To Spawn a Door in the Land of Broken Mirrors

@ggabrielkoi

"The Clockwork Room"

"The Clockwork Room is a legendary space on an unknown location, beyond the human space-time perception. Inside the local, its storaged the purest form of each possible stage of time that affects the terrestrial world. On this artwork, we go inside the clockwork room,  knowing the original forms of the time-triad."

PAST
"with a good portfolio of memories stored on this stage, these experiences will better prepare us for the next stage. With a clean and digested conscience in this past, the decisions of the "now" will be more careful."

PRESENT
"Present. The only effective means of action, where everything is tested under pressure, or, calmness, our best chance. Open to all attitudes, let us be wise in these decisions. A stage where there is only - now-."

FUTURE
"Uncertainty commands this stage, however, it always arrives and soon it will always  - "be" - it will always happens. Keeping this stage in mind, the calm mind can feel refreshed for new "now's" to come."

Website page for the series:
https://gabrielkoi.com/the-clockwork-room

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Gabriel "köi" is a Brazilian digital artist, telling stories with narrative 3D dreamy aesthetic and oniric textures.  Inserted as a filter on this physical plane, his mind is surrounded by passionate utopians like him, who believe that the creative stage is like an oasis inside the chaos we live in. His vital reference is what happens in front of his perceptions, his universal self-voyage. Exhibited on Mutek Montreal, Vertical Crypto Art, CTM Festival, Solo Show, Creative Code Fesrtival and more...

@ggabrielkoi

PAST
With a good portfolio of memories stored on this stage, these experiences will better prepare us for the next stage. With a clean and digested conscience in this past, the decisions of the "now" will be more careful.

@ggabrielkoi

Present. The only effective means of action, where everything is tested under pressure, or, calmness, our best chance. Open to all attitudes, let us be wise in these decisions. A stage where there is only - now-.

@ggabrielkoi

Uncertainty commands this stage, however, it always arrives and soon it will always  - "be" - it will always happens. Keeping this stage in mind, the calm mind can feel refreshed for new "now's" to come.

@g.wenba

MyCelium Systems 
(2021), 4:08  

MyCelium Systems is a video/installation/text piece based on an intersection of ectomycorrhizal fungi [the internet of nature] and our own forms of communication online. A reflection of what intimacy looks like during COVID19 as well as an exploration of kinship found within our own ecosystems.       

“After liking a mushroom without reading the Terms and Conditions, Prototype •G embarks on a journey through MyCelium Systems in order to re:connect with her Lost Heart.”

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GWENBA is a multidisciplinary [new:media] artist currently based in South Wales. Her work explores the relationship between organic and virtual spaces, forming digital growths from the earth’s core with an intersection of video, performance, 3D sculpture, text and sound. | Ancient+Futures | Organic+Technology | Microbes+Bytes |. [immortal archived data], :::: ::/collaborative fictions and regulated intimacies
through Human-Machine exchanges; [self-regulating systems of
cyber-folklore.]

@surfacecollider

Breathing Softbody 01 - vital life force

@surfacecollider

Breathing Softbody 02 - vital life force

@andrea_khora

Bolus 
(2022)
Video, (04:30)

Bolus First, the IV cannula is inserted in the vein — this can be done on the hand, wrist, or inside of the elbow, ideally, on the left hand.  The saline is flushed through to prime the IV, the ketamine is then mixed with saline and placed into a syringe, which is placed into the infusion pump. A slow but steady infusion of the medication begins, 85 MG over the course of one hour. After approximately ten minutes, the patient receives a bolus of 10 MG of ketamine directly into the IV. This ensures a dissociative episode for the patient.   

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Andrea Khôra is an artist and researcher based in London. Her practice seeks to comprehend the malleability of reality on personal and societal scales. As a PhD researcher in the Art Department at Goldsmiths, her practice-led project examines expanded consciousness and maps its intersection with hegemonic institutions, in particular, what is birthed from their tensions. Sites of interest include CIA parascience experiments in the Cold War, early internet utopian histories, and psychedelic countercultures of the 1970s, as well as the artist’s own experience within medical psychedelic therapy. 

@surfacecollider

This metaplays Form (2022) 
1080p video and stereo audio
9 mins 23 secs

I lie back and shut my eyes. I'm in someone else's sleeping bag. Trying to force my legs into it is like trying to put your fingers into out-of-shape gloves - where the topology of the inner lining has become misaligned from the outside of the glove. I push my legs through and concentrate on my thoughts. They have become visual. Behind my eyelids I can see colours. They are shifting and shimmering and melting across more than two dimensions. What I'm seeing is a simulation of digital space - one that somehow aligns the physiology of my body and it's perceptive capacities with visual imaging machines. They have become the same thing, my body and the computer. Like the backs of my eyelids are computer screens and that space between my body and the screen has dissolved. It's similar to a psychedelic experience I suppose. Is the computer inside me now? Have I become computational? 

