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Peter Weibel
Петер Вайбель
Mechanik der Organismen
Peter Weibel followed his artistic thoughts using a wide variety of materials, shapes and techniques. In the mid-1980s, he explored the possibilities of the computer assisting in video processing. In the early 1990s he created an interactive installation based on reality, again showing the relationship between the media and the construction of reality.
In his opinions and articles, Weibel comments on contemporary art, media history and theory, film, video art and philosophy. As a theorist and tutor, he defends an art form that includes in its history, the history of technology and the history of science.
TANIA BLANCO
humming bird song
LUCAS WERTHEIN
Lucas Werthein & Jason Aston
The Boom Shakalaka
As Rube Goldberg showed us in his now notorious cartoons depicting complex devices performing the simplest of tasks in the most roundabout ways, precision, timing, and creativity are tantamount to making such a machine functional and enjoyable. Invoking a popular physics engine, “Boom Shakalaka” creates a real time world with real time physics that portrays obstacles faced in the real world.
FILE FESTIVAL
DIANA ENG
INFLATABLE DRESS
Diana Eng, in collaboration with Emily Albinski, created this gorgeous dress way back in 2003, which ended up making its way on the cover of ID Magazine. The designers used this project to explore how they could use electronics to change the shape and color of a gown. The dress inflates to allow you to change it’s shape. Pump up the back or the sides to change its silhouette.
The designers made no attempt to hide the electronics, rather, they exposed the spaghetti-ball of wires and components as the main aesthetic.
DESIGN SYTEMS
the way out offices
julius von bismarck
Freedom Table & Democracy Chair
Suspended from the ceiling of the exhibition space, a blue office chair and a simple table each swing in a circular orbit. At times the movement of table and chair is closely aligned, at other times out of sync. Moving in a rhythm of dance-like accompaniment, the two objects seem to have attained weightless freedom.
The table and chair originate from the gallery. Computer-operated motors determine their precise circular paths, which have marginally deferred frequencies.
FILE SÃO PAULO 2025: SYNTHETIKA – WOW Studio by D2D
UnBoxing the Infinite
WOW Studio by D2D
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – LED SHOW
Electronic Language International Festival
UnBoxing the Infinite – Egypt
The work explores the intersection between reality and hyperreality. As a dancer traverses confined spaces, discovers portals, and creates magical worlds with the audience. Using dynamic motion tracking and live visuals, the performance inspires transformation, creativity, and self-liberation, breaking down boundaries of perception.
BIO
Elena Kauffmann is the founder and creative director of WOW Studio (Egypt), focused on media arts, XR, and AI. She created WOW Zone, an experimental space powered by immersive technologies, and is a co-founder of VR developer UBR. She works as a creative producer, immersive experience designer, and art director. Carolina Assis is a Colombian contemporary dancer based in Egypt. Amr Ali is one of WOW Studio’s lead tech artists.
Bart Lens
The XL(amp)
The XL(amp) was initially designed to mark the edge of a fair booth and simultaneously present images on the inside. The lamp shade foil is foldable. This allows for easy transport and makes it possible to cover the lamp with a photo film. The lamp, by virtue of its size, defines its own space.
Laura Scozzi
Jean-Philippe Rameau
Les Indes Galantes
The first merit of this new production, streaming with intelligence, is that Laura Scozzi and Christophe Rousset have read Fuzelier’s verses deeply. And of Rameau, we must add, so much the composer, perpetually dissatisfied with his poets, harassed them word for word, when he did not take up the pen himself. In addition to lines which, like his contemporary Marivaux, seem to have been invented instantly, Fuzelier has built a dialectical finesse between peace and war, joy and hatred, pleasure and violence, the state of Nature and the state of society. The Gallant Indies according to Laura Scozzi are not a gigantic burst of joy. On the contrary, they reveal a perpetual and restless balance between shadow and light and are a look, less consensual but true and human, on the Age of Enlightenment. Here is a startling ideological reversal, without any forcing: Laura Scozzi has simply revealed the implicit nature of a libretto, so far read superficially.
PATRICK ALLEN
semiotic study
Urs Fischer
CHAOS #501
Introducing CHAOS, 501 original works in the form of unique digital sculptures. Each NFT in CHAOS consists of two unique objects (an array of familiar objects to people today) that have been 3D scanned. They are set on a colliding course in motion and orbit. The sculptures, operating as an archeology of the present, are intended to manifest in any format that is capable of displaying, playing or showing a 3D sculpture in motion. The culmination of the project is CHAOS #501, a single entity NFT uniting all one-thousand objects represented in #1-#500.
