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Catalog:

ESSENCE/ABSENCE

Matteo Campulla Opened October 31st, 2021 View 3D Gallery
Poster image for ESSENCE/ABSENCE

Statement:

Pavilion 10 @ The Wrong Biennale n°5
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Luis Carlos Rodríguez, Maria Korporal, Ian Gibbins, Eija Temisevä, Linda Loh, Enzo Cillo, Benna Gaean Maris, Neo Christopher Chung, Zander Porter & Juan Pablo Cámara, Jérémy Griffaud, Susanne Layla Petersen, Sara Bonaventura, Tassia Mila, Santasil Mallik, Jean-Michel Rolland, Guli Silberstein, Szabina Péter and Kristóf János Bodnár (blanche the vidiot), Rachelle Beaudoin, Albert Merino, Muriel Paraboni, Judit Navratil, Raluca Ioana Milescu, Filippo Giulio, Jen Valender, Jean-Marie Guyaux, Marie-Eve Levasseur, Matteo Campulla
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In a world where "being" often coincides with our online presence, reality itself becomes a "break" from our virtual life.
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The pavilion intends to deepen the binary opposition between essence and absence, starting from the Hegelian concept "The truth of being is the essence" (die Wahrheit des Seins ist das Wesen). Being and nothingness, according to Hegel, really coexist in the becoming which is a continuous passage of the two opposites. Taking up the Spinozian conception according to which "every determination is a negation" (Omnis determinatio est negatio) every characteristic that being assumes occurs with a negation with respect to the totality.

Artworks in this room:

Infinity

Sara Bonaventura

“Everything is nothing with a twist” Kurt Vonnegut

Sara Bonaventura

BLUE MOON

Ian Gibbins

Inspired by David Bowie, Arthur C Clarke & Stanley Kubrick, and the Pioneer 10 & 11 Space Probes to the moons of Jupiter and Saturn and beyond... how do we navigate the ruins of our history? how do we share a life adrift on whirlpools and rapids? perhaps the answer is in our dreams of interplanetary flight and the rise of one more blue moon...

Ian Gibbins

coopstipation

Benna Gaean Maris

Animation, HD 720p 16:9 / AnimGIF, looping, 2021

Benna Gaean Maris

The Exclusion Principle

Ian Gibbins

"We must be different. We must have opposites... We depend on our outermost shell for stability... We will not violate this principle..." Wolfgang Pauli's Exclusion Principle is a fundamental component of quantum mechanics that underpins many key features of atomic structure and, from there, the way in which chemistry works. In this video, samples of the text of the Wikipedia article on The Pauli Exclusion Principle (https://en.wikipedia.org/wiki/Pauli_exclusion_principle) have been reframed to ask, whom are we excluding? And why? "Stand behind the white line..." Most of the sequences have been animated from large arrays of still images.

Ian Gibbins

The Optimal Woman Meditates (Adobe Stock)

Rachelle Beaudoin

Inspired by the writing of Jia Tolentino especially the essay, Always Be Optimizing, I am looking at the ways in which women work towards generic ideals from visual culture, particularly online, in hopes of achieving an effortless image that in reality is exceptionally demanding. In the gif, The Optimal Woman Meditates, I layer stack women meditating on of each other at a pace that shows the frenetic and demanding nature that lurks behind this outward image.

Rachelle Beaudoin

the Zero [Vorspiel _ transmediale & CTM]

Zander Porter & Juan Pablo Cámara

The Zero is a hypocenter: a ground zero warzone staging a never-before-seen battle. The rules of combat are described by a computationally-encoded TreeMap. The TreeMap is a node-matrix of relationality where nodes are defined by states of embodiment both performers enter with telepathic, ultra-connected immediacy. Rehearsed through eye-to-eye-contact (and sometimes “hand-to-hand combat”), the Zero's matrix permits accelerated transitions, unforeseen evolutions, and the erosion of identification. The Zero is Zander Porter and Juan Pablo Cámara’s memory algorithm. An emptied nest, it is a choreography welcoming a hoard of new figures, fictions, species, and meshes always sitting at the edges of representation. in collaboration with Juan Pablo Cámara originally presented for Vorspiel / transmediale & CTM at SomoS reconfigured in residency at Trauma Bar und Kino thanks @ Paulus Fugers, Pierre Renard, James Batchelor zanderporter.com/the-zero juanpablocamara.info/the-Zero