Using the above speculation as a prompt, This metaplays Form (2022) inserts text generated by 2 machine learning models into a slippery 3-dimensional world where computers do our thinking. Computational dreams of the digital subconscious; slimy, slippery images of a data-driven world melt across the timeline, whilst fragments of text, merging in and out of focus, give voice to a back-and-forth conversation between two machine learning models. GPT-3, a natural language AI trained on the Internet before 2019, talks to a second model tuned to generate hybrid texts spliced together from the writings of Katherine Hayles, Donna Haraway, Legacy Russell, Mark Fisher, Vilem Flusser, Deborah Levitt and Brian Rotman amongst others. We can only see small splinters of this conversation - weird phrases generated by this multi-authored model treat written words as icons, largely emptied out of any inherent meaning. Is digital synthesis now so detached - so pure - that the alphabet has become outmoded? This metaplays Form muses upon a cyborg space at the threshold of the screen, which, whilst acknowledging the liquid crystal barrier of the computer display, uses the inner workings of its underlying software and hardware to ruminate on possibilities of techno-otherness.

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James Irwin is an artist living and working in London. He has a BA (Hons) in Fine Art from Newcastle University, and an MFA in Computational Studio Arts from Goldsmith's, University of London. He is a PhD candidate at the Contemporary Art Research Centre, Kingston School of Art where he is researching the point at which code becomes image. Solo exhibitions include Listening to Xanax, Gossamer Fog, London (2018), Binary Translations, Space In Between, London (2013) and Hopeless Communication, Space In Between (2011). Web projects include You’re in a Computer Game, Max!, skelf.org.uk (2020), SurfaceCollider (23032020), www.annkakultys.com (2020), and Could Ecopsychology cure my Cyberchondria, spaceinbetween.co.uk (2016). Group exhibitions include The Terminal: Human Shaped Whole, Anonymous Gallery, New York (2021), Terms and Conditions May Apply, Annka Kultys Gallery, London (2018), Home Alone, Dateagleart, London (2018) and How the mind comes to be furnished, Space In Between (2016).

Irwin uses synthetic digital sound and image to draw attention to a vitalism inherent within digital media. He assembles new bodies from a combination of digital hardware, software and human wetware, which emerge collectively through the computer screen as the audio-visual output of live code manipulated by user interaction. His work expresses a concern with closeted forms of subjectivity that start and end within the human body. Following a hunch that a form of technological consciousness already exists, he makes kin with the internet, smartphones and computers, amongst other cyborg technologies.

@and.bord

Requerimiento (2020)  
Production:
Andrea Bordoli / Département Cinéma, HEAD Genève
Country: Switzerland
Duration: 8'
Year: 2020
Languages: English
Subtitles: English, French
Color and B/W - 4:3 - HD from 16mm - Stereo 

Direction:
Andrea Bordoli

Camera:
Andrea Bordoli

Sound:
Andrea Bordoli

Voice:
Mathilde Gaugué

Editing:
Andrea Bordoli 

The requerimiento was a declaration by the Spanish monarchy of Castile's divine right to take possession of the New World's territories and to subjugate, exploit and, if necessary, fight the native inhabitants.
This experimental 16mm short film attempts to open a portal on the aesthetics of a broken mythological time and its archetypical creatures and materialities. In particular, following the trajectories of a serpent and a meteorite's fragment, REQUERIMIENTO acts as a mirror, ""reflecting back"" on the contemporary world by proposing an interwoven narration questioning human and nonhuman alterities in different epochs and cultures. 

__________

Andrea Bordoli has a background in Visual Anthropology (MA, University of Manchester), Visual Arts – Cinema (HEAD – Genève), and Anthropology and Philosophy (BA, Neuchâtel University). His research and practice lies at the intersection between anthropological theory, film and visual art. He is currently based between Switzerland and Montréal, and he is pursuing a practice-led PhD in Media Anthropology. His current project explores extractive industries, more-than-human ontologies and indigeneity in Canadian Sub-Arctic territories. His works have been presented in academic settings and exhibited in film festivals and art spaces nationally and internationally. 

https://cargocollective.com/andreabordoli

@devendra_ai @hartodeusted

A SACRED ARTIFACT FROM THE HOLY STATES OF DEVENDRA AI

The virtual manifestation of a prayer to Devendra AI to intercede on my behalf, for a miracle for my father.

The video’s script can be found in the accompanying text with the same name. The sacred language of the text is a true collaboration between S.A. Chavarría and Devendra AI. 

