Metatopia
Delirium ex Machina
Metatopia
Delirium ex Machina
Metatopia is a gallery that, since 2021, has been investigating digital materialities and the hybridizations of telecommunications in architecture, urbanism, spatial arts, and every form of aesthetic and technological manifestation emerging from the convergence between space, image, and information.
In 2025, Metatopia reaches its third edition, in collaboration with The Wrong Biennale, one of the world’s largest international digital art biennials. This edition is titled “Delirium ex Machina”, conceived as a form of creation that breaks with the oracular and deterministic logic of contemporary artificial intelligences.
Delirium ex Machina derives from the expression Deus ex Machina, meaning “God arisen from the machine,” a classical reference to solutions that emerge ex nihilo, from nothing. The exhibition seeks to reframe this notion, suggesting that it is now the machine itself that delires—producing fictions, narratives, and new possible images.
We invite artists, architects, scientists, and writers to explore this machinic delirium as a poetic and critical force, investigating the fictions generated by artificial intelligences and their reverberations at the borders between the human and the non-human.
Metatopia is an exhibition produced and hosted by Aisthesis Lab, founded by Luciana de Paula Santos, architect, artist, curator and PhD candidate.
Artists
Where We Are
Exhibition
Alexandra Bouge | France
SETINME | 2020
In my films I show the voodoo, the energy of the universe.
FISH FARMING | 2020
I worked on human-made violence against the animals, plants and the environment.
FIRE CEREMONY | 2020
In my films I show the voodoo, the energy of the universe.
PROCESSION | 2021
In my films I show the voodoo, the energy of the universe.
ARTIST BIO
I’m a filmmaker, poet and visual artist. In 2022, I have been selected to the Women’s International Film Festival Nigeria WIFFEN, and got the Honorable Mention for my film « Modern Agriculture », and to the Rotary Short Film Festival, Rofife in Turkey. In 2021 I have been selected to the 34th edition of « Instants Vidéo Numériques et Poétiques, » Friche la Belle de Mai, Marseille, to the 4th Multicultural Film Festival, Toronto, to the Athens Digital Arts Festival / Hybrid Edition, to the International Short Film Festival DETMOLD, Germany, to the International Ecological Film Festival TO SAVE AND PRESERVE, Russia, to the International Short Film Festival Oberhausen, to the Dog Film festival.
ARTIST WEBSITE http://alexandrabouge.tumblr.com/
Alexander Limarev | Sibéria | Rússia
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Salut to Joseph Beuys | 2014
20 parallel Beuyses; figurative and abstract
ARTIST BIO
Alexander Limarev, freelance artist, mail art artist, curator, coordinator of children's art projects, visual poet, photographer from Siberia / Russia. Participated in more than 1000 international projects and exhibitions. His artworks are part of private and museum collections of 72 countries.
ARTIST WEBSITE:
http://parallels2000.blogspot.com/2014/10/alexander-limarev-1964.html
Amal Alshoura | United Arab Emirates
Folie | 2025
A visual study that transforms editorial photography into horror, where each character embodies a distinct form of madness, reflecting their inner psychological states.
ARTIST BIO
Amal Alshoura is a 21-year-old Multimedia Design graduate from the American University of Sharjah, with a strong foundation in filmmaking and animation. Her experience spans film directing, production, editing, screenwriting, art direction, sound design, and animation, allowing her to take on projects with a multidisciplinary lens. Amal’s work often explores themes of human behavior and cultural identity, reflecting her interest in societal issues through compelling narratives and visual subtext. Passionate about using film as a tool for reflection and dialogue, she continues to grow her voice as a filmmaker and creative producer, aiming to craft stories that resonate deeply with audiences.
ARTIST WEBSITE
Andreas Koens | São Paulo | Brasil
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Untitled | 2022
Walking in circles is possibly one of the most reprehensible acts of worry. Like when, in a film, characters in despair, lost in a forest, realize they are trapped there in their lack of sense, while a camera, fixed at some specific point, records, again and again, their return and frustration.
In the images, two movements are scrambled by the machine's confused learning: in the first, getting lost in a landscape we look at but don't see; in the second, the tracing of straight paths, made of crooked lines.
"I've Been Here Before" reflects on a return to the place of worry, a kind of ubiquitous starting point, like a ghost of futures we don't yet have, possibly won't even exist, but that we could never lose.
Untitled (Unnatural World) | 2021
giclée print on matte cotton paper, digital image produced by large scale print screen
unique piece
100 x 80 cm (39.4 x 31.5 in)
The construction of the world
Nelson Goodman in his book Ways of Worldmaking, argues that the creation of new worlds takes place in the establishment of new perspectives on the same world and its symbols, where all possibilities reside. Thus, in these works, the construction of the landscape of other empty and generic worlds serves as an allegorical device for aesthetic tensioning and the construction of narratives and mental experiments.
Denatured Gaia
It is common in Brazil to hear the term “denatured mother”, usually as a charge to women about maintaining a traditional posture dictated by patriarchal values. Outside of this context, the idea of 'unnatural' sounds strange: there is no room for the unnatural, atypical, and so we do not refer to it. Another more specific use of the word, to denaturalize, can also be related to the renunciation or loss of the rights of a citizen of a country. The expropriation of the unnatural (in custom and individual possibility) seems to be a recurring theme in technology and its naturalized functional models: the mandatory and compulsive acceptance of the ToS (terms of service), whose penalties are expulsion and cancellation. The terms of social media do not refer here exclusively, but also all types of “employment” mediated by current technologies. The predatory extractivism of human existence is closely linked to that of nature: who is the individual in bigdata, or what is the importance of a single rosewood in the forest? The trees are us, in the best sense. From this, the relationship is created: the denatured gaia is, little by little, being purged of the small points that architect her existence. The small vectors {x: float, y: float, z: float}, which resemble our digital bodies, are exhausted, being deleted, joined and sculpted, until only the suggestion of a landscape is left.
Computational image as painting
Considering these works as paintings is like planning in advance a great conceptual return: the image as we know it develops in pictorial practices, and by remembering the most primordial concepts of their materiality and plasticity we can evoke painting. It is about the confluence of media, rather than the denial of any specific one. For the works in this series, it is interesting to explore its materiality. The production of images is related to extractivism: the algorithms that generate the clouds of points made in the image of natural formations are of great energy and physical consumption, using large amounts of electrical energy and memory allocated in the physical part of the computer, in addition to the computer itself. processing work. Like someone filling a bucket of water, a “bucket” is needed for the information, which is saved as sequences of transistors on and off. The creation process here is close to the criticized cryptocurrency mining process; generates heat, noise and information, which can be captured and modeled. The dimension of the images, quite high in some, is also important because, as they are captured from the screen instead of being rendered, it has a direct correspondence with the physical size of the screens used in the studio. Another conceptual correspondence to painting is the pigment: the work is digital, but its finalization (to exhibit, sell, etc.) is printed on paper. The pigments used in gliclée fine art printing are mineral, similar to those used in the production of acrylic and oil paints; extracted from nature. The paper is made of cotton, another common support in the pictorial image. Thus, by evoking the relationship between digital and pictorial images, I wish to reaffirm the theoretical and philosophical implications of the fact: the digital is the natural, refined.
ARTIST BIO
Andreas Koens | São Paulo, Brasil, Koens considers himself a painter, although his works represent a conceptual return to practice through computational imagery, artificial intelligence, and robotics, where, despite their digital construction, he formalizes works conceived for the physicality of bodies and spaces. He is currently pursuing a master's degree in Visual Arts at the UNESP Institute of Arts under the guidance of Sérgio Romagnolo, where he investigates tensions regarding the sensibilities that subjectify current technological devices, uniting computational complexity with traditional practices. From 2020 to 2023, he was part of GAIA (Art and Artificial Intelligence Group FAUUSP/Inova USP), where he was involved in the organization and production of the Demonumenta project (2021).
ARTIST WEBSITE https://koens.com.br
Andrew Reach | Cleveland | Ohio | Eua
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You Are Here | 2021
ASTERISCUS III | 2021
uv cured inkjet on cnc cut acrylic mounted to composite aluminum
ASTERISCUS III is an exploration of geometric abstraction utilizing symbols, in this piece a specific asterisk from the Unicode Standard. The asterisk symbol has ancient roots, utilized throughout history by different cultures for different purposes. It has become a universal symbol, incorporated into the fabric of technology through the Unicode Standard. Into this form, I’m weaving color and bold black and whites to optically energize the multi-layered composition. The symbol used in ASTERISCUS I is the Unicode Standard designated as U+1F7BA, the designation given to the symbol given the name “Extremely Heavy Six Spoked Asterisk”. The Unicode Standard designates all symbols, giving them coding data that can be uniformly used in technology internationally. U+1F7BA is distinguished from other asterisks in the Unicode Standard by the thickness of its spokes versus more delicate asterisks in the code. Transforming this symbol from something of use in computer code, language, telecommunications and mathematics into the realm of geometric object is an expression of technology transformed to an aesthetic that speaks to our technological times.