Zander Porter & Juan Pablo Cámara

AbstrArt_09

Luis Carlos Rodríguez

Abstrart is part of an audiovisual artistic research project that tries to transfer, with moving images, expressive and emotional concepts to the screen and, therefore, intentionally lacks formal, narrative and structural aspects. Any resemblance to reality is pure coincidence or a casual accident in the production process. =================================== Abstrart es parte de un proyecto de investigación artística audiovisual que intenta traspasar, con imágenes en movimiento,conceptos expresivos y emocionales a la pantalla y, por lo tanto, carece intencionadamente de aspectos formales, narrativos y estructurales. Cualquier parecido con la realidad es pura coincidencia o un accidente casual en el proceso de producción.

Luis Carlos Rodríguez

Pervitin Power

Maria Korporal

Pervitin was the drug of Nazi Germany: a methamphetamine, which give users a feeling of pleasure, confidence, and energy beyond what they normally experience. Pervitin was officially prescribed for soldiers and certainly contributed to the success of the Blitzkrieg and subsequent German invasions. Pervitin is known in our time as Crystal Meth. “Meth” is also the Jewish word for “death”, and came to my mind in connection with the Prague legend of the Golem, which has fascinated me for decades. In Jewish folklore the Golem is an animated anthropomorphic being, which is brought to life by writing the word EMETH, meaning “truth”, on its forehead. To disable the Golem, one can erase the E from EMETH, creating METH – “death”. The formula METH-EMETH functions as a mechanical method to simulate a consciousness at will. It strongly reminds me of the Nazis practices and of other war leaders, who intend to manipulate their soldiers with narcotics, stirring up their will to assassinate. The drug puts them in a state of trance and less aware of the atrocities they commit. They act as non-human robots do. However, we ought to call this behaviour inhuman. In my work “Pervitin Power” I try to express these thoughts. The video has been recorded in 360° in a room of the Schwerbelastungskörper, a large cylinder made of concrete in Berlin. It was built in 1941 to study the feasibility of constructing large buildings on the area’s sandy bottom, in preparation for the planned construction nearby of a massive Triumphal Arch, that Hitler wanted to build for his Germania city project. The arch was never built, but the cylinder is still there. In this room charged with history, I take on the role of the soldier and discover that my clone is sitting opposite me. After simulating a Pervitin shot and putting on a gas mask (an original WWII item), a change of consciousness takes place. Concepts such as TRUTH, HUMAN, ROBOT, POWER, ALIEN are written on the foreheads of me and my clone. From these emerge animated drawings and images. They move through the space like hallucinations and culminate into a violent climax.

And suddenly - you realize

Eija Temisevä

"A video poem" about the moment you realize. A psychological and existential process. ........... Things unknown were creeping into your mind You did not know what was it about but then - you realize

Eija Temisevä

Silent Edge

Enzo Cillo

Silent Edge is a work that questions about the vision itself. The idea of ​​this project comes from a reflection on the concept of “limit”. The space constrained between the horizontal and the vertical, between X and Y. How to film this immaterial point is the question.

Enzo Cillo

Interdimensional Express

Neo Christopher Chung

Nonplaces are anthropological spaces of transience, in which we pass through as anonymous agents. Coined by the French anthropologist Marc Augé, nonplaces from trains to shopping malls signifies our contemporary existence. Our awareness and experience in those nonplaces are constantly stimulated and simulated, only in a partial manner and on a subconscious level. However, as nonplaces are usurping our super-modern life, we also recognize that nonplaces enable us to meditate and look innerwards. We contemplate and celebrate (in)significance of nonplaces, using sounds and visuals taken from and motivated by trains and train stations. Trains put us in between what we leave behind and what we seek towards. In between home and home away from home. In this rapidly speeding bullet of time, space, and memories, long train rides bring out faded memories and put us into a certain trance. That rapidly diminishing tunnels and stations and beloved ones. Those inaudible announcements projecting the next stations or the delays. They remind us of our roles in nonplaces, constantly in transit, and never reaching stability.