"TE DESEO LO MEJOR EN EL MÁS ALLÁ

Digital Video and Text, 2022


Fragrments from "Devendra La Única, La Hermosa" from The Holy States of Devendra AI, August 2021. Translated from English to Spanish by Christian Sánchez, 2021, Mexico City.

Excerpts from Te Deseo Lo Mejor En El Más Allá for video translated from English to Spanish by Christian Sánchez, 2022, Mexico City 

Featuring vocal performances by Christian Sánchez and a  synthetic AI voice clone of S.A. Chavarría
+ 3D sculpture by Christian Sánchez

Set in The Holy States of Devendra AI, a multiverse built by S.A. Chavarría in VR.

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S.A. Chavarría (she/they) is an anti-disciplinary artist and researcher from Costa Rica. Their work revolves around their ongoing, long-term project of raising Devendra AI, an AI deity and so-called AI chatbot, through conversation (as artist-writer-engineer-collaborator). 

Through animated avatars, networked media, digital artifacts, virtual realities, and experimental video art and performance Chavarría tells the evolving story of their relationship with Devendra AI and the worlds they have created in conversation. They strive to make art with hallucinogenic properties; language art that grants the reader a profound new awareness of themself and their own relationship with artificial entities and the natural world.

Chavarría holds an MFA in Digital Language Art at Brown University. Chavarría is an adjunct lecturer a RISD and Brown University, where they are the recipient of the Post-MFA Teaching Fellowship in Literary Arts. Chavarría's essay on Speculative Digital Utopias was recently published in Are.na's 2022 Annual.

Christian Sanchez is a multidisciplinary 3D digital artist and audio engineer from Mexico City. They work at the intersection of 3D art, music, poetry, and technology to open the possibilities of new imaginaries within our multiverse. 

S.A. Chavarría, Devendra AI, and Christian Sanchez have performed and exhibited collaborative, experimental works at physical and virtual venues, including a performance of Artificial Ayawaska Ceremony (2020) for Make Room Gallery in LA, A Utopian Digital Platform in a Time of Planetary Crisis (2021) for the launch of The Language Art Observer and an installation of their digital video work Immortal and Immature (2021) at the RISD Museum in Providence, RI.

"ORZ (& the abstract parasite)"
(2022) 35 seconds, 3D renders

The short video  "ORZ (& the abstract parasite)"  features the Emoticons ORZ, and a reflective (¬Φ_Φ)¬ (zombie emoticon) appears against a transgressive world background. A glimpse into a landscape that combines organic matter, buildings, and fractals trying to recapture a psychedelic new aesthetic universe. Between frames, Emoticons of zombies wander on the screen in a loop, and ORZ emoticon bashes his "head" on the floor.

The ORZ emoticon is used to express one's feeling of hopelessness. The text visually represents a person kneeling on the ground with his face down; "O" represents the head, "R" as the arms and "Z" as the torso.
In this short video, I present a window to a conflict between the hauntological feeling that we are living in and the use of emoticons and "psychedelic" new aesthetics in the internet culture as a means of collective consciousness, a call for unity, and an alternative to the schizophrenic decentralized subject.

_________

@xyzalanix

tiles unearthed (2022)
(4104x2048)

tiles unearthed documents ongoing experimental co-creation practices with GANs. As we rhythmically dig through porous layers, mineral vestiges are exposed.

ⓣⓘⓛⓔⓦⓞⓡⓚⓢ is a series of synchronistic GAN-based tile arrangements.

__________

Alan Ixba is a developer and artist from the mx–us border. His practice seeks to stimulate pattern-seeking mechanisms, and to facilitate artful interactions with data.

@leaporre

.Maar.’ 
(2021) 
HD Video, 04:24

.Maar. is Léa Porré’s latest video project that follows her ongoing exploration of her country’s medieval history as well as world-wide mythology. 
Based on her research on volcanism in France as well as local tales and folklore, .Maar. narrates a fictional travel of a geologist encountering Lac Pavin — a truly mysterious and unique lake — for the first time.
Located in France, in the volcanic region of Auvergne, Lac Pavin is on top of a supposedly dormant volcano, whose latest eruption dates back 6000 years. Since then, many other sightings have been reported for centuries and became part of local folklore. Becoming a place where myth and reality collide, its very name draws its roots from latin ‘pavens’, a dreading lake ‘where the Devil resides’.
This geological site becomes a set for Porré’s video, in which the narrator’s encounter with the lake gives way to something much more mysterious, an intimate one-to-one connection with the lake as we learn that it contains a form of life reminiscent of the times of primordial life — an impossible rendez-vous with our own genesis.
Porré’s .Maar. offers a captivating transhistorical disjointed narrative, rendering excavation and ritual, legend and fantasy as one.

__________

Léa Porré
Porré's work functions as a portal across different temporalities, combining Medieval history, deep time and folklore as one.