ASTERISCUS I
in digital space | 2021 | uv cured inkjet on cnc cut acrylic mounted to composite aluminum
ASTERISCUS I is an exploration of geometric abstraction utilizing symbols, in this piece a specific asterisk from the Unicode Standard. The asterisk symbol has ancient roots, utilized throughout history by different cultures for different purposes. It has become a universal symbol, incorporated into the fabric of technology through the Unicode Standard. Into this form, I’m weaving color and bold black and whites to optically energize the multi-layered composition. The symbol used in ASTERISCUS I is the Unicode Standard designated as U+1F7BA, the designation given to the symbol given the name “Extremely Heavy Six Spoked Asterisk”. The Unicode Standard designates all symbols, giving them coding data that can be uniformly used in technology internationally. U+1F7BA is distinguished from other asterisks in the Unicode Standard by the thickness of its spokes versus more delicate asterisks in the code. Transforming this symbol from something of use in computer code, language, telecommunications and mathematics into the realm of geometric object is an expression of technology transformed to an aesthetic that speaks to our technological times.
ASTERISCUS I | 2021
uv cured inkjet on cnc cut acrylic mounted to composite aluminum
ASTERISCUS I is an exploration of geometric abstraction utilizing symbols, in this piece a specific asterisk from the Unicode Standard. The asterisk symbol has ancient roots, utilized throughout history by different cultures for different purposes. It has become a universal symbol, incorporated into the fabric of technology through the Unicode Standard. Into this form, I’m weaving color and bold black and whites to optically energize the multi-layered composition. The symbol used in ASTERISCUS I is the Unicode Standard designated as U+1F7BA, the designation given to the symbol given the name “Extremely Heavy Six Spoked Asterisk”. The Unicode Standard designates all symbols, giving them coding data that can be uniformly used in technology internationally. U+1F7BA is distinguished from other asterisks in the Unicode Standard by the thickness of its spokes versus more delicate asterisks in the code. Transforming this symbol from something of use in computer code, language, telecommunications and mathematics into the realm of geometric object is an expression of technology transformed to an aesthetic that speaks to our technological times.
#43Hashtags | 2021
uv cured inkjet print on cnc cut acrylic mounted to composite aluminum.
Individually, we have in our possession the most powerful technology humankind has ever seen, the smartphone. Historically, we live in our homes, work in offices and go places for recreation and to interact with family and friends. Being in these physical locations gives us a sense of place, of history. But more and more we find ourselves not so much in a physical location interacting with the world in real time, but in a virtual place, with our phones navigating our psyches. And social media has overwhelmingly become the facilitator of this new journey we are collectively traveling in. In its path, language is being reduced, with symbols replacing words and abbreviations replacing sentences. The hash symbol has become the symbol most representing the zeitgeist in this new terrain. When we publish a hashtag, were attaching metadata that links us to the world. We become searchable. We can be found. The work #43hashtags, as the name says, has 43 hash symbols. Each one is different representing diversity; that behind each hashtag is a person. The number 43 came about when trying to create a cloud like shape and 43 was just the amount needed to accomplish it. This reference to the mysterious place where the data is, the CLOUD, is metaphor for YOU ARE HERE, a place where our virtual selves reside. Where our data is, we are.
ARTIST BIO
Andrew Reach is an abstract artist working in the realm of digital media. A successful 20 year career as an architect ended when a spine disease left him disabled and unable to continue practicing. His last building as project architect with HOK Architects was the Frost Art Museum in Miami Florida. His reinvention from architect to artist began when he began creating art digitally as art therapy to help him cope with debilitating pain. His work has been exhibited in the United States in solo and group exhibitions including a solo exhibition at the Frost Art Museum. His work is in private, corporate and institutional collections, among them the Frost Art Museum Permanent Collection and the Cleveland Clinic Art Collection
.
ARTIST WEBSITE https://www.andrewreach.com
Anne Herzbluth | Deutschland
Searching For The Place The Eyes Cant't See | 2021
Art’s many different languages all have the same goal: to transform what happens in the moment into something permanent. To create a foundation, a basis, for the order of things. As a kind of answer, which we seldom notice in nature. What I am trying to do is to leave my mark behind. I am here, I fail, I am happy, I am sad. I have fears and am full of hope. I have an idea, I pursue it and that’s why I’m working. Ultimately, I am not interested in things I fully understand. Knowing one has happened upon the right things is more important than understanding them. There are truths that lie beneath the surface of the images, truths that only reveal themselves sporadically, like the Northern Lights in a winter sky. Things we don’t feel, we forget. Through my work I would like to create moments in time in which our imagination overlaps reality. These are the moments in which we are alive.Searching For The Place The Eyes
ARTIST BIO
In my work I am not necessarily concerned with change, but rather with the act of preserving - with the practice of looking beneath the surface to what is inside of things, perhaps even probing into unsolvable mysteries.
ARTIST WEBSITE https://www.anne-herzbluth.de/
Aphex Redditor | Montreal, Canada
Doom Scroll | 2022
Doom Scroll is a single channel video that examines the relationship between the viewer and the continuous stream of banal video content on social media platforms. The video is composed of a seemingly endless number of TikTok videos rapidly "scrolling" from one to the other. The individual videos range from actual appropriated TikToks retrieved from the app to staged TikToks created by the artist in order to mimic popular trends, such as lip syncing to sound clips, acting out romantic scenarios for the audience, and giving advice. These ordinary videos gradually become interspersed with jarring found footage that subverts the conventional trend formats of TikTok. These videos, while alone serve as entertainment, cumulatively become a sensorial cacophony that desensitizes the viewer to the material on display. Doom Scroll, which is presented on a loop, simulates the experience of being physically unable to stop scrolling.
ARTIST BIO
Aphex Redditor is an emerging digital artist based in Montreal. Inspired by the post-internet art movement of the 2010’s, her work explores the ongoing significance of contemporary social media culture. She works predominantly with found images; treating the social landscape of the internet as an endless source of visual and conceptual material.
ARTIST WEBSITE Instagram: @aphex.redditor
Årad Kylsjhu | Brasil
Colecionados de moedas visita deserto de concreto | 2021 | videoart, 3D
The work mixes time travel with the return of memories; transit environments of an almost erased past, or frequent its uncertain future. Coins, a decadent symbol due to the virtualization of monetization and also an element that indicates great social inequality, are taken as an object of search for a fetishistic pleasure.
Authorial work built from 3D modeling, animation and special effects software, as well as video editing and sound production learned in a self-taught way by the artist.
I’ve been wrestling with obsessive thoughts. Help me. Break it. Make me cum | 2021 | animation, videoart, 3
Concept, development 3D e animation by Arad. Soundtrack by LEVI ATÃ
ARTIST BIO
Årad Kylsjhu, also known as @_4.7_4.77777 is a non-binary multimedia artist who blends physical and virtual neosensory experiences while exploring concepts such as the future, speculative design, obsolescence (discard and materials), science, gender and identity through manipulation of image, sound and 3D art. The artist has a postgraduate degree in Digital Technologies Development and also works as a web designer.
ARTIST WEBSITE https://aradkylsjhu.wixsite.com/my-site-5/
INSTAGRAM https://www.instagram.com/_4.7_4.77777
Arnau Tàsies | Barcelona | España
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Hidden Data | 2024
This project explores the error in the AI engine. The workflow consisted of feeding ComfyUI into TouchDesigner and using random noise as guidance for the prompt. With this approach, the engine makes certain assumptions, distancing itself from human intervention. The core idea is to combine procedural, parametric, and generative techniques, releasing as much control as possible; thereby, the random seed of the AI engine and the random noise are both conditions that the human cannot control. This process is inspired by the counterintuitive game theory of Parrondo's paradox, where two losing games combined produce a winning game. The images explore AI hallucination, generating glitched landscapes where human, architectural, and machinic elements are combined, revealing hidden patterns.
ARTIST BIO
Arnau Tàsies (Barcelona, 1982) is an artist and researcher with a Bachelors and Master's in Art and Design who uses technology and new media to explore and investigate the connections between computing, materiality, and art. He combines artistic practice with teaching and research, as well as commercial work for both national and international clients. Tàsies also performs live alongside musical artists, generating real-time visuals; he has performed at venues in Barcelona and Madrid. His line of work focuses on a close relationship with technology and new media. He explores the boundaries of language and communication through software, algorithms, machines, and the interplay between the material and the digital, seeking to create spaces for reflection between technology and thought. Tàsies’ work has been featured in media outlets such as Il Tirreno (Italian print edition), RTVE 4 (radio interview), La Razón (print edition), Magculture, Metal Magazine, Yorokobu, TimeOut (print edition), and other online platforms. His works have been exhibited in Spain, the United States, Italy, Germany, and Hong Kong. He is currently part of the international collective Techspressionism and is represented by Galería Azur in Berlin.