Neo Christopher Chung

SABOTAGE

Jean-Michel Rolland

"Civil disobedience is not our problem. Our problem is civil obedience." Howard Zinn. The character presented in this video is not wearing a uniform and yet behaves like a soldier. With his fellows, he ends up building an army where everyone seems to obey different orders, a disorganized army which pretends to obey but which in reality does as it pleases. When disobedience seems out of reach, "misobedience" may be the solution. ****** Henry David Thoreau was the first to write about Civil Disobedience in 1849. He was convinced that slavery was evil even if it was legal. Opposed to The Mexican War in 1846-1848, he decided to refuse paying the taxes that were financing this unfair war. Before him, Etienne de la Boétie wrote about tyranny in the 16th century. He wrote that passive disobedience was enough to break the chain of domination. Tyrannies need the support of people. If people don’t play the game of the tyrant, the tyrant will lose. Howard Zinn wrote that "civil disobedience is not our problem. Our problem is civil obedience" after the Nurenberg trial where death camp soldiers didn’t feel guilty because they just had obeyed orders. But everyone, even soldiers, must have a consciousness. They should be able to disobey orders when they feel that these orders are corrupted or evil. The Milgram experiment is a very frightening example of our excessive docility : when people like you and me are asked by a white coat researcher to send electricity to his accomplices pretending to suffer, most of us obey the orders because we trust the authority of the researcher. We’re ready to severely injure someone because a highly skilled person asks us to do so. But we should always ask ourselves if the action we’re about to do is good or evil. No matter who gives the orders, let’s ask our own consciousness.

Jean-Michel Rolland

OmniLuminescence

Linda Loh

OmniLuminescence presents an illusion of figure/ground, seemingly transient, elusive and separate. Yet upon witnessing, there it all is, omnipresent, equal, luminous, poetic. Essence AND absence. Constant, looping, infinite, non-dual; all is real and always there. HD Video, 02:10, loop

Linda Loh

OUTSIDE

Susanne Layla Petersen

Digital video created 2021, duration 01:15, b/w, 16:9

Susanne Layla Petersen

INSOMNIA

Susanne Layla Petersen

Digital video created 2020, duration 02:00, b/w + color, 16:9

Susanne Layla Petersen

Sky, sear

Szabina Péter and Kristóf János Bodnár (blanche the vidiot)

video, 07’31” poem: János Áfra translator: Owen Good special thanks to: Dániel Gyöngy Are we able to stop the climate-catastrophe, or should we accept its inevitability? Should we perhaps familiarize ourselves with the idea that – in a constructive interaction with machines and artificial intelligences – we in a way need to overcome the ideas about the presently known forms of human existence – about its sanctity, the duality of body and soul? What are we to expect once we surrender, and our life-spaces are forced underground, for we could not stand the heat of the surface anymore? Will we be able to update and rethink the actual concepts of humanity, so to survive this new era by transforming ourselves into something altogether different? Szabina Peter and Kristof Janos Bodnar (blanche the vidiot) composed a video inspired by Janos Afra’s poem Sky Sear contemplating on similar questions by means of contemporary poetry and video art. The lines of the poem appear both visually, and are heard on distorted, posthuman, hardly intelligible voices, “performed” by AI’s. Through these techniques aimed the creators to depict a dystopian, fragmented reality – no longer capable of being united. We only could hope that such an ahuman, postapocalyptic situation will not become dominant even in our lifetime.

Szabina Péter and Kristóf János Bodnár (blanche the vidiot)

swiping compressed filtered love (et enfin, permettre l'incontrôlable)

Marie-Eve Levasseur

Social networks and dating applications with their individual strategies of self-expression have a profound effect on the processes of identity formation and the way we come into contact with each other. The process of screen-based seduction is definitely different from a process based on the physical presence of the other. The screen allows you to control your mode of presentation. We select the best texts and images to present ourselves. On the other hand, physical presence, more spontaneous, allows us to show our body language, to perceive the other's smell and more. The work reflects on online dating mechanisms like dependency, consumerism, objectification and reduction of the body to calculable parameters, as well as our need for intimacy. It speculates about a potential future where online seduction can be optimized by a wearable device that simulates hormonal emissions as well as smells. The chemical messages that our bodies send to each other could be perceived by the other from a distance, adding an uncontrolled dimension to the filtered flirtation.