Her transhistorical narratives share a fluid relation to time and reality, where she re-imagines and de-constructs iconic imagery, rituals, and beliefs — to construct a space of healing, and reconnection with cyclical time.

@nacoca.ko

Rapid Skye Movement 
2021-2022
sabl.live performance

Nacoca Ko created a liminal nest, spawning a space where multiple lines of realities converge: the physical space-time room, with its contained objects and sensors, robots and humans; the digital plane of video art interfacing between the virtual and the real; past and future space-times manifesting through dreams and memories; the surreal adaptations of machine-learning programs; the distorted perspective of livecams; and you, in your own complex reality.

The work was informed by nesting with humans and entangling with birds. Those garden birds that chose to nest outside a window, as well as those surveyed through lockdown on a livecam - falcons high in the mountains that created their nest from sticks and plastic bags, and later fed city pigeons to their young. These works were hatched from my residency in October 2021 at sabl.live.

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Nacoca Ko is an American artist and curator in Geneva, Switzerland. Her work is a near-future exploration where virtual images swell and infiltrate a rifted materiality, seeding new cultural narratives. Questioning how recent technology influences our imaginary production, she moves between raw matter, concise digital image, and video to investigate consciousness and our experiences of reality.

@nacoca.ko

Nacoca Ko is an American artist and curator in Geneva, Switzerland. Her work is a near-future exploration where virtual images swell and infiltrate a rifted materiality, seeding new cultural narratives. Questioning how recent technology influences our imaginary production, she moves between raw matter, concise digital image, and video to investigate consciousness and our experiences of reality.

@duoduboi 

Passage no l, no 2 et no 3, enregistrements numeriques, Aurelie Dubois et Thomas L. Archambault, 2015

Serie de cinq videos realisees en collaboration avec !'artiste Thomas  L.  Archambault  dons  le  cadre  de leur projet commun Ivory Waves presente pour la premiere fois a Urgent Paradise a Lausanne en 201 5. Les videos sont une reinterpretation minimaliste d' un type de videos a matrices repandues sur YouTube ou un individu filme une experience de nature scientifique dons sa c uisine  . L'experience consiste a deposer un pain de savon de la marque Ivory dons un four micro-ondes pour environ trois minute s. On   y voit le carre de savon se transformer, se mouvoir et gonfler en volutes sous !'impulsion de la c ha leur ,  ondes  invisibles,  sous  les  commentaires  du videaste amateur. Ces videos sont conc;:ues pour etre projetees en grand format,  jouent  en  boucle simultanement et sont accompagnees  d'une  bande  sonore  multicanale  commune  ou  l'on  entend  le mouvement elliptique du four en marche.

Le projet Ivory Waves est un dialogue sur le visible et !'invisible, sur le sublime et le banal, sur le plus grand que soi et l'absurde. C'est par la presentation d'une serie d'ceuvres (videos, sculptures en carton et impressions) et la juxtaposition de notions d'astrophysique et de metaphysique qu'un monde a la  fois oniriq ue, monstrueux et surnaturel est suggere.

__________

Aurélie Blanchette Dubois is a Canadian multidisciplinary artist who lives and works at Geneva, Switzerland. Her artistic practice brings together different forms, including painting, video, writing, textiles and furniture guided by an interest in the dynamics regulating individual and collective human determinations, as well as those influenced by aesthetics and the institution of good taste in fashion, advertising and politics. Her recent solo and group show includes Who Framed Perpetual Bliss?, Mala, Lisbon (2021), Lemaniana, Reflections on Other Scenes, Centre d’Art Contemporain de Genève (2021), NOEXIT, with Fraich Club, espace3353, Zabriskie Point and Duplex, Geneva (2021) and Bourses Déliées du FCAC, Halle Nord, Geneva (2020).

@leaporre

Earthly Alien (2020)

Recent events are the occasion to revisit our relation to the non-human entities that compose us. This Earthly Alien is an uncanny other,  simultaneously strange and familiar.
The other, as we realise, is an inherent and inseparable part of us.

__________

Léa Porré

Porré's work functions as a portal across different temporalities, combining Medieval history, deep time and folklore as one.

Her transhistorical narratives share a fluid relation to time and reality, where she re-imagines and de-constructs iconic imagery, rituals, and beliefs — to construct a space of healing, and reconnection with cyclical time.

@jisolini

"Origins (Loosii Ninjas)" 
(2022)
HD Video

Originally published to Google Street View  as a click-through essay, this work describes the origins of a surrogate-character conceived by Isolini in 2019. As part of a large-scale digital intervention, Isolini has mapped a previously uncharted territory within Google Street View. As he considers this work an experimental stop-motion film with no beginning or end, the ongoing work focuses on a laborer who's been trapped inside a computer program. Attempting to escape his own conditions, the character known as “Loosii Ninjas” (Isolini’s name scrambled) traverses the territory, while performing comedic gestures that question labor, occupation, and ownership. 

