de geração de rostos treinado pelo artista.
Mario Klingemann é um artista e cético com uma mente curiosa. Seu trabalho explora a interseção entre arte e tecnologia, com foco em inteligência artificial, aprendizado profundo e estruturas algorítmicas, investigando continuamente os mecanismos internos tanto das máquinas quanto do processo criativo.
BIO
Mario Klingemann é um artista e cético com uma mente curiosa. Seu trabalho explora a interseção entre arte e tecnologia, com foco em inteligência artificial, aprendizado profundo e estruturas algorítmicas, investigando continuamente os mecanismos internos tanto das máquinas quanto do processo criativo.
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.
Urbanscreen
Spektrum
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.
LISSY ELLE
리시 엘
Lissy Laricchia aka Lissy Elle is a Canadian photographer who creates magical, paused in motion surreal photos. She plays with the subject, likes to change the rules of gravity and use smart props, location and digital manipulation. Her dreamy photographs are certainly pleasing on the eye, taking you off somewhere for a moment but the world within these images has also an air of mystery
RASA SMITE & RAITIS SMITS
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).
CAROLE A. FEUERMAN
キャロル・ファーマン
Tree
“Sou mais conhecida por minhas esculturas hiperrealistas de nadadores e de pessoas tomando banho, minuciosas a ponto de conter cada sarda da pele e cada gota de água”, diz, com acerto, Feuerman. “Procuro esculpir a figura humana de forma tão semelhante a pessoas vivas para que as peças pareçam até respirar… ”
Maximo Riera
The Millennial Console Collection
