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.

The Witness

FILE 2024 | Installations
International Electronic Language Festival

Image activated by augmented reality, where 3D animated subjects and scenarios are integrated into a physical photograph. Inspired by the work of Carl Jung, the image is part of a larger series that explores themes such as identity, introspection and transformation. Through AR, game elements were introduced into the piece, offering virtual content unlockable through interactions.

Bio

Camila Magrane is a Venezuelan-American visual artist known for her augmented reality images, integrating 3D animated scenes and subjects into physical photographs. With experience in video game development and a passion for analog photography, she explores the dialogue between the virtual and physical worlds. Magrane’s images are inspired by surrealist compositions and reference the graphic hyperrealism of contemporary video game design.

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Madakaripura

Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.

TransVision
Through three perceptual machines, TransVision questions the habitual ways in which we interpret and understand the visual world intervened by digital media, and how technology mediates the way we perceive reality. We have observed an increase in allergies and intolerances in modern society. Hypersensitivities are emerging not only medically but also mentally. Digital media reinforce people’s tendency to overreact through the viral spread of information and amplification of opinions, making us hypersensitive to our sociopolitical environment. By creating an artificial allergy to the color red, this machine manifests the nonsensical hypersensitivity created by digital media. In nocebo mode, red expands, which is similar to social media’s amplification effect; in placebo mode, red shrinks, like our filtered communication landscape where we can unfollow people with different opinions.

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.

Джулия Рэндалл
Blown
Julia Randall is in love with drawing, and uses her seductive technique to craft images that subtly challenge assumptions about corporeality, desire, and the natural world. Intersecting sensibilities activate her work; images are simultaneously erotic and humorous, beautiful and repulsive. Although she clearly operates in the realm of fantasy, Randall uses observation-based drawing and hyperrealistic technique to create images that are surreal and suggestive.