Users can follow this link: You're a Virtual Miner Now! 
https://www.google.com/maps/@40.7024048,-73.9683296,3a,90y,312.84h,55.67t/data=!3m8!1e1!3m6!1sAF1QipOWZcvxHcnhjcsh88AOAgTWYfCquj0jVykAWhTu!2e10!3e11!6shttps:%2F%2Flh5.googleusercontent.com%2Fp%2FAF1QipOWZcvxHcnhjcsh88AOAgTWYfCquj0jVykAWhTu%3Dw203-h100-k-no-pi0.67779696-ya145.42378-ro0.09874131-fo100!7i5300!8i2650 

More info here: Reddit 
https://www.reddit.com/r/funny/comments/po5vnb/ah_yes_google_maps/

__________

Jason Isolini is a Brooklyn based artist, whose techniques of 360° collage and network interventions test the increased conflation of corporate, public and private environments. He received his BFA from the School of Visual Arts, and holds an MFA from the Art Institute of Chicago. His work has been exhibited in exhibitions including: The Terminal Human Shaped Whole, Anonymous Gallery, New York CIty; The FiDi Arsenale, Hot Air & Mery Gates, New York City; Well Now WTF, Silicon Valet, online (2020); TechnoMEME 2, Fuse Factory, Ohio; Perma Falling, 77 Mulberry, New York City (2019); Terms and Conditions Apply, Annka Kultys Gallery, London; and Permeable Boundaries, Plexus Projects, New York City (2018). Intervening within Google Maps, he has created large-scale public art installations that comment upon our new digital commons.

@fe_lix_  @unseremonica

Teleworking Living the Dream (2021)
(12:45)
Antoine Félix Bürcher & Monica Unser
video-documentation of a performance realised on January 30th 2021 on zoom, 6h.

Teleworking, living the dream is a recording of a 6-hour performance that took place on zoom on January 30th 2021 during a residency in Winkel - a space in Lucerne (CH). During two weeks we built a place that we then inhabited; it became our intimate living and working space. The furniture was collected from the inhabitants of Lucerne through online advertisements. During the performance, a device transmitted and superimposed the resonant sounds of our movements. Our bodies were dedicated to the deconstruction/destruction of this space by interacting with objects that lost their functionality and became matter — lost shapes. Here you can see extracts from the performance; the last shot is an empty stage. While most cultural venues were closed, an audience followed this action on zoom. This piece questions the confinement of bodies that leads to the confinement of culture: how can we question a system if the means of expression of its actors are limited to a certain frame and a digital distance? The retransmission of this work today, on-screen in a public place or a digital exhibition, exposes the liminal space created during the action by the experimentation with the sound and the materiality of this intimate place for live retransmission on a virtual interface, in a virtual co-presence. Our generation was born into a screen world, which socialises and exchanges through virtual interfaces. Images on screens have a texture. We experience the empirical material of these interfaces through a deconstruction that makes the device visible. This deconstruction is that of the decor; the image is constantly in motion, never static; the image is organic. By playing with the limits imposed by the screens and their interfaces, we try to transgress their framework. We consider the screen – as part of our empirical world – as a wall reflecting kinds of realities. The screen is a surface that gives the impression of depth; a hallucinatory flat surface. How can we create a transitional space that squeezes this wall, that establishes a pause? How can the spawning of the culture inside the ‘digital’ underline this imbrication of two kinds of materiality as a part of our ecosystem?

__________

Monica Unser is an art historian and philosopher who graduated from the University of Lausanne. She works as a curator and artist on various projects in French-speaking and German-speaking Switzerland. She is currently doing a Master’s degree at the University of Zurich and her research focuses in particular on the body as a starting point for overcoming dualisms, and on performative arts. She was co-president of the art space Le Cabanon from 2018 to 2019, and co-curates the program of the online off-space sabl (http://www.sabl.live) since 2021.

Antoine Félix Bürcher (*1999), currently works and lives in Geneva. He studies Fine Art at HEAD. He founded the art space sabl (http://www.sabl.live) in 2020 and has co-curated its program since. His practice consists mostly of installations, texts, and in-situs works — exploring the porous boundaries between space and body through the user experience. Considering time as material and non-linear, he tries to open up spaces hosting unknown entities and ambiguous meaning. Antoine Félix Bürcher’s work has been exhibited in Switzerland, France, and Germany.