MICHAEL NAJJAR
史上第一位進入太空的藝術家
bionic angel
«Бионический ангел» Серия работ «Бионический ангел» берет за отправную точку будущее преобразование и технологический контроль эволюции человека. Быстрое развитие так называемых «g-r-i-n технологий» (генетика, робототехника, информация и нанотехнологии) меняет наши тела, разум, воспоминания и личность, но также влияет на наше потомство. Все эти технологии объединяются с целью повышения производительности труда человека. Пренатальная генетическая детерминация позволяет детям строить планы. Тела клонов становятся хранилищами для эрзац-органов, в то время как манипуляции с атомной структурой создают новые тела, которые намного превосходят старые с точки зрения прочности, эластичности и долговечности. Новые кузова адаптированы к потребностям высокоскоростной магистрали передачи данных. Эти разработки, основанные на генетических алгоритмах и нейронных сетях, означают, что теперь можно контролировать биологическую эволюцию; они открывают путь к новой, высшей форме существования для человека. Такие акты трансгрессии уже подразумевались в идеализированных телесных образах греческой мифологии, которые итальянский ренессанс принял как идеальное выражение радикальной трансформации с точки зрения понимания тела, разума и науки – светский человек стал утопическим обещанием. Ссылаясь на такие идеализированные миры тел из античности и эпохи Возрождения, серия работ «Бионический ангел» поднимает темы метаморфоз из классической греческой мифологии в трактовке римского поэта Овидия. Сценарии существ, находящихся в муках трансформации, формулируют неизбежность генетического самотворения в будущем человеческой истории. Сам момент метаморфозы служит ключевой метафорой для технологической трансформации человеческого тела в его будущем пост-человеческом и, возможно, бессмертном существовании. «Лаокоон» По мере того, как технология миниатюризируется, ее легче имплантировать в человеческое тело, превращая его в интерфейс, адаптированный к скоростям магистралей данных. Таким образом могут быть созданы прямые сети “мозг-мозг”. Мотив «лаокоон» основан на греческом мифе о Лаокооне и эллинистической греческой группе фигур в Музее Ватикана.
ryoichi kurokawa
黒川良一
oscillating continuum
En “oscillating continuum” el artista japonés nos muestra una variación del recurso de la video-instalación, acostumbrados a ver una pantalla de gran tamaño en la que se desarrolla una acción, mientras que en la parte posterior se encuentra el equipo de sonido y los cables que hacen trabajar a la pieza. Kurokawa reduce todos estos elementos a dos pantallas encerradas en un par de cajas ensambladas una a lado de la otra.
STILLNESS
Penser et sentir
Sous le thème du Zen, cette œuvre représente une partie de la philosophie du Zen avec des données tridimensionnelles créées avec la technologie de photogrammétrie composée du paysage le plus minimaliste des «points» et du paysage sonore des «ondulations», avec la coopération de Toryo Ito, vice-prêtre de Ryosokuin, temple Kennin-ji Tacchu, Kyoto. L’image générée reflétant les informations environnementales de l’espace d’exposition crée «une interaction entre l’environnement et l’image», tout comme les arbres et les feuilles se balançant dans le silence du temple zen.
Rachel Rossin
Stalking the Trace
Stalking the Trace est une installation VR multi-spectateurs qui se déroule dans une série d’enceintes, renforcées par l’audio, l’éclairage et les projections pour créer une atmosphère immersive sensorielle dans la galerie. Rossin utilise le mouvement du spectateur à travers l’espace comme méthode pour interroger le désir humain de contrôle et d’agence, et la notion de temps avec le sujet humain en son centre.
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Stalking the Trace is a multi viewer VR installation, takes place within a series of enclosures, heightened by audio, lighting and projections to create a sensory immersive atmosphere within the gallery. Rossin utilises the movement of the viewer through the space as a method to interrogate the human desire for control and agency, and the notion of time with the human subject at its centre.
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Stalking the Trace – это многопользовательская VR-инсталляция, действие которой происходит в серии ограждений, усиленных звуком, освещением и проекциями для создания чувственной иммерсивной атмосферы в галерее. Россин использует движение зрителя в пространстве как метод исследования человеческого стремления к контролю и свободе действий, а также понятия времени с человеческим субъектом в его центре.
LAURA BELEM
bell sculpture
South Georgia Heritage
NEON – Fantastical Architecture, Art and Design
FROM DARKNESS TO LIGHT
South Georgia Heritage Trust launched an open call for a site-specific commission to be located on Grytviken the former whaling station of sub-Antarctic Island of South Georgia. The project was required to celebrate the whale through a reinterpretation of the former Flensing Plan (a large timber deck used to process the captured whales) and offer a message of hope for future generations by demonstrating how humankind can move from exploitation to conservation. Our proposal imagines that the deck of the Flensing plan has been cut like a piece of flesh from the ground and bent upwards to form an arc. The timber deck is replaced with concrete pavers which are coloured based on the activities which took place in the sites past and present (whale processing and whale watching). The coloured pavers are positioned to create a gradient which provides the visitor with a visual representation of the way the site has changed over time.
ERNESTO NETO
ЭРНЕСТО НЕТО
ارنستو نيتو
埃内斯托·内图
ארנסטו נטו
エルネスト·ネト
어 네스 토 네토
HSIEHYUCHENG
via highlike submit