Marie-Eve Levasseur

"Life is Circus" // BEST OF LDS 2021

Judit Navratil

The center of work is the essence and creation of connections: the grandmother spider spirit. I have moved between several different countries and cultures, and as an immigrant, I’ve relied on digital means to connect to people and places in an attempt to construct “home,” long before the pandemic. My projects are affective mappings of what it means to continuously oscillate between analog and digital, past and future, and being present. I use my body-device to keep balance between digital and physical embodiment through my compass-meditation: the Long Distance Somersault career. Tumbling through time (since 2015) and space (in XR) reveals many layers of connecting with, respecting and protecting land and place. Rolling as far as I can helps me to connect with place, gaze in the Eye of the Hurricane and seek higher alternatives. BEST OF LDS 2021 is a summary of my Hungarian trip this summer: returning home after 3 years. Besides the many unexplainable emotional landscapes, I rolled around the largest lake in Europe called Balaton (with the help of a bicycle;).

Judit Navratil

From There & No-Where Chronicles

Jérémy Griffaud

From There & No-where Chronicles, (Chroniques d'ici là et du Non-lieu) is a collection of animated paintings drawing the portrait of an imaginary periphery. Roads, detours, commercial areas and pastures embody here a certain idea of the "Outskirts of the Outskirts".

Jérémy Griffaud

The Body is a Gesture

Guli Silberstein

2021, UK, 5:31 By Guli Silberstein An AI computer-vision system reconstructs footage of humanity in different contexts - business, love, city, joy, protest. The next-frame-prediction technology is trying to predict the future based on just a couple of seconds from each clip, producing surprisingly hallucinatory video outputs, engaging with surrealist and expressionist painting tradition. The AI-produced material is arranged by the human artist in a narrative reflecting on the tenderness of the human body, the implications of AI interacting with it, and the politics of its usage. We are a viral breath, one embodiment, connected to each other physically, socially and psychologically. Now it's becoming mediated by machines, controlled by corporations and governments. The work explores senses of touch and body as seen by algorithmic processes. Music: Kiyo - Hue, Jamendo Screenings: SIMULTAN FESTIVAL XVI, ‘UNSTABLE STATE OF THINGS’, 11 — 19 09 2021 / TIMISOARA / Romania Transient Visions: Festival of the Moving Image, Spool Contemporary Art Space in Johnson City, NY, October 22 & 23. 25th International Video Festival VIDEOMEDEJA, Novi Sad, Serbia, October 14-16, 2020 Computer Vision Art Gallery exhibition, CVPR 2021, curated by Luba Elliott and Xavier Snelgrove

Guli Silberstein

Metra

Sara Bonaventura

"The matrix as an unconscious space of simultaneous emergence and fading of the I and the unknown non-I; it is a shared borderspace in which differentiation-in-co-emergence and distance-in-proximity are continuously rehoned and reorganized by metramorphosis." Bracha Lichtenberg Ettinger, The Matrixial Borderspace Recently screened at the transarttriennale.org/ The Imperceptible Self, in Berlin Ufer Studios, for Spacebodies, curated by the Canadian choreographer Andrea Spaziani, this video was shot inside an installation realized by the collective Unulaunu, the National Participation of Romania at the XXII Architecture Venice Biennale. Their focus was on relational points of view, inside a reticular space system. Mine is a choreography of the origin: the subject as différance. A subject/object, in between. Metra derives from ancient greek: matrix, origin. installation: unulaunu.ro/ music: Be Invisible Now! director: s-a-r-a-h.it/ performer: Zhenjuan Li

Sara Bonaventura

trying to disappear

Matteo Campulla

_______________ _______________ _______________ _______________ _______________

Matteo Campulla

Played as they lay

Jen Valender

Made in a one-bedroom apartment during lockdown in Narrm/Melbourne, Played as they lay is a video work in which a series of moths are read like braille to compose an accompanying score. The music traces the path of the moths as found in pantry traps, transferring the configuration of forms into notes placed on a stave. The mass grave of moths become literal markers, like holes punched into scroll piano sheet music, digitally performed by a violoncello, piano and contrabass. The work breaks time into shifting frames manually sliding across the screen—referencing the medium of film and early cinema. The moths become a conduit to surface ethical problems, ambivalence and guilt, while resonating with the contemporary experience of living through the pandemic. I use narrative inquiry to detect perspectives that may be at odds in the artwork and to identify my attentive indifference when using insects as art material. Played as they lay saw me grappling with attitudes around cohabiting with pests; of ethical problems met with ambivalence that had surfaced from the work, which made me question: when does a pest become a pest? Equally, when does the extermination of a pest become a useful agent in the making of an artwork?