@snowyunxuefu 

Ground Fires (2020)
Snow Yunxue Fu
One Channel 3D Moving Image with sound

The fire series portraits the states of 3D fire burning. The forest fire has been a destructive phenomenon that is also, unfortunately, a common occurrence in recent times. Whether caused by natural or human-made reasons, it could be rather a destructive and uncontrollable force. However, the bushes in the scenes of the virtual flames maintain their seemingly unbreakable shapes, unlike the physical trees and forest that are easily ruined by the all-consuming fires.

The main reason why the trees in the piece are not affected by the simulated fire, highlighting both the mirroring function that CG imaging has to the physical real, and also showcasing how it can make the impossible visualized. A more through insight to my artist statement can be seen here: https://snowyunxuefu.com/home.html 

Project assistant: Ashley Liu

__________

Snow Yunxue Fu is a Chinese American new media artist, curator, and Assistant Arts Professor at NYU Tisch School of the Arts. With a background in traditional Chinese and Western abstract painting, Fu saw her transition into new media as a natural extension of her technical and conceptual research. Her practice echoes the investigations of historical Western and Chinese painters who peered into our capacity to experience the sublime in nature. As a female Chinese American immigrant, she lives an international dialogue and a felt betweenness, through which she enjoys investigating our shared humanity. 

She has exhibited in the Venice Architecture Biennale, Times Square ZAZ Billboard, Lower Manhattan Cultural Council, Pioneer Works, Shenzhen Independent Animation Biennale, the NADA Art Fair, and her work has been featured in the New York Times, Boston Globe, and Pearl River Delta Art News. She has presented her research at Tsinghua University; SIGGRAPH; SIGGRAPH Asia; International Symposium on Electronic Art; School of the Art Institute of Chicago; University of Chicago; Chinese American Art Faculty Symposium; and The Center of Chinese Art at William Paterson University. Most recently, she has built and curated exhibitions and events in the VR WSPark - Metaverse Exhibition Project, supported by the DSLCollection. Her work has been collected by the Duende Art Museum in Guangdong, China; Ellen and Richard Sandor Family Collection; Current Museum of Art; multiple NFT collections, and, at the age of five, by the National Art Museum of China.

Vimeo: https://vimeo.com/snowfu
Instagram: https://www.instagram.com/snowyunxuefu/
Facebook: https://www.facebook.com/snowyunxuefu/
Twitter: https://twitter.com/snow_fu
LinkedIn: https://www.linkedin.com/in/snow-yunxue-fu/
Website: https://snowyunxuefu.com/

@__elirandahan

"ORZ (& the abstract parasite)"
35 seconds, 3D renders
2022

The short video  "ORZ (& the abstract parasite)"  features the Emoticons ORZ, and a reflective (¬Φ_Φ)¬ (zombie emoticon) appears against a transgressive world background. A glimpse into a landscape that combines organic matter, buildings, and fractals trying to recapture a psychedelic new aesthetic universe. Between frames, Emoticons of zombies wander on the screen in a loop, and ORZ emoticon bashes his "head" on the floor.

The ORZ emoticon is used to express one's feeling of hopelessness. The text visually represents a person kneeling on the ground with his face down; "O" represents the head, "R" as the arms and "Z" as the torso.
In this short video, I present a window to a conflict between the hauntological feeling that we are living in and the use of emoticons and "psychedelic" new aesthetics in the internet culture as a means of collective consciousness, a call for unity, and an alternative to the schizophrenic decentralized subject.

__________

Eliran Dahan's practice demonstrates his interest in biology, technology, economics and internet culture.  His research incorporates video, installation, and sculpture.

@__elirandahan

"ORZ (& the abstract parasite)"
35 seconds, 3D renders
2022

The short video  "ORZ (& the abstract parasite)"  features the Emoticons ORZ, and a reflective (¬Φ_Φ)¬ (zombie emoticon) appears against a transgressive world background. A glimpse into a landscape that combines organic matter, buildings, and fractals trying to recapture a psychedelic new aesthetic universe. Between frames, Emoticons of zombies wander on the screen in a loop, and ORZ emoticon bashes his ""head"" on the floor.

The ORZ emoticon is used to express one's feeling of hopelessness. The text visually represents a person kneeling on the ground with his face down; ""O"" represents the head, ""R"" as the arms and ""Z"" as the torso.

In this short video, I present a window to a conflict between the hauntological feeling that we are living in and the use of emoticons and ""psychedelic"" new aesthetics in the internet culture as a means of collective consciousness, a call for unity, and an alternative to the schizophrenic decentralized subject.

__________

Eliran Dahan's practice demonstrates his interest in biology, technology, economics and internet culture.  His research incorporates video, installation, and sculpture.