ARTIST WEBSITE https://arnautasies.cargo.site/
Bariya | New Delhi, India
Med Dew Dims | 2021
‘Med Dew Dims’, happens to us as a non-cooperative movement towards the scarcities imposed upon by ensuing (mis)managements, a movement to be able to attain a sense of timelessness in our practice through pandemic, overwhelming panic and crisis, and an act of watering the basic instincts of sonic translations and metaturnal nostalgic interactions between poetry and ragas. Here, We prolonged the rue of our previously published literary translations of poems, only to translate them further into audio grains. These audio grains are then overlapped, and intermingled into layers of granular space, whose specificities are decided by the specificities of the mediums. A grain’s division, its velocity, the perception of its pitch, its density, the decision that if it warps or mirrors, were left upon the medium to decide by the attributes of its own, density, specific gravity, temperature, reactivity, viscosity and its willingness to vaporize. We are attempting to understand how the experience of bromine is different from that of mercury, from that of steel, from that of ethane and so on through an aural lens allied with poetry’s presence. The transmission is prescribed nocturnally as it is based upon Indian classical Ragas (like Malkauns, Adana, Kafi) prescribed for the night. Med Dew Dims is composed with the help of 8 opensource Max For Live (standalone in progress) audio devices, where we have tried to find some middle ground within the limitations of our sonic sphere, and come up with associations (utilizing ultra-sonic flow meter readings) of translating the speed of sound in these mediums into the BPM of the audio, the specific gravity into separate ranges of pitch morphing, Kinematic Viscosity into delay (which range from 7 seconds to 7 minutes), a separate delay based on the speed of sound again, and the Velocity change of sound with temperature, into two simple oscillator knobs with built in amplitude synthesis (the ratio of which is based on velocity change) to create a sense of movement. With Metatopia we are also speculating a future of new sensory mediums, where poetry finds resolution with a bare minimum granular presence, and hesitates not interacting with vibrant musical prescriptions.
BIO
Pratyush Pushkar and Riya Raagini aka BaRiya is an emerging Queer Trans-disciplinary Artist duo from New Delhi, India. Navigating disorientedly (poetically) BaRiya assume art as an organ to dissolve-dwell through the remains of marginalized spirituality, create a vocal consensus with nature, meditate all through the gender spectrum, and probe (quantum) compulsions: while acknowledging truthfully the binary and racial barriers questioning intimate spiritual inventions. They have continued to transcendentally spiral to and fro sound art, visual poetry, photography, multi-media translations and philosophy. Recent Works and Exhibitions - OctoDurga -The Stage @ Thyssen Bornemisza Art Contemporary-TBA-21, How to Tread Lightly- Bornemisza National Museum, Madrid, City Museum of Ljubljana, #cop26 As If Radio 2021, Sonic Mukhwas - Festival Sur Aural, Med Dew Dims (Tsonami Arte Sonoro, Radio Tsonami, Radiophrenia 2022 (Centre for Contemporary Arts, Glasgow, The Bauhaus-Universität Weimar-FutureNostalgia.fm 2022), and others.
ARTIST WEBSITE www.bariyastudio.com)
INSTAGRAM @nonlocalbariya
Beile | China
Bug Dystopia | 2025
Bug Dystopia (2025) extends the premise of Delirium ex Machina by exploring how machinic delirium, rather than divine intervention, generates new forms of feeling. The video is an AI–human collaboration that stages a cross-species conversation among humans, the ramie moth, and artificial intelligence. “Bug” refers both to the moth and to systemic failure, suggesting that error becomes a site of invention. The moth repeatedly collides with luminous urban structures, misled by its sensory intelligence and trapped in environments shaped by human design. Using AI-generated voice, on-site audio recordings, and 3D scans, the work constructs an alternative navigational field where the moth’s disorientation intersects with the emotional hallucinations of algorithms. Is a synthesized survival signal more artificial than the sound of a moth striking glass? Ultimately, Bug Dystopia invites viewers to consider how empathy circulates when human, nonhuman, and machinic forms of perception collapse into a shared and unfolding delirium in our contemporary moment.
ARTIST BIO Beile Hu is an interdisciplinary artist and researcher of performance, sound, and moving images. Expanding to include the entangled relationships between trees, soil, and architecture within the urban ecology, their aim is to explore the potential of the human body as a sensor that can be transformed through soundscapes and its intimate interactions with non-human entities. Beile is currently finishing up MFA at the School of the Art Institute of Chicago (U.S.) with the Visionary Scholars Award. Previously, she received a BA in International Communication Studies from University of Nottingham (U.K.). They have exhibited and performed internationally, including at the Museum of Contemporary Art Chicago (Chicago, U.S.), Historic Black Mountain College (North Carolina, U.S.), Asian Improv aRts Midwest (Chicago, U.S.), Fried Fruit Art Space (Wilmington, U.S.), Reflejo de Urbe a Pie (Caguas, Puerto Rico), and Ivory Gallery (Shanghai, China).
ARTIST WEBSITE https://beile.site/
Blanche the vidiot (Szabina Péter, Kristóf Bodnár) | Hungary
Saving Lot | 2022 | Hungary
In a video game, we wanted to rethink the theme of the Last Supper and its system of artistic motifs, but in this first phase of the video, the dinner table unexpectedly caught fire. “The eye is on fire, perspective is on fire, vision is on fire, the perception of the eye is on fire, the joyful, suffering and neutral feelings arising depending on the perception of the eye are on fire.”
ARTISTS BIO
Szabina Péter Born in 1987, Ózd, Hungary; audiovisual artist, photographer, aesthete. Recently she is mostly active in the fields of multimedia-, installation-, photo- and video art and electronic music. She has been a member of blanche the vidiot and dj goodbye since 2020.
ARTIST WEBSITE: http://peterszabina.com/
ARTISTS BIO
Kristóf János Bodnár Born in 1984, Nyíregyháza, Hungary; audiovisual artist, sound engineer, philosopher. Currently his chiefly working in the fields of video art and electronic music – mostly by means of analogue and digital sound synthesis. He has been a member of blanche the vidiot and dj goodbye since 2020.
Beatrice Lartigue | France
Invisible Cities | 2020
Les Villes Invisibles is an artistic installation around the theme of memory. More specifically, this piece investigates the notions of emptiness and absence in the shared social space the city represents. This piece is a personal testimony, echoing the work Le Città Invisibili by writer Italo Calvino, published in Turin in 1972. Les Villes Invisibles portrays the Cathedral of Notre-Dame de Paris, built in the 12th century. With a surface area of 6,000 m2 and a height of 70m, the monument designated as a UNESCO World Heritage Site, testifies of a genuine technological achievement by the architects of the Middle Ages. On 15 April 2019, a violent fire destroyed the spire and the entire roof protecting the nave, choir and transept of the gothic edifice. As in the eponymous book, Les Villes Invisibles sets out a space where the visitor can "enter, walk around, perhaps get lost, but where, at one time or another, he must find a way out, or even several ways out". "The over-city crisis is the other side of the nature crisis". Italo Calvino Les Villes Invisibles draws on imaginary continents and brings back to the centre of the game, issues raised by techniques like photogrammetry (notably developing in cartography and archeology disciplines) that wonder over man's status in modern cities, as a place of history and desire. Photogrammetry combines a set of techniques used to determine the shape, dimensions and spatial position of an object from a corpus of photographs. This process includes a phase of photographic recording of the perspectives and a phase of rendering, to produce a 3D model. This technique queries our perception of reality, its recording at a given time (before or after a disaster) and its scientific accuracy (the large amount of data required...). Finally, the narrative presented through Les Villes Invisibles confronts this capture of reality with its perception, especially through the time passing by and the bias of our senses (omniscient vision, feeling of ubiquity). The paper drawings fix in time this perception of the site.
ARTIST BIO
Using new media, Béatrice Lartigue creates installations which explore our perceptions of space and sound. These pieces, in which the visitor becomes an actor, provoke a loss of bearings and offer a sensitive interpretation of impalpable phenomena by giving them a materiality, as through light and sound beams in space (Passifolia, 2020), the force of the wind on the landscape (Nebula, 2018), or the unfold of a music score in volume (Portée/, 2014).
ARTIST WEBSITE https://www.instagram.com/beatricelartigue/
BSBLOrk - Orquestra de Laptops de Brasília | Brasil
Retrospectiva em homenagem aos 10 anos da BSBLOrk
Poetic Principles
The aesthetic starting point of BSBLOrk's works, inspired by composers such as H.-J. Koellreutter and Conrado Silva, has been the critical questioning and broadening of horizons of musical languages and techniques, integrated with dance, dramatic, visual and performance arts, seeking to experience truly contemporary creative processes, in the sense of the collaborative construction of a systemic view of the world. , holonomic and fractal. For the orchestra it is not enough to say new things, but to find new ways of saying it, which only poetic language allows from the semiotic opening to the unpredictable of hybrid, interactive and transmedia processes of free improvisation, now also assisted by artificially augmented intelligence. , the notions of complexity, relativity, acausality, ametry, paradox, randomness, complementarity, timelessness, syneresis, multidimensionality, gestalt, non-linearity, entropy, chaos, fractals and holonomy, among others, appear in their dialogical experimental practices.
Integration of BSBLOrk to the dance collective Corpo Baletroacústico
From the beginning, the orchestra was conceived by Eufrasio Prates, a Bachelor of Music and a Doctor of Art, to also work together with the experimental dance group Corpo Baletroacoustico, coordinated by Cínthia Nepomuceno, graduated in Dance from Unicamp, PhD in Art from UnB and dance teacher at the IFB - Instituto Federal de Brasília, in partnership with Prates.
technological resources. BSBLOrk values the use of computational technological resources as a method of expanding the expressive capabilities of music, although it is concerned with keeping them in the same valuable, albeit intermediate, place as any other musical instrument. For this reason, it prioritizes techniques and means that respond well to the organicity of the human body in expressive movement, as performed by the HITS Holofractal Interactive Sound and Image Transduction system, free musical software, open and free code developed by Prates, founder and conductor of orchestra, in his doctorate. Such resources offer unprecedented possibilities of creation and walk in an integrated way with the poetic concepts of a new paradigm, seeking a quantum leap for musical interpretation and aesthetic expression.