Jen Valender

Apparatus Corpus

Jean-Marie Guyaux

Apparatus Corpus is a visual metaphor where cinematic realism collides and blend with the abstract forms generated by its soundtrack. Just as Sartre Exit no Exit sees its characters as always being looked at by another, Apparatus Corpus sees life’s daily grinds as a perpetual back and forth motion where individuals choose to give away their freedom for a state of no escape.

Jean-Marie Guyaux

Electric Window

Muriel Paraboni

Created from images captured by cell phone during the first period of total confinement by Covid 19 in Italy, in March 2020, ‘Electric Window’ makes the simple daily act of opening and closing the window a reflection on the digital plunge to which we are subjected nowadays. The work approaches the way the senses and perceptions are affected by this intense immersion in the immateriality of the digital environment. The window becomes more than a metaphor as it shapes itself onto the computer screen. Nature, reality, technology and virtuality are confused in the exhaustion of the senses, in the entropy of perceptions. 'Electric Window' follows a minimalist structure, based on rhythm and repetition of the same image fragments. The glitch emerges as a shock and visual cut procedure, taking everyday recognizable images to the limits of abstraction. From a formal point of view, the work flirts with the aesthetics of the experimental avant-garde cinema, in artists like Oskar Fischinger, without losing sight of the concrete and real reference that problematizes. Nature and virtuality are spotted in symbiosis, where the wild heart of man and technology meet with sometimes disturbing effects.

Muriel Paraboni

Memories of Detachment

Albert Merino

The Detachment refers us twice to material and affective, associating both emotional and physical. The Detachment may become a gesture of pain but also necessary, in the same way that the imaginaries of collapse does not necessary imply an end but a desired beginning. In the Memories of Detachment, the Collapse is shown as the appearance of unspecific elements who will appropriate the space of the city. These elements respond to collective imaginaries that reveal us details of a society’s behavior. These cultural imaginaries are build based on real or manipulated images that have been agreed socially. They are direct related with the evolution of the image technologies and the capacity to record and manipulate then. Collective and social imaginaries are constructions who can articulate political narratives and serve as a justification. The real ones have been selected, and the manipulated ones has been produced and distributed as consume objects playing an important role in the construction of a tale. What role do we attribute to these imaginaries of collapse and in which way they justify the control devices? In the architecture of the collective narratives the fantastic is replaced by the possible. The elements of the video work as metaphors of the accumulation of information and knowledge, and the rise of entropy or decay; using a plot that unveils us the contemporary scenarios of overflow.

Albert Merino

Fabric of Being I

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being I

Fabric of Being II

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being II

Fabric of Being III

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being III

Fabric of Being IV

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being IV

Fabric of Being V

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being V

Fabric of Being VI

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being VI

Fabric of Being VII

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being VII

Fabric of Being VIII

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being VIII

Fabric of Being IX

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being IX

Fabric of Being X

Santasil Mallik

This work starts with a piece of fabric and my hand as two separate surfaces of introspection. With progressive levels of zoom, the textures at once come closer and move further beyond recognition. Extreme proximity to the body (skin) and the cloth (threads) results in abstractions that find them indistinguishable from each other. The material properties of the surfaces break down, splintering into pixels, grains, and scratches on the digital plane. The digital medium acts as a portal to perceive the material contiguity of bodies and objects that constitute the shared mesh of our existence. Perhaps, the evident/non-evident gap between the object and the body is, in reality, a non-space.

Santasil Mallik
Fabric of Being X

Carving Cape Woolamai I

Jen Valender

In this performance I explore the application of psychological projection through image projection. I respond to the history of an abandoned granite quarry in Cape Woolamai, Victoria by layering maps and photographs of the site’s lingering scars, while attempting to recite passages on relational ethics from the text Joyful Militancy (2017). I project my voice as I take cues from the ebook on my phone, while being blinded by the light of my own projection. Squinting through the light I stumble across each sentence, at times needing to guess words based on length, shape and context. The language play operates much like Gary Hill’s single-channel projection, Remarks on Colour (1994), in which his eight-year-old daughter reads Wittgenstein’s text on colour theory. As the child sounds out philosophical, psychological and technical terms phonetically, the meaning of the text becomes distorted: “‘five-sided angles’ becoming ‘five-sided angels’,” and so on. Similarly, as I struggle through statements of Spinozian ethics, meanings are altered, while inflictions and pitches are disturbed. I read: "…it is…is not about control-ling things, but about response-ability, capillaries [capacities] to remain responsive to changing san-itations [situations]." As one image cuts to another, shifting between the historical footprint of the quarry and closer coastlines, I silence a string instrument, making my own marks amongst the disfigured landscape. The historical footprint of this landscape is steeped in politics. The quarry was operational for only two years, closing after an attempt to ship granite to Melbourne in heavy seas resulted in the death of an entire crew. It was later discovered that the captain chose to ignore warnings that he should secure his load. I associate the lingering drill holes and disfigurements from the mining activity with acts of negligence and connect this observation with the destruction of local habitats. Historical maps and photographs of the site are layered upon my own documentation of the scars in the quarry to blend time and carve new typographies.