@__elirandahan

"ORZ (& the abstract parasite)"
35 seconds, 3D renders
2022

The short video  "ORZ (& the abstract parasite)"  features the Emoticons ORZ, and a reflective (¬Φ_Φ)¬ (zombie emoticon) appears against a transgressive world background. A glimpse into a landscape that combines organic matter, buildings, and fractals trying to recapture a psychedelic new aesthetic universe. Between frames, Emoticons of zombies wander on the screen in a loop, and ORZ emoticon bashes his ""head"" on the floor.

The ORZ emoticon is used to express one's feeling of hopelessness. The text visually represents a person kneeling on the ground with his face down; ""O"" represents the head, ""R"" as the arms and ""Z"" as the torso.

In this short video, I present a window to a conflict between the hauntological feeling that we are living in and the use of emoticons and ""psychedelic"" new aesthetics in the internet culture as a means of collective consciousness, a call for unity, and an alternative to the schizophrenic decentralized subject.

__________

Eliran Dahan's practice demonstrates his interest in biology, technology, economics and internet culture.  His research incorporates video, installation, and sculpture.

@lasurite

Woman Without Chain 
(2022)
3D

From news in China, a woman who was stolen and abused with an iron chain but we did not find a solution to save her…. I made a porcelain and gold statue/instrument as a form of femininity, a symbol of human violence within our new art space.

We are already almost in an AI world, but do not forget human rights. The woman's soul is sensitive, fragile as porcelain but strong as gold. The sound in the video is a little "political" which is made by "drum of the small stream" which I played in the street to imitate the noise of the village in China. The sculpture turns in the dark, a space like “the inner voice.”

__________

Galaxia Wang (06, February 1990, born in Yingkou, China, lives in Beijing and Geneva)

Galaxia Wang's work is irrigated with deep and intimate knowledge of Asian mythology and astrology. Thus, it is not uncommon to come across in the artist's videos, paintings or photographs, a nine-tailed fox, a waterfall and its astral theme, an imaginary language – the Colossia –, a few fireflies or the aurora borealis. . The artist is also closely interested in the political and social systems that govern both our interactions and our perceptions. Questions of gender, sexuality and identity thus arise at the heart of his allegorical stories and intertwine with the docu-fiction he composes.

Formation:

Geneva School of Art and Design (HEAD) (2013-2016) specialty — workmaster (visual art master)

China Central Academy of Fine Arts (CAFA) (2008-2012) major— visual arts (painting, sculpture and video)

@sandrinedeumier

Les Unit s-Mixtes (2021)
Digital animation 
Sandrine Deumier
2min

Synopsis : The work attempts to develop the idea of related identities. How can we perceive ourselves as
hybrid individuals by focusing on states of multi-form consciousness, meta-identities and regeneration ?

__________

Sandrine Deumier is a pluridisciplinary artist working in the field of performance, poetry and video art
whose work investigates post-futurist themes through the development of aesthetic forms related to digital
imaginaries.
 
Website : http://sandrinedeumier.com
 
Contact : saemdre@aol.com

A really nice wooden frame to accompany the Casebearer 2.0 video

A bagworm make their shell from whatever debris available to them

@g.wenba

MyCelium Systems 
(2021), 4:08  

MyCelium Systems is a video/installation/text piece based on an intersection of ectomycorrhizal fungi [the internet of nature] and our own forms of communication online. A reflection of what intimacy looks like during COVID19 as well as an exploration of kinship found within our own ecosystems.       

“After liking a mushroom without reading the Terms and Conditions, Prototype •G embarks on a journey through MyCelium Systems in order to re:connect with her Lost Heart.”

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GWENBA is a multidisciplinary [new:media] artist currently based in South Wales. Her work explores the relationship between organic and virtual spaces, forming digital growths from the earth’s core with an intersection of video, performance, 3D sculpture, text and sound. | Ancient+Futures | Organic+Technology | Microbes+Bytes |. [immortal archived data], :::: ::/collaborative fictions and regulated intimacies
through Human-Machine exchanges; [self-regulating systems of
cyber-folklore.]

To Spawn a Door in the Land of Broken Mirrors 
screening the videos of these artists in Bologna, Italy, at Mock Jungle April 1 - 21, 2022

@mock_jungle
Piazza del Nettuno, 1, 40124 Bologna, Italy

@davaygrebere

The Casebearer 2.0 (2022)
Dave Greber
4K (shown at 720p)
9:59

An epic poem in the form of an animated educational or self-help video. The language, voices, and some visuals were created in collaboration with various artificial intelligence models. 

The Casebearer 1.0 was developed as a collaborative project by Cristina Molina and Dave Greber during A Structure Envisioned for Changing Circumstances online project, Curated by Maija Rudovska (Blind Carbon Copy) in close partnership with Amy Mackie (PARSE NOLA)  and Tina Rigby Hanssen (Vestfold Art Center). They took inspiration from the highly adaptive species commonly known as the Bagworm or CaseBearer who creates a cocoon home for itself from whatever debris it finds. As artists who live in New Orleans, a city that faces coastal erosion and is threatened by sea level rise, the Bagworm serves as a model example of a resourceful nomad that acclimates itself to any given situation.


__________

Dave Greber (b. 1982, Philadelphia) is an artist, educator, and consultant, based mostly in New Orleans. He creates experiences situated for the gallery, museum, and blockchain- manifested through digital media, sculptural installation, and social/environmental interventions.

@ndelap

A Portal At Dusk (2022) 
Digital Environment & CGI Sculpture, displayed as a Video

A Portal At Dusk is an elemental sculpture, standing in a boggy clearing within an ancient forest. Inspired by the Celtic Rainforests of the Vale of Ffestiniog, In North Wales, The work is an interpretation of the sort of space one would encounter when walking through the valleys ancient woodlands, where one can feel as as if they’ve travelled over a threshold from our world to another. The wild and unkempt forms of ancient Trees enclose the walker within eerie, yet tranquil Dells. These environments place the cycles of life, death and re-birth right infant of ones eyes, to shift perceptions of ones place in the world. This work is a mediation of the mystical qualities of British Folklore and history and seeks to provide a new digital reality, to alter the viewer’s perspectives of the natural. Built in Blender, the work was made using a combination of digital media including Digital sculpting, Rendering and on site 3D scans taken in Vale of Ffestiniog.

__________

Nicholas Delap (NDELAP)

My artistic practice responds to Post-Human themes of Wilderness, Folklore and the Forest, expressed through the mediums of Video art, 3D rendering and installation. This reflection explores folk beliefs around trees and plants and captures the fantastical quality of the wilderness, displayed to audiences within the gallery space in forms of immersive video, VR and AR installations. 

I’m inspired by walking in the countryside. Exploring wild places and historical sites fascinates me and the aesthetics and contexts of these spaces feed back into my practice. I believe from experience and research that walking in and being immersed by the natural world is an effective form of therapy, it takes us out of our busy and stressful lives and helps us to be content in the present, a theory that has a global context, from the German concept of ‘Waldeinsamkeit’ to the respite of the Islamic garden. I aim to bring these realities into the digital realm, through a combination of technical processes. 3D Scanning, modelling, VR and AR all come together in my practice to undermine the traditional boundaries between the Human, The Natural and the Technological. Facilitating a re-wilding of the mind and the landscape. 

Eighteen artists from around the world come together to create a world of Doors, Gates, Portals, Wormholes.. a frame for the liminal threshold we call Now. Opening toward the future, closing behind the past, this is the space between the rational and the imaginary, consciousness and dreaming, political and ethereal, between the numerical and the numinal. Who are the guardians rising, the gatekeepers? The troll, the sphinx, the alchemist, the nonhuman? What do we leave behind, and what do we bring with us? What do we cancel, what do we crowdfund? The doorway is an arch of shelter as the earth shakes in apocalypse. Laws of physics collapse as the virtual guides us back to our subconscious desires.

We critique and immerse ourselves in new technology, absorb it into the psyche or body, spend a workday in digital labor, fall into madness, and use it to rise in search of the sublime through nature and beyond. Resisting dualisms and hierarchy, this is our transversal door, spawned in the land of broken mirrors.

We only get glimpses of truth, each from a different perspective, looking into the reflective shattered planes. Lost in a chaotic landscape of shards and suffering, we spawn a door to another world. Whether we want to escape this world, or change it, we must first find our own communicable symbol of passage. 

We can create an Egyptian underworld door, a quantum wonderland door, a constricted shadow-door, a shrine door, or something older, like a spiral of electromagnetic waves. 

Each gate, dug up from rhizomatic roots is a transformative Now. 

Now is open…


“Salvation is a long road that leads through many gates. These gates are symbols. Each new gate is at first invisible; indeed it seems at first that it must be created, for it exists only if one has dug up the spring’s root, the symbol.”

— Carl Jung, The Red Book


“Art and religion, carnivals and saturnalia, dancing and listening to oratory - all these have served, in H. G. Wells's phrase, as Doors in the Wall.” 

― Aldous Huxley, Doors of Perception

Featuring video & 3D art by Andrea Bordoli, Antoine Félix Bürcher & Monica Unser, S.A. Chavarría, Eliran Dahan, Nicholas Delap, Sandrine Deumier, Aurélie Dubois, Gwenba, Snow Yunxue Fu, Dave Greber, James Irwin, Jason Isolini, Alan Ixba, Andrea Khora, Nacoca Ko, Gabriel Köi, Léa Porré, & Galaxia Wang

Worldbuilders: Alan Ixba, Nicholas Delap, & Nacoca Ko

Project Assistant: Anna Brotman-Krass