The Eidolon Splits
The Eidolon Splits explores the construction of human form and identity within a narrative realm. It reflects and embodies the screen as a portal and contact surface both as a physical and a virtual device.
Ricardo Druskic & Saša Peševski
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival
BLU – Long Night Of The Soul – Bosnia and Herzegovina
Inspired by Jungian psychology, the animated film follows BLU as he enters Xanthea 2502, a realm inhabited by ghosts, archetypes, and mythological beings. In this symbolic universe, BLU confronts his inner demons and undergoes a psychological transformation. The narrative is introspective rather than linear, emphasizing atmosphere, movement, and silence, with sound design still in development.
BIO
Rikardo Druskic is a multidisciplinary experimental artist working across painting, digital animation, and virtual reality. He is the creator of the sci-fi art cycle Xanthea 2502, exploring mythology, AI, and subconscious realms.
Saša Peševski is a director and professor at the Academy of Arts in Sarajevo, specializing in acting, theater, and film direction while mentoring emerging artists.
Isabell Bullerschen
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Augmented Realities
Electronic Language International Festival
Ipseria – Switzerland
An unusual experience awaits recipients: a virtual reality with no digitally-generated content. ipseria and its virtual environment have their origin in the physical realm. Various materials like clay, plasticine and latex have been modeled, as well as organic materials, such as lichen or slime molds, have been collected and cultivated. By using 3D scanners the sculpted, collected, and grown elements were digitized, then processed in the 3D program Houdini and finally combined in the gaming software Unity to create a 360° VR experience. Hence, the virtual and physical worlds are intertwined.
BIO
Isabell Bullerschen (she/her) is interested in slimy organisms and the construction and blending of realities. Through installations and videos, she explores the potential that lies in the deconstruction and rewriting of narratives. She employs a meta-surgical method in which her work serves as a scalpel to dissect anthropocentrism.
CREDITS
Concept/Script/Direction/Modelling/3D Scans/Production: Isabell Bullerschen
3D Animation: Florian Baumann
Game Design: Sebastiaan Cator
Programming: Arno Justus
Sound: Aske Lyck Pedersen and Paloma López & Leslie García (interspecifics)
Voice Over: Netanya Woodard, Molly Schaad
Flute: Chantal Dubs
Scent: Andreas Wilhelm
Seating: Jope Schneider
Project Advisor: Roger Meier
With the support of: Swiss Art Council Pro Helvetia, Kanton Zürich Fachstelle Kultur, Stadt Zürich Kultur, Ernst Göhner Stiftung
Mirror Matter
In the neutrino observatory rendered in Mirror Matter, slow panning movement gives a sense of the immensity of the nearly 13,000 photo-multipliers that inhabit this strange vessel – their ‘eyes’ engineered to watch light. Another frame depicts the Hadron Collider at CERN; its architecture envisioned through lidar scans, producing a dynamic, transparent imprint in three dimensions. Described as a vision that flows through the body, it is imagined by Škarnulytė as ‘alien archaeological vision’ with the ability to see through, and as the experience of sight farthest from the human realm. Through simultaneous perspectives, the constant surveying motion that weaves a continues thread through each video narrative, and the immersion generated by the reflective black ceiling, the viewer is imparted with this panoptical mode of perception.