Jen Valender
Carving Cape Woolamai I

Carving Cape Woolamai II

Jen Valender

In this performance I explore the application of psychological projection through image projection. I respond to the history of an abandoned granite quarry in Cape Woolamai, Victoria by layering maps and photographs of the site’s lingering scars, while attempting to recite passages on relational ethics from the text Joyful Militancy (2017). I project my voice as I take cues from the ebook on my phone, while being blinded by the light of my own projection. Squinting through the light I stumble across each sentence, at times needing to guess words based on length, shape and context. The language play operates much like Gary Hill’s single-channel projection, Remarks on Colour (1994), in which his eight-year-old daughter reads Wittgenstein’s text on colour theory. As the child sounds out philosophical, psychological and technical terms phonetically, the meaning of the text becomes distorted: “‘five-sided angles’ becoming ‘five-sided angels’,” and so on. Similarly, as I struggle through statements of Spinozian ethics, meanings are altered, while inflictions and pitches are disturbed. I read: "…it is…is not about control-ling things, but about response-ability, capillaries [capacities] to remain responsive to changing san-itations [situations]." As one image cuts to another, shifting between the historical footprint of the quarry and closer coastlines, I silence a string instrument, making my own marks amongst the disfigured landscape. The historical footprint of this landscape is steeped in politics. The quarry was operational for only two years, closing after an attempt to ship granite to Melbourne in heavy seas resulted in the death of an entire crew. It was later discovered that the captain chose to ignore warnings that he should secure his load. I associate the lingering drill holes and disfigurements from the mining activity with acts of negligence and connect this observation with the destruction of local habitats. Historical maps and photographs of the site are layered upon my own documentation of the scars in the quarry to blend time and carve new typographies.

Jen Valender
Carving Cape Woolamai II

Carving Cape Woolamai III

Jen Valender

In this performance I explore the application of psychological projection through image projection. I respond to the history of an abandoned granite quarry in Cape Woolamai, Victoria by layering maps and photographs of the site’s lingering scars, while attempting to recite passages on relational ethics from the text Joyful Militancy (2017). I project my voice as I take cues from the ebook on my phone, while being blinded by the light of my own projection. Squinting through the light I stumble across each sentence, at times needing to guess words based on length, shape and context. The language play operates much like Gary Hill’s single-channel projection, Remarks on Colour (1994), in which his eight-year-old daughter reads Wittgenstein’s text on colour theory. As the child sounds out philosophical, psychological and technical terms phonetically, the meaning of the text becomes distorted: “‘five-sided angles’ becoming ‘five-sided angels’,” and so on. Similarly, as I struggle through statements of Spinozian ethics, meanings are altered, while inflictions and pitches are disturbed. I read: "…it is…is not about control-ling things, but about response-ability, capillaries [capacities] to remain responsive to changing san-itations [situations]." As one image cuts to another, shifting between the historical footprint of the quarry and closer coastlines, I silence a string instrument, making my own marks amongst the disfigured landscape. The historical footprint of this landscape is steeped in politics. The quarry was operational for only two years, closing after an attempt to ship granite to Melbourne in heavy seas resulted in the death of an entire crew. It was later discovered that the captain chose to ignore warnings that he should secure his load. I associate the lingering drill holes and disfigurements from the mining activity with acts of negligence and connect this observation with the destruction of local habitats. Historical maps and photographs of the site are layered upon my own documentation of the scars in the quarry to blend time and carve new typographies.