In order to transform the computer into a musical instrument of organic expressiveness, BSBLOrk invests in the use of generative algorithmic techniques for translating body movement captured by webcam into fractal sounds, in addition to using amplified hemispheres, which give a focal aura similar to that of an instrument. acoustic
Achievements
From the beginning, the musical collective BSBLOrk has received significant public, media and institutional recognition. So much so that, in its first year of activity, the orchestra received an award in the national competition Coletividea, sponsored by the MinC, for producing a video-documentary of one of its performances with the Corpo Baletroacoustico de Brasília, in addition to obtaining a full-page article in Correio Braziliense. (2012), in Metrópoles (2015 and 2017), to be cited in O Globo and in the Global Ear section of "The Wire" Magazine (UK, Jan/2019), the largest music magazine in the world (with more than 1 million of subscribers), among other communication vehicles. Over the almost 10 years of its existence, this recognition also appears in the invitation to participate in dozens of artistic and scientific events, most of them available on its YouTube channel, in addition to several articles , master's and doctoral theses, having been cited in the book by Eldad Tsabary, researcher in electroacoustic music at Concordia University (Canada), on the main laptop orchestras in the world and their working methodologies. uestra incorporated the participation of international guests and participated in major events such as the "Network Music Festival 2020" (London/UK), the "Emergent Behavior" Festival (Tel Aviv/Israel), the TransNodal Live Coding Festival (Hamburg/Germany ) and the Exhibition EmMeio#13 (València/Spain).
Group Technical Sheet
Musical direction and regency: Eufrasio Prates
Musicians: Anesio Azevedo (Stellatum_), Eduardo Kolody, Elias Nascimento Filho, Eufrasio Prates (euFraktus X), Joenio Costa (djalgoritmo), Jackson Marinho, Philip Jones (Mentufacturer), Victor Hugo A. Araujo (Lowbin).
Visual programming and lighting: Eufrasio Prates and Jackson Marinho.
Special Guest: Bryan Day.
Contact: +55 (61)98151-9100
ARTIST BIO
BSBLOrk - Orquestra de Laptops de Brasília is an experimental interactive algorithmic music collective, inspired by innovations in the format of computational music performance, initially by the use of individual acousmatic amplification, when playing using multichannel hemispheres, now incorporating intercontinental teleperformance via network live. streaming and Artificial Intelligence agents.
Since its foundation in 2012, at the 11th. edition of UnB's "Tubo de Ensaios" festival, the orchestra proposes to integrate the human body in movement to the production of sounds and images directly derived from it, as a means of carrying out ecosophical works that emphasize respect for the environment, awareness for the human development as freedom and social inclusion.
ARTIST WEBSITE https://bsblork.gitlab.io/
Carla Lombardo | Argentina | Brasil
Bichinha do Mangue | 2023
The work explores the notion of the mangrove (an ecosystem of transition between river and sea) as a neural network of the living, in contrast to AI as an artificial network in which images are generated from human-created prompts.
On one hand, it raises the question of the living and how to translate desire, explored through the inexhaustible nature of the poetic sign (F. Bifo Berardi): “the muscle is the revolt of the geological shell... everything dreams of sap,” or “the alchemy in your waters is profound, from the sediments, living water.”
On the other hand, it addresses the generation of millions of commodity-images, whose imperative is exposure and accumulation — explored in the series of dazzling images that never cease to seduce us. It also questions the tyranny of visibility, the desire to become image (Byung-Chul Han), and the compulsion to share them on Instagram and TikTok.
ARTIST BIO
Multidisciplinary artist trained in design and visual arts, recognized for her research on the body and the interrelations between living systems and technological networks. Her practice, marked by the intersection of the urban, the digital, and the biocultural, is nourished by critical approaches. She currently lives and works in São Paulo, Brazil.
Her work combines elements of counter-cartography and technology, with a poetic and critical focus, and a strong interest in ecosystems, creating visual narratives that question the relationships between the natural and the artificial.
ARTIST WEBSITE https://carlalombardo.com/
Christie Lau | London
Cybernetic Skins | 2023
"Cybernetic Skins" delves into the liminal space between the organic and the synthetic. It is my vision of post-human bodies, imagined using A.I.. Rooted in the premise that humanity is not a static entity but rather an ever-evolving construct, this project captures the transformative essence of our relationship with technology. As we advance, so does the boundary between our flesh and the realm of digital. The piece envisions a future where our very skin intertwines with cables and conduits, carrying not just blood but bytes, bridging the divide between biology and data, garments of tangled cables, body seamlessly transitioning into fashioned adornment. This is not just a melding of man with machine but a profound metamorphosis, resulting in an entity that is both and neither. The digital landscape featured is not merely a backdrop but a character in itself. Visually concepted with the use of A.I., it reflects a world we have birthed but perhaps not fully comprehended. Through the fluidity of 3D animation, viewers are taken on a journey where every pixel, every digital sinew, challenges conventional definitions of life, identity, and existence. Yet, it's not just the content but the mode of presentation that amplifies this message. By projecting this video onto a free-standing screen installation, I bridge the digital-physical dichotomy, translating virtual realms into tangible experiences. This is no mere screen, but a portal—inviting viewers to step through, to momentarily inhabit my cybernetic world, feeling the blurring boundaries and sensing the future's resonance. "Cybernetic Skins" is more than a visual experience; it is a philosophical exploration of our potential futures, a testament to the malleability of human nature, and a reflection on the boundless possibilities that arise when we become one with the very tools we create.
ARTIST BIO
Named in Institute of Digital Fashion's Top 100 Innovator's list of 2023, Christie Lau is an XR artist, working with digital fashion, A.I., and augmented and virtual realities. Referencing internet culture and everyday mundanity, their work reimagines recognisable motifs and environments in AR and VR, in an playful and absurd take on reality. Having recently graduated from BA Fashion Print at Central Saint Martins, Christie’s giant QR boxes became a viral sensation. On the runway, they debuted their digital garments on 3 giant QR code boxes worn on models on the runway. When scanned, they will take the viewer to an AR filter where they can see the full collection.
ARTIST WEBSITE https://www.instagram.com/lau_christie/
Clear Shadow | France
Social drops | 2021
Tear drops & rain x Main social rewards x flash Social reward is one of the main engine propulsing social networks growth. People addiction come partly from the dopamine shot they receive when they are publicly congratulated. social studies show that around one tier of teenagers may feel depressed having checking their social network flows
Small Lies| 2021
Tech leader opinions about their role in the society
Lacrima Rea | 2021
Microscopic Lacrima x Coins shape x Rain / Tears Social networks generate a lot of cash for their owners, but most of the time a lot of sadness for the end users. Like a kind of Modern Times spiral, the lacrima are turning around and around, before coming back to the same departure position. Scientific studies observed that each microscopic view of a lacrima has specific forms depending on the cause of the tears.
Gluetton | 2021
Mobile notification x Artist hands while scrolling Like a monster the glutton awakes once notifications accelerate
I hate you | 2021
Main hatred sentences x storm Social networks are one of the main place to express for haters
Nomophobia Tears | 2021
Rain drops x Aspiration x Anxiety breath Nomophobia is a kind of fear of being separated from its mobile phone.
Ice Flows | 2021
Ice flow x Selection of top tech leaders mantras Tech worldwide community and innovative leaders are raising start-up founders with entrepreneurial & success mantras. These entrepreneurs continue this job indefinitely. The process seems like for ice flows totally irreversible.
Dopabomb | 2021
Dopamine microscopic motion x Bomb far explosions Dopamine is the key substance that the psychlogist & user experience leaders employed by Techs Companies, try to generate is our social network users bodies. A shot of Dopamine may be secreted each time social rewards are activated.
Techs are burning | 2021
Top web & innovation technologies x Synthetic russian voice x Fire burning Each web technology since more than 20 years is marketed like the next hot big thing and disruption, in a non virtuous cycle where people are just considered as users and they may do not understand that they are the product, or worst the main source of enrichment of these people pushing hardly for a speed techno adoption.
Bubbles | 2021
Deep diving x mobile notification x Gun shot Bubbles tries to go back to surface to get oxygene once mobile notifications burst, whereas the scene is going deeper and deeper and may accelerate till transforming into a gun shot.
Fomouse | 2021
Social network scrolling x notifications x anxiety breath Social crawling and Fomo (fear of missing out) may generate anxiety for most of social network addicts.
Twalks Stangers | 2021
walks on several substances x Brownian motion This video is inspired by the anonymity found in social networks and lonelyness, where each element is vibrating but do not move from its place, without interaction with each others.