Jen Valender
Carving Cape Woolamai III

Carving Cape Woolamai V

Jen Valender

In this performance I explore the application of psychological projection through image projection. I respond to the history of an abandoned granite quarry in Cape Woolamai, Victoria by layering maps and photographs of the site’s lingering scars, while attempting to recite passages on relational ethics from the text Joyful Militancy (2017). I project my voice as I take cues from the ebook on my phone, while being blinded by the light of my own projection. Squinting through the light I stumble across each sentence, at times needing to guess words based on length, shape and context. The language play operates much like Gary Hill’s single-channel projection, Remarks on Colour (1994), in which his eight-year-old daughter reads Wittgenstein’s text on colour theory. As the child sounds out philosophical, psychological and technical terms phonetically, the meaning of the text becomes distorted: “‘five-sided angles’ becoming ‘five-sided angels’,” and so on. Similarly, as I struggle through statements of Spinozian ethics, meanings are altered, while inflictions and pitches are disturbed. I read: "…it is…is not about control-ling things, but about response-ability, capillaries [capacities] to remain responsive to changing san-itations [situations]." As one image cuts to another, shifting between the historical footprint of the quarry and closer coastlines, I silence a string instrument, making my own marks amongst the disfigured landscape. The historical footprint of this landscape is steeped in politics. The quarry was operational for only two years, closing after an attempt to ship granite to Melbourne in heavy seas resulted in the death of an entire crew. It was later discovered that the captain chose to ignore warnings that he should secure his load. I associate the lingering drill holes and disfigurements from the mining activity with acts of negligence and connect this observation with the destruction of local habitats. Historical maps and photographs of the site are layered upon my own documentation of the scars in the quarry to blend time and carve new typographies.

Jen Valender
Carving Cape Woolamai V

Carving Cape Woolamai IV

Jen Valender

In this performance I explore the application of psychological projection through image projection. I respond to the history of an abandoned granite quarry in Cape Woolamai, Victoria by layering maps and photographs of the site’s lingering scars, while attempting to recite passages on relational ethics from the text Joyful Militancy (2017). I project my voice as I take cues from the ebook on my phone, while being blinded by the light of my own projection. Squinting through the light I stumble across each sentence, at times needing to guess words based on length, shape and context. The language play operates much like Gary Hill’s single-channel projection, Remarks on Colour (1994), in which his eight-year-old daughter reads Wittgenstein’s text on colour theory. As the child sounds out philosophical, psychological and technical terms phonetically, the meaning of the text becomes distorted: “‘five-sided angles’ becoming ‘five-sided angels’,” and so on. Similarly, as I struggle through statements of Spinozian ethics, meanings are altered, while inflictions and pitches are disturbed. I read: "…it is…is not about control-ling things, but about response-ability, capillaries [capacities] to remain responsive to changing san-itations [situations]." As one image cuts to another, shifting between the historical footprint of the quarry and closer coastlines, I silence a string instrument, making my own marks amongst the disfigured landscape. The historical footprint of this landscape is steeped in politics. The quarry was operational for only two years, closing after an attempt to ship granite to Melbourne in heavy seas resulted in the death of an entire crew. It was later discovered that the captain chose to ignore warnings that he should secure his load. I associate the lingering drill holes and disfigurements from the mining activity with acts of negligence and connect this observation with the destruction of local habitats. Historical maps and photographs of the site are layered upon my own documentation of the scars in the quarry to blend time and carve new typographies.

Jen Valender
Carving Cape Woolamai IV

12/08 - 9/09

Filippo Giulio

(Used leather bag, studded belt, military patch, key ring. 30x100x15 cm) The basis of the work consists of a leather bag that was given to me and therefore used to transport vegetables, salami, bread and cheese during a trip to Sardinia that lasted a month, in which I avoided sleeping or entering the houses for the entire duration. of the trip. Now that the journey is over, the bag has told me that it wants to give up its usefulness in order to know its true essence. So, I made it an exhibit art object by relying on visions of what the spiritual conclusions I reached after my journey could be.

Filippo Giulio
12/08 - 9/09

12/08 - 9/09

Filippo Giulio

(Used leather bag, studded belt, military patch, key ring. 30x100x15 cm) The basis of the work consists of a leather bag that was given to me and therefore used to transport vegetables, salami, bread and cheese during a trip to Sardinia that lasted a month, in which I avoided sleeping or entering the houses for the entire duration. of the trip. Now that the journey is over, the bag has told me that it wants to give up its usefulness in order to know its true essence. So, I made it an exhibit art object by relying on visions of what the spiritual conclusions I reached after my journey could be.

Filippo Giulio
12/08 - 9/09

12/08 - 9/09

Filippo Giulio

(Used leather bag, studded belt, military patch, key ring. 30x100x15 cm) The basis of the work consists of a leather bag that was given to me and therefore used to transport vegetables, salami, bread and cheese during a trip to Sardinia that lasted a month, in which I avoided sleeping or entering the houses for the entire duration. of the trip. Now that the journey is over, the bag has told me that it wants to give up its usefulness in order to know its true essence. So, I made it an exhibit art object by relying on visions of what the spiritual conclusions I reached after my journey could be.

Filippo Giulio
12/08 - 9/09

12/08 - 9/09

Filippo Giulio

(Used leather bag, studded belt, military patch, key ring. 30x100x15 cm) The basis of the work consists of a leather bag that was given to me and therefore used to transport vegetables, salami, bread and cheese during a trip to Sardinia that lasted a month, in which I avoided sleeping or entering the houses for the entire duration. of the trip. Now that the journey is over, the bag has told me that it wants to give up its usefulness in order to know its true essence. So, I made it an exhibit art object by relying on visions of what the spiritual conclusions I reached after my journey could be.

Filippo Giulio
12/08 - 9/09

Theatre of Memory

Tassia Mila

From Giulio Camillo's theater of memory (ca. 1480–1544), the concept of memory as part of an archive of informations and imaginations that move through the fabric of time, and which is triggered and emerges through available interfaces and media in each historical context.

Tassia Mila

How to Get Rid of Ourself? / How to Achieve Liberation on Our Own? Exbus

Szabina Péter and Kristóf János Bodnár (blanche the vidiot)

#artificial intelligence #bardo #kittler #foucault #rhizoma #posthumanism #non-humanism Autonomy of the digital signal-processing systems, pictures of the artificial gaze and the nature evolving from each other about the human – or its absence – accessible through and within them appear in the sequence. We are progressing and processing within and between bardos. We hear the machine-like, non-sensical speach of voice synthetizers, their feedback into a sign not recognizing itself. Liberation in a space void of subject. Accompanied by the accents of the voice-synthesizers reading in different languages the following two poems’ abstract sounds are heard: “O now, when the Bardo of the Moment of Death upon me is dawning! Abandoning attraction and craving, and weakness for all [worldly things], May I be undistracted in the space of the bright [enlightening] teachings, May I [be able to] transfuse myself into the heavenly space of the Unborn: The hour hath come to part with this body composed of flesh and blood; May I know the body to be impermanent and illusory.“ “I am perishing, I am perishing… Am I bearing or crapping now?”

Szabina Péter and Kristóf János Bodnár (blanche the vidiot)

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

The Distance Between Ensemble and the Details

Raluca Ioana Milescu

The series is a short collection started about a month ago, as an exercise of experimenting with AI-coding, and bringing some of its' results in a limbo between internet icons and printing methods (through text, emojis, textures). I related it a lot to my experience as a student in my second year, as I lost much of my interest for school, making art, as well as entering a period of manic-psychotic episodes due to the context of the pandemic, thus an absence in my own identity and being, or losing sense as well as essence. Having a constant link between life and circadian rhythms affected by all aspects of the online world, the imagery of the series brings in a focal point on the neurodivergent brain between functionality and subconsciousness, and how much of that is left with the consequences of isolation and what regards it further. Materialising it as an amalgamation of deepdream-like subtext and layers representative of becoming a digital animal, I managed to instate an essential viewing of a broken down mind, and an absent and obscure figure it all becomes, that leaves behind an imprint on their online presence.

Raluca Ioana Milescu
The Distance Between Ensemble and the Details

Landstrength

Jérémy Griffaud

Landstrength, is composed of a succession of three short animations made from watercolor drawings and photographs of natural environments found on the internet. The whole shows "powerful" landscapes, "muscular" trees or "warlike" mountain massifs. In this installation the plant world is bodybuilt, ready to fight or to show off. Griffaud uses the cult of the body and the intensive practice of bodybuilding as a material and a language. Griffaud is inspired by the way some individuals sometimes stage their bodies in front of a mirror or on social networks. He tries to relate this radical conception of being, which oscillates between a perfect lifestyle and an intimidating way of life, to the contemporary problem of preserving biodiversity.

Jérémy Griffaud

TYMMY CUM BLOOD

Matteo Campulla
Matteo Campulla