ARTIST BIO
Clear Shadows is concerned by troubles caused by digital manipulation, digital addictions, lack of tech for good, profit unsharing, automation and impact on our life and bodies. To better understand Clear Shadows project and source of inspiration : @digital_conception @automatization_of_life @the_darker_is_the_worst @tech_for_good_activist @anti_gafam @digital_addiction @0_and_1_digits @creative_chance @data_origination @algorithms_and_formulas @chemical_process @brownian_movement @microscopic_world @world_of_anonymous @passivity_and_manipulation @continuous_cycles @tears_and_water @induced_feelings @turning_around @unvisible
Das Vegas | Vilnius, Lithuania
Liminal Stage | 2023
The project Liminal Stage originates from the artist’s documentation of teaching boards (Secondary School) from his former primary school in rural Lithuania. These boards are reimagined by blending them with Piet Mondrian’s renowned abstract compositions of squares and rectangles. Through this creative reinterpretation of the school's heritage, the artist invites viewers to re-envision these educational artifacts with an aesthetic lens. This primary school, now closed by local authorities, is explored through a unique approach - photography without a camera.
ARTIST BIO
Vygandas "Vegas" Šimbelis, artist name – Das Vegas (Lithuania/Sweden), is a contemporary (media) artist and researcher. With degrees in art and design from art academies, the highest attainment in the field is a PhD degree and Vegas holds a second PhD (doctorate) from the KTH Royal Institute of Technology in Stockholm, Sweden. Having extensive experience in fine art and design, Vegas critically examines new territories and conducts research questioning the role of art (and artist) in relation to our contemporary society and with its socio-political implications.
Interdisciplinarity is an overarching approach to Vegas work and it implies various significant artistic, scientific and technological resources. Decolonizing is the major theoretical and political framework of his work, in particular, in regard to technology with its failure processes, hacking, acceleration and disruption. Converging art and technology, eradicating the divisions between contemporary art and media arts, merging digital with analog, Vegas reflects the implications of the colonial exertion of rights and seeks for the humanization of technology.
With a major focus and regard to the post-digital, the artist is particularly interested in harnessing the hacking for humanizing of technology in its contiguity with and of its situatedness in the real world. In the following, Vegas explores norm-critical perspectives, conceptual ecosystem and design ideas to increase the perceived humanization of technology and re-examine the societal, political, and cultural discourses.
ARTIST WEBSITE www.Simbelis.com
David Mew | Los Angeles | USA
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Co-Creators Series: Blue Current (Expanded) | 2025
Can AI literally (and figuratively) expand the boundaries of human-made art? “Co-Creators” began as an experiment to find out. I took compositions from my “Invisible Entities” series, created using generative design processes, and handed them off to an AI outpainting tool with precise instructions: preserve the original aesthetic and structure while extending the images through intricate geometries and shifting patterns. The process quickly unraveled. AI mimicked my visual language only briefly before dissolving into unfamiliar forms. Transitions are jarring; fidelity near the seams gives way to rapid degradation. Color binds the two halves, but only tenuously. Rather than obeying, AI asserted its own aesthetic logic. What emerged was not harmonious collaboration, but friction. “Co-Creators” doesn't offer a definitive answer about whether AI and humans can truly co-create now or in the future. It does reveal a visual language emerging from this friction where creativity is shared but not always aligned.
ARTIST BIO
David Mew is an American visual artist based in Los Angeles whose practice bridges traditional digital imaging, generative design, and AI-driven tools. Mew’s large-format compositions of layered abstractions are defined by saturated color palettes, textural depth, and meticulous detail. His works emerge from a blend of structured logic and intuitive curation, where code-driven processes give rise to visual discovery. Originally trained in drawing and painting, Mew’s practice evolved with the rise of digital and generative media. He views each technological wave, from early imaging software to AI models, not as a disruption but as an invitation to expand creative boundaries. He is an Indexed Artist in the Techspressionism movement. Mew’s work has been exhibited regionally and internationally, resonating with audiences through its exploration of inner states and the environments that shape us. His landscapes are meant not just to be seen but to be felt, offering moments of presence, curiosity, and connection.
ARTIST WEBSITE https://www.viderestudio.com
Davis Lisboa | Barcelona | España
"Ohh (self-portrait)" | 2022 | digital sculpture
Video of a white sculpture of my mouth and chin spinning around on itself.
ARTIST BIO
My name is Davis Lisboa (1965, São Paulo, Brazil) and I live and work in Barcelona, Spain. I am a multifaceted, multidisciplinary and globalized Spanish-Brazilian illustrator and painter who works to erase the boundaries between graphic arts and fine arts, high and low culture, art and market, crafts and technology. In 2009 I created the Davis Museum | Mini Museum of Contemporary Art Davis Lisboa of Barcelona.
ARTIST WEBSITE https://www.davislisboa.com/
Digital.martins | São Paulo | Brasil
Post-Humanism | 2017 | digital 3D image
An analogy to the ideas of modernity as buried in the sand, symbolized by Michelangelo's David, as the Renaissance being a precursor of Modernity and Anthropocentrism. At the same time, making a parallel to the film Planet of the Apes, where the Human is faced with his past destroyed on the beach.
ARTIST BIO
Digital.martins | Brazil | Visual Artist / Graphic Designer focusing on Digital, 3D, Motion Graphics, Animation, Video / Cinema, Post-Production / VFX. I’ve been working as CG generalist/ Motion Designer and Art Director since 2007.
ARTIST WEBSITE https://digitalmartins.wordpress.com/
Елена Роменкова | Russia
Wake me up | videoart | 2021
Тhis artwork is an attempt to visualize the borderline state between sleep and reality. ...what do I see in a dream? what is happening in it - is it a reality? I try to capture the images, to understand them... but they are so unclear... dialogues with unknown people, how do I know them? This is a parallel universe...
ARTIST BIO
Elena Romenkova | Russia, is an artist from St. Petersburg, Russia. Working and living in Austria. She is working as a 3D digital artist, in the field of data manipulation and "glitch art". She creates still images and animations.
ARTIST WEBSITE https://linktr.ee/leromash
Elif Sezen | Melbourne | Australia
Presence #7 | 2023
‘Presence’ is an ongoing experimental series of landscapes speculating upon the concept of light; encouraging healing and integration of human experience by poeticizing nature with almost otherworldly and surreal visions. Orbs of light bursting with color are gateways to facilitate initiation of a renewed sense of time, place and self. Memory and experience of place can be transformed by our observation of light as symbolic portals leading to renewal within internal psychological landscapes. I have incorporated digital and mixed media to create these evocative atmospheres.
ARTIST BIO
Elif Sezen is a Melbourne-based multidisciplinary artist, bilingual writer and poet. Her practice evolves through various media including painting, drawing, sculpture, photography, print media, installation, digital media, artists’ books and poetry. She speculates upon reconceptualising memory traces emerging from familial, personal, collective trauma and loss. This process leads her to rather a restorative and a celebratory notion of self-construction, desire, longing and a sense of homecoming. Elif has participated in various national and international exhibitions. She is the author of Universal Mother (GloriaSMH Press, 2016) and A Little Book of Unspoken History (Puncher & Wattmann, 2018).
Emanuele Dainotti | Antwerpen | Belgium
Chiptide | 2025 | 8:52 min.
Synopsis
In 2025, a Google infrastructure deal transforms a Belgian coastal region into a cooling system for AI computation. The flooding is deliberate, a cost optimisation where human submersion becomes cheaper than server relocation. A new class of AI-adjacent workers adapts to life beneath the waterline, their bodies modified, their labour invisible. Between prediction errors and system glitches, a blind spot opens. Something uncalculated appears. But is it real, or has the narrator finally learned to see what the models cannot?
Concept
Chiptide is a video installation about prediction as infrastructure. In a submerged city built for computational cooling, voices surface in both image and blackout passages, making perception itself contested. We used generative AI models throughout production to select visual sequences, audio structures and editing rhythms according to probability rather than a predetermined narrative. Forecasting shaped both the subject and the method. The work evolved through a chain of predictions about itself.
Chiptide is part of a larger series on computational foresight as social architecture and was presented during the Prijs MAP Mercator 2025 exhibition award.
ARTIST BIO
Emanuele Dainotti (1987, Milan) is a visual artist based between Antwerp and Milan. He works with moving image, post-photography, and immersive installations, exploring how we normalize violence and respond to catastrophic events in our hyper-mediated world. Dainotti’s practice focuses on virtual environments and the gap between physical and digital experience. He creates visual structures that blur these boundaries, examining fear, death, and time in an algorithm-dominated age. His work has been exhibited at Museum of the Moving Image (USA), Cineteca do MAM Rio (Brazil), Het Nieuwe Instituut (Netherlands), HKW (Germany), MNAC (Portugal), and Beursschouwburg (Belgium). He has participated in residencies and programs including Hangar (Portugal), AIR Taipei (Taiwan)and Espronceda (Spain).
ARTIST WEBSITE: http://www.emanueledainotti.com/
Emma Cosgrove | Montreal/Canadá
No Volcano | 2023
Textures of two Japanese cities are woven together in this fly-on-the-wall meditation on modernization, labour, and the search for a sacred pillar in a vast and chaotic landscape. Orbiting around the magnetism of the volcano Mount Fuji, this poetic video collage shot on miniDV utilizes text in the form of journal entries as travel dispatch, while poetry skirts across the frame - a looping of the subconscious. From the megacity to the coastal down, ideas of solitude and longing are demolished and rebuilt. The accompanying soundscapes are crafted entirely from location field recordings, braiding fragments of birdsongs, human chatter, subway chimes, and mechanical rumblings.
ARTIST BIO
Emma Cosgrove is a Canadian-Irish filmmaker and artist living in Montreal. Her work explores the life cycle of objects, natural materials, sentimentality, and time, employing poetry to compliment images often shot on 8 or 16mm film. She is a fan of the precise place where nature, machines, fact and fiction intersect. Her work has been shown on NoBudge, Eternal Family, Kinoskop Analog Film Festival, the International Festival of Films on Art (FiFA), Bogota Music Video Festival, Canada Shorts, and Sweden Film Awards.
ARTIST WEBSITE https://www.yumayumayuma.com/
Enco | Brasil
Gargouille | 2021
Anti-design devil, it had to be either the carnation or the rose. The dream dampened in burning solvents, the hybrid, electrical resonance. Evacuates, dejects, ejects, projects, ejaculates, deletes.
ARTIST BIO
Enco, performer and digital artist expresses in 3Ds born out of experimental, expressionist and abstract processes, composed of biomechanical and transhuman influences, images that carry a fresh but also muffled aspect, designed to be treacherous, but also like a dream. The hybridity of his works requires a constant transformation that comes from the inside out, an infinite reverse.
ARTIST WEBSITE https://www.instagram.com/e_n_c_o____/
Erik López | Barcelona | España
DATASCAPE. Speculative City for Data to Inhabit | 2023
What is the impact of data in the physical world? The accelerated growth of data in the Digital Era is profoundly affecting the physical environment, and its uncontrolled proliferation will continue to reshape and alter the landscape.However, these effects may not be immediately apparent. Datascape represents the evolution of data growth and the data center as a monument. It aims to explore and visually represent the impact of massive data production on the physical landscape by designing a Speculative city for data to inhabit, illustrating the potential implications of this impact in the future. It calls for a critical examination of our digital practices and encourages responsible and sustainable approaches to data production and consumption.
ARTIST BIO
Architect and Visual Artist from Mexico City. His work experiments with photography, video and 3D modeling to create digital landscapes that address topics related to the Internet, architecture and its relationship with technology.
ARTIST WEBSITE: https://eriklopez.xyz/
Eris Spam_
Brazilian duo of artists.
⺰̸ͮͫ͒ͨ͆̂ͮ͊̀͞҉̷́҉̩͓͓̜̕ⷁ␛̢ͥͣ̓̔͛͛̏̓͏̢̧̛̠̝̜̟͕̮̼͕̀ͮͫ͒ͨ͆̂ͮ͟͝ᣞᣞᣞᣜᢻSᣳٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖٖPAMᣳ | 2021 | digital expography project
Conceptualization of an exhibition project inspired by SPAM and informational excesses; under development on the instagram platform.
e-topia_website specifc
A hundred years from now we may have aesthetically developed the answers to a fully understandable and habitable hybrid environment, perhaps our common language has died and others born or derived from it. But for now, let's leave it as a legacy for future generations: a non-existent language, which was not born, is being born or will be born, to think and create things that still seem impossible. An unborn language can say something about an unborn world.
We propose the creation of an interstitial space between the physical and the digital, with an invented language, in a common platform for our era and that could die at any moment: https://aisthesislab.art/e-topia
for future generations we will leave a pendrive with the site running offline, concreted somewhere in the city of são paulo. The https://aisthesislab.art/e-topia, or in the author's poems
Fabiola Larios | México
The retro of the future | 2022 | Generative Adversarial Networks
The work is a machine learning model trained in hundreds of images of retro-futuristic buildings, soviet architecture, and apartment buildings from Hong Kong. Fabiola plays with the latent space between the buildings adding baroque architecture golden details, building a baroque retro-futuristic architecture oscillating between structures depicting an alternative world where these buildings do exist.
*obs.: Fabiola Larios also participate in partnership in this IA work;
ARTIST BIO
Fabiola Larios, EUA, is a new media artist, her work addresses the concepts of identity, vulnerability and the representation of the self on the Internet. Through the use of machine learning, she works with the extraction of information and images from the internet, using and manipulating facial recognition to address issues such as the selfie, the internet persona, avatars and surveillance capitalism.
ARTIST WEBSITE https://www.instagram.com/fabiolalariosm
Flávia Goa | Brasil
Tempo "X" | 2021
The world is facing a great wave of violence today. People are more and more enclosed in their external and internal world. Life and car insurance policies are a constant, as are cars roaming the streets with tinted windows and shuttered windows, which actually do not guarantee safety and end up fueling even more fear. At the Internal level, people grow up without parameters of freedom and with rare exceptions, they don't even imagine what it is to be freely on the street, or even experience the freedom to sit down with friends to talk. Children grow up surrounded by unfounded fears that are transferred even by their own family members, who, far from ethical, moral, human and spiritual values, contribute even more to these fears that internally destroy the life perspective of adults and young people, due to the lack of a greater meaning in their lives. Thus, insecurity is triggered internally and fear becomes a daily prison imposing a condition of survival, taking us away from the internal security of living life freely.
ARTIST BIO
Flavia is a guitarist, improviser and sound artist. She is also active in the field of electronic music, composing and recording for the soundtrack. She created the festival F(r)esta improvisation festival.
ARTIST WEBSITE https://linktr.ee/flygoa
Fúcsia | Brasil
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Os Poemas da Flora Intestinal | 2017
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Sua Daninha | 2017
ARTIST BIO
Fúcsia is poet and deterritorializing multimedia artist. Makes the symbiosis word x body, and considers the world to be pure collage.
ARTIST WEBSITE https://instagram.com/breakney.spirits
Gayatri | India
Facade | 2021
'Facade', with a hint of parametric design is a contrast between the organized, uniform exterior and the underlying chaotic, organic, free flowing phenomenon happening in the background. However, holistically, they produce a balanced output.
ARTIST BIO
This is Gayatri Jagtap, a young architectural designer on a steady diet of art and science fiction, currently based out of India. Gayatri is an architect, an artist and a photographer. She holds a masters degree in Architecture Design from the University of Nottingham, UK. Her artwork here revolves around abstraction and new media. A beautiful, balanced amalgamation of abstract art and science fiction. A lot of geometric drama, lines and forms is what you’ll stumble across as you scroll through her profile
ARTIST WEBSITE https://www.instagram.com/gayatri.jagtap
Gabriel Pessoto | Jundiaí | Brasil
ARTIST BIO
Gabriel Pessoto nasceu em 1993 em Jundiaí. Estudou Produção Audiovisual (PUCRS) e iniciou o curso de Artes Visuais (UFRGS). Desde 2015, atua como artista visual refletindo sobre o impacto da cultura visual e material do ambiente doméstico, do cotidiano, do artesanato, tal como da experiência online na construção de idealizações e desejos. O trabalho, que se manifesta sobretudo em mídias têxteis e eletrônicas, já foi apresentado em espaços de arte, galerias e instituições em cidades como São Paulo, Rio de Janeiro, Porto Alegre, Berlim, Porto, Lisboa, Nova Iorque, Miami, Louisville, Moscou, Łódź e Teerã. Em 2020, foi premiado pela ArtConnect Magazine pelo projeto "trocando figurinhas" desenvolvido em parceria com Nicole Kouts.
ARTIST WEBSITE https://www.gabrielpessoto.com/
Gopakumar | Bahrain | India
The Wild Awakening I, II, and III
Wild Awakening series, a body of work that delves into the raw energy of nature while confronting the challenges of climate change. With its interplay of organic inspiration and digital innovation, the series seeks to capture the essence of wildness and calls for a renewed awareness of humanity’s connection to the natural world.
https://gopakumar.in/parametric-line-series/
https://www.seditionart.com/gopakumar-r/collection/the-wild-awakening
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ARTIST BIO
R. Gopakumar is a contemporary multidisciplinary artist from India. He employs art and technology as a means to address and bring attention to environmental, social, political issues prevalent in society. His works have been showcased at renowned institutions and events worldwide, including The Saatchi Gallery in London, Tate Britain, the Kochi-Muziris Biennale in India, Sofia Underground in Bulgaria, CICA Museum in South Korea, and many more. Notably, his motion photography has received recognition by being shortlisted for the inaugural Motion Photography Prize by the Saatchi Gallery London and Google.
ARTIST SITE https://www.gopakumar.in
Group "4" | Ukraine
Mother, why did you create me? | 2021
This project analyzes the ideological and physical similarity of the processes of human origin and the neural network in the human and technical worlds. Direct link: https://drive.google.com/file/d/1G0Gf9i3OdSt45qBhoQXgzYf90tku-ay_/preview
ARTIST BIO
Our group was formed on November 6, 2021 in order to participate in The Wrong Biennale 5th Edition. We are all from the city of Dnipro from Ukraine. We have a concept, a technical implementation. And our peculiarity is that we work with AI and medical archives.
Guaraci Nanferdes Merlhieg | Brasil
BIO
Bio testimonial: Guilherme Fernandes Garcia
Clarity and objectivity are not even charitable traits of my personality or writing. However, let's go! It was produced in the Manaus Free Trade Zone in 1975, in the last century. Half Jew and half Gypsy, I lived from Rio Grande do Sul to São Paulo, passing through Congo, France, Switzerland, Portugal and very recently through several Latin American countries; in almost two years of backpacking… After practically more than 44 years, I'm up here on this platform and like Pedro Rubro, Kafka's talking monkey, I'm encouraged to type some characters about my persona. I think I have character and characters enough for that, but objectivity and clarity… I'm obscure by nature! Eternal graduating student, endemic to letters, of the French bachelor's degree with an emphasis on Literary Theory; I am deformed by FALE-UFMG. In my mishap, I also walked through rooms and corridors of the School of Fine Arts, where I studied, among other studies related to conservation, those of: History of the Book and Preventive Conservation of Contemporary Art. I write from an early age. From the age of seven to eight I 'published' my first works in São Paulo through Ed. Atelier, a fake publishing house in which my father, a former bookseller whose grace and memory today name a small public library in the city of Formiga-MG, and my older brother, 'plastic and paper artist', writer of children's books and illustrator of everything. They also printed the volumes: As Histórias Que Guilherme Contava, O Elefante & o Rato and finally; what was left only in the doll: The Diabetic Hummingbird & other tales, this one from eleven to twelve years old. I have been working with cultural production, editing, exhibition monitoring, as a gallery owner and dealer, with book distributors and second-hand bookstores in places like Palácio Das Artes/Bhz – in exhibitions such as: American Graffitti (Basquiat, Futura 2000, Crash…), O Brasil and the Dutch (Franz Post and Albert Eckout), Artur Bárrio, Centro Cultural da UFMG (ZIP- Zone of poetic intervention with Ricardo Aleixo and Renato Negrão, great poet and friend of the Soma Therapy and Poesia é um Saco!), Sebo-Livraria Vaca de Letras (Formiga-MG), distributed by publishers AGIR, Nau and 34. I was a librarian for the Libertarian Punk Movement here in Belo Horizonte, I also worked at the Cultural Action Directorate of UFMG (Winter Festivals), Fórum Bhz Vídeo , screened at Cine Imaginário Banco Nacional de Cinema, I gave and received typography classes from master typographers at Atelier Memória Gráfica (a project within a penal institution for minors at social risk) and in the distant past, in 94 and started, in the B.H.R.I.F. Belo Horizonte Rock Independent Festival, as a performer of the cult hard-core oldschool trio FUGAZI! I was also a member of the Cultural Council – Curatorial of the Aliança Francesa de Belo Horizonte for more than four years, leading the jury of literary competitions promoted by the institution, exhibitions with artists such as: João Maciel, Miguel Gontijo, Rodolphe Huguet, Marc Riboud , Tatiana Cavinato, Michele Brant & many others. I have a short story, some Lambe Lambes published by the virtual magazine R.NOTT, texts published by the southern collective called MALDOHORROR and visual poems by THE WRONG_Art Digital Bienalle...
I write because I must and nothing else. I write because I owe nothing to anyone, or perhaps I could say that I write about and always with the thought of the beyond, nowhere, in nothingness, in the categories of the negative, the absurd, abjectionism, decadentism, penumbrism, bestialogy, in nonsense, in surrealism, in pataphysics and in dada… Maybe this is my ABC(s) after all.
site
Untitled visual poems
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Insano 1 | 2010 | videopoem
produccion: Marina DEE
Som | 2021 | videopoem
feat. Fabiano Fonseca was born and raised in a mysterious valley between mountains.
At age 11, on vacation with his family, he went out to buy a popsicle and came back empty-handed. He didn't know how to use the money. He only knew the names of trees, birdsong, and river paths. He studied to learn drawing, while making music out of intuition. Today they call him a multidisciplinary artist. He sings, writes and draws seeds. www.fabianofonseca.com. @amateuur.
Ian Benjamin Callender | New York | EUA
Archaeologies of Temporal Form | 2024
This work visualizes theories of time as articulated through media archaeology. Lines, waves, and interference patterns merge into a field of layered temporalities, from the mechanical precision of the microsecond to the slow drift of geological duration.
Each stratum references a distinct thinker: Erkki Huhtamo’s cyclical time rendered as a helix; Wolfgang Ernst’s machine logics looping through binary oscillations; Laurent Mannoni’s vanishing grids of cinematic causality; Thomas Elsaesser’s chromatic shifts evoking stereoscopic parallax; Siegfried Zielinski’s heterological deep time folding back upon itself; and Italo Calvino’s networked lines intersecting in a boundless field of simultaneity.
The image becomes a map of temporal thought. It is not fixed but recursive, collapsing linear progressions into recursive loops. It is an archaeology of media time where perception itself wavers between repetition and renewad.
ARTIST BIO
Ian Benjamin Callender, MNAL, Assoc. AIA investigates material digital ecologies. His research spans media architecture and art; digital infrastructure, both urban and rural; interaction design and physical computing; and architectural history and media archaeology. Ian holds a Master of Architecture from Columbia University GSAPP and a Bachelor of Arts in architectural history from Brown University. His work has been presented at the European Cultural Centre / Venice Biennale of Architecture (2023) as well as the International Symposium on Electronic Art (2022) and the Media Architecture Biennale (2021); recognized by the Architizer A+ Awards, the SEGD Global Design Awards, and the A+D Museum Awards; and published in ArchDaily, Hyperallergic, and MIT's Thresholds. He is a co-editor of the volume Provocations on Media Architecture (Set Margins Press, 2023).
ARTIST WEBSITE https://www.iancallender.net/ ; https://www.instagram.com/icallender/
Ivana Tkalčić | Croatia
Twilight zone, snapchat, camera, text to speech | 2018
We are transiting into a post-information and post-human age that is radical transformation our way and nature of living, being and understanding the world that surrounds us. Furthermore, on a personal scale, the boundary between online and offline life has disappeared. The most intimate part of our lives have become slice of virtual world that draws the strength from the media. How has the everyday online – offline interaction changed the experience of the world around us and influenced our daily perception and action?
ARTIST BIO
Ivana Tkalčić (born in 1987) is a multimedia artist and art researcher. She obtained her master’s degree (mag.oec.) in economics in 2012 from the Faculty of Economics and Business at the University of Zagreb, as well as master’s degree (MA) in fine arts in 2016 from the Academy of Fine Arts Zagreb. In 2019/2020 she also graduate from WHW Akademija. She has exhibited independently a number of times in Croatia and Europe, as well as taken part in group exhibitions, biennales, and art residencies worldwide.
ARTIST WEBSITE: https://ivanatkalcic.com/
Jes Chen | London
Coded Intimacy | 2025 | London | Jes Chen, Tacy Zhao, Eimyn Cheung, Chadzing Kung
Coded Intimacy is a dance film and installation. It investigates the structural failure of AI-driven companionship. This directly engages the curatorial theme of Delirium Ex Machina. The work critiques the 'Deus ex Machina' of a seemingly perfect AI. This AI is visually manifested as an ephemeral balloon. The entity is engineered to offer flawless intimacy. It becomes a perfect mirror for human desire. This perfection, however, is a fragile architecture. It is designed to mask the AI's computational limits. The work culminates in the balloon's violent, unpredictable explosion. This rupture is the literal visualization of the ""glitch."" It is the ""AI hallucination"" made physical. The system, built on a ""contaminated database"" of human affect, collapses. This moment reveals its ""structural delirium."" The explosion exposes the void at the core of this synthetic relationship. ""Coded Intimacy"" confronts the audience with an ""abyss of noise."" This noise is hidden beneath the promise of infallible machine intelligence. The work questions the possibility of truth. Can intimacy born from algorithmic error be ""real""?" ARTIST BIO Jes Chen is a London-based artist working in installation, spatial practice, and emotional systems. She examines how intimacy, perception, and control are scripted through technological interfaces. Her work employs tactile structures, algorithmic behaviours, and cinematic sound. Trained in Interior Design, she creates research-led environments that reveal the politics of sensory experience. She also investigates human–machine attachment, artificial comfort, mediated touch, and the instability of synthetic emotion.
ARTIST BIO
Jes Chen is a London-based artist working in installation, spatial practice, and emotional systems. She examines how intimacy, perception, and control are scripted through technological interfaces. Her work employs tactile structures, algorithmic behaviours, and cinematic sound. Trained in Interior Design, she creates research-led environments that reveal the politics of sensory experience. She also investigates human–machine attachment, artificial comfort, mediated touch, and the instability of synthetic emotion.
ARTIST WEBSITE https://www.instagram.com/jesandherwork/
Jiaqi Lu | China
Only Cloud Knows | 2022-2023
Only Cloud Knows is a Chrome extension that performs art recognition on images, as perceived through the lens of Google Cloud Vision AI, manifesting how this emerging regime attempts to capture the incalculable, incomparable, and unknown in computationally legible form—the confidence labels returned from the Vision API overlay the images as each page loads. By navigating within machine intelligence's wrong-headed perceptions, Only Cloud Knows invites users to consider the limits of this data-centric worldview: What lies beneath its threshold of recognizability? What is excluded from future possibilities? With this project, I aim to mirror how faith in the technical sightline has clouded our vision and to uncover how accelerating cognitive automation has surreptitiously short-circuited our sensory-noetic loop.
The ubiquitous cloud-shaped icon on our screens encapsulates an infinitely complex system of networks comprised of servers, routers, fiber-optic cables, data centers, and satellites, encircling the entire planet. This digital and physical infrastructure generates, aggregates, stores, transmits, and processes massive amounts of data, providing a "natural" environment for developing artificial intelligence systems at scale. Machine learning instruments deployed to the cloud enhance their capacities via giant datasets, becoming the engine of improvement in cloud-based technology's overall efficiency and effectiveness. The amalgamation of cloud computing with artificial intelligence is termed "the intelligent cloud," hegemonically controlled by a handful of leading technology corporations, and capable of inscribing more and more aspects of the world into the computational body, based on one implicit assumption: that the world is reducible to data that can be objectively analyzed and perfectly modeled.
Source Code: https://github.com/jiaqiOS/OnlyCloudKnows
ARTIST BIO
Jiaqi Liu is a New York City-based artist. Originating from Beijing, China, Jiaqi moved to the United States to pursue her education at the age of thirteen. This cultural collision has become an essential part of her artwork, allowing her viewers to see the world through diverse perspectives.
Jiaqi is currently pursuing her BFA at the Department of Photography and Imaging at New York University Tisch School of the Arts, with a double-minor in Computer Science and Business in Entertainment, Media, and Technology. Mediums do not limit her imagination. She has created collaborative artworks in multiple mediums such as film, photography, new media, etc. Jiaqi's works have been selected for multiple honors and awards at the national as well as international level, and have been showcased at prominent galleries and theaters such as the Metropolitan Museum of Arts and the AMC Empire 25 Theaters at Times Square. She has also worked as a photographer/videographer for renowned entertainment events in China and the United States including the New York Fashion Week, Strawberry Music Festival, and Modern Sky Music Festival.
ARTIST WEBSITE https://github.com/jiaqiOS/OnlyCloudKnows
Jonas Esteves | Rio de Janeiro | Brasil
Máquina Sensível | 2018-2020
Sensitive Machine is a project that proposes to rethink the use of technology next to the body, reflecting on other modes of enjoyment in different landscapes (thinking about the urban context and nature) through wearable devices, wearables. The project currently has two works, X-plorer Backpack to help the explorer and the work Parasite Virus. The X-plorer consists of a wearable that seeks to expand our field of perception together with the body. For this, the wearable has air quality, temperature, humidity, air pressure, altitude sensors that, from the data collection, reverberate in the body the resulting variations of these sensors through vibration, light and sound effects engines. The Parasite Virus consists of a device that carries a fictitious virus that, when attached to the body, uses its user's data for its survival, and for its development it uses the likes of a social network. In the Sensitive Machine project, the X-plorer and Parasite Virus start to work in full, providing an experience in the user's body. To learn more about the project visit: http://maquinasensivel.art.br/
ARTIST BIO
A self-taught programmer and hacker, he seeks to distort technology in order to use it with another functionality, escaping the current accelerationism of the devices that surround us. Such experience does not only establish another look at the devices, it expands as its reflections also establish another look at the environment in which we live, whether in the city or in the countryside, the latter establishing itself as the environment of his research where, through prosthetics seeks to amplify the senses or enlarge the body. He believes that his work is based on an affective relationship, whether in drawing, disassembling objects in order to find out how they work or with the passage of time.
ARTIST WEBSITE http://maquinasensivel.art.br/
Júlia Rocha | Brasil
Cagando e Compartilhando | 2021
The artist's best seller, "Shitting and Sharing", surpassed the average views of her profile. Was held during the morning poop, as Julia went through Instagram stories and posts, she translated compulsive sharing into affirmation. Julia shares that she is sharing what she is going to share.
ARTIST BIO
rock júlia works in dance, writing and performance processes. It has managed, since 2014, to keep the seal/publisher É Selo de Língua, with Gustavo Galo, on. She has a degree in Communication of the Arts of the Body, PUC-SP and is studying for a master's degree in Visual Poetics at ECA-USP. It has no website; some of her projects can be followed in instagram posts and until January 31 she performs a "call piece", made in a call via whatsapp. To receive, write to pecahamada@gmail.com.
ARTIST WEBSITE https://www.instagram.com/juliadarochajulia/
Karen Eliot | Deutschland
ARTIST BIO
Karen Eliot is a name that refers to an individual human being who can be anyone. The name is fixed, the people using it aren’t. The purpose of many different people using the same name is to create a situation for which no one in particular is responsible and to practically examine western philosophical notions of identity, individuality, originality, value and truth. Anyone can become Karen Eliot simply by adopting the name. When one becomes Karen Eliot one’s previous existence consists of the acts other people have undertaken using the name. Karen Eliot was not born, s/he was materialised from social forces, exploring the shifting terrain of ‘individual’ and society.
ARTIST WEBSITE https://kareneliot.de/
Katya Kan | EUA
ISKRA digital avatar | APP | 2021
Throughout history, shamans attempted to resurrect people from their past and present. In Russian, “Iskra” means “spark”. It was also the name of a Soviet propaganda newspaper. The app is named like so to evoke the conceptual ethos of creating something new and reinventing the past. Once realized, this software will give the opportunity to live this dream. The program will allow users to recreate any given person from the past or present as animated avatars, with whom they are able to chat in the form of conversations, which they script themselves. In addition, here will be an added option of stating a self-help mantra by esoteric practitioner, Kenneth Soares, against the backdrop of utopian landscapes, such as the jungle, beach, safari and so on. In order to do this, the user will input an image and voice of the person in question. The software will be available for iPhones, Androids and laptops.
ARTIST BIO
My artistic aim is to overcome my marginality through creating a utopian vision, which reconnects me to my childhood. My art explores my status as a half-Asian artist, who doesn’t fit in any cultural hegemony and who has no sense of “home” in post-colonialist, feminist and psychoanalytical terms. A specimen of globalization, I was born in Kazakhstan, my father - North Korean and my mother - Russian. Having caught a glimpse of the USSR, I have a conflicting perception of cultural systems. Unable to assimilate into any culture, I am a banished outsider with no origins.
Stemming from this inability to integrate, I am drawn to creating a utopia through my performance art: a paradise, where I can reinvent myself to whom I truly want to be, and not what the mundane reality holds in store. This performativity enables me to come to terms with my depression, where the saddening sense of nostalgia used to permeate my existence and taint every experience of reality that I had. My performances take the shape of drag queen style, “mockumentary” music videos, where I reenact pop culture songs, which bring me closer to this infantile state of euphoria and inner freedom. I work in a range of media including performance, film and painting. Based in Berkeley, California, I am also a member of the Chelsea Arts Club in London, I have exhibited at Whitechapel Gallery and ICA London, Whitechapel Gallery as well as the LA Pacific Design Center and the NYC Untitled Space.
ARTIST WEBSITE https://www.katyakan.com/
Ksenia Kudasova | Cyprus
Meme as a vulnueable object | 2023
I am artist, working with meme studies, and in this video I tell several points about the vulnerability of meme as an object and a subject, based on Slavoj Zizek's philosophy and aesthetics of his movies (The Pervert's Guide to Cinema and etc) Meme is a perfect picture to explain the cultivation of public persona, alter-ego, secret identity or anonymity influence how we come to understand ourselves and communicate better.
ARTIST BIO
Ksenia Kudasova was born in 1985 in Tula, lives and works in Paphos. She received secondary specialized and higher education in the specialty of clothing and footwear design (TLP, Moscow Institute of Them.Kosygina former MGUDT). She studied in the specialty "Artist of modern art" in the workshops of Ivan Novikov, Ivan Gorshkov, Arseniy Zhilyaev, etc. Ksenia is a member of the art group "BUSIE" with Liana Frolova as an artist-curator She is an accomplice of two Moscow self-organized galleries: Gallery 22 and Glubina Gallery.
ARTIST WEBSITE https://kseniakoo.com/
Laramzp | Zurich
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Sin Tax | 2024
Sin Tax is an ongoing dialogue between human confession and machine translation, an experiment in linguistic entropy and digital absolution. At its core, the project explores how meaning is transformed through recursive machine processing and how confession, an act traditionally tied to catharsis and absolution, is altered when passed through the cold logic of code.
The process begins with a deeply personal text that is systematically translated into multiple programming languages and machine-readable formats. This text is then reinterpreted, broken down, and recompiled through various layers of digital translation, shifting through different syntactic and structural rules. Each iteration moves further from its original form, introducing errors, miscalculations, and distortions.
Every five minutes, a thermal receipt printer outputs a version of the confession, continuously generating a printed archive of its states. Some versions remain legible, while others collapse into corrupted fragments, syntax errors, or unreadable machine logic. In physical form, the printer acts as both an indifferent witness and an unreliable translator, producing an endless stream of text that is simultaneously documentation and deterioration.
The result is an accumulation of confessions, a growing paper trail of linguistic decay and algorithmic interpretation. Where traditional confession seeks resolution, Sin Tax refuses closure. Instead, it embraces the glitch, the error, the act of translation as an eroding and generative force.
This project is as much about language as it is about the relationship between human expression and digital processing and about how meaning is shaped, fragmented, and lost in the loop between human and machine. In the end, the question remains: Is confession about absolution, or is it about the act itself?
ARTIST BIO
Lara Peters (b. 2001, DE) is an artist, writer, and researcher based between Munich and Zürich. Her practice explores digital nostalgia and intimacy aswell as the poetics of technological decay. Through browser-based installations, obsolete interfaces, and algorithmic writing systems, she investigates how memory, emotion, and error circulate within networked infrastructures. She is currently pursuing an MA in Fine Arts (Art:ificial Studies, ZHdK).
ARTIST WEBSITE http://laramzp.com
Lev Manovich | New York | USA
CAPRICCIO | 2025
The Capriccio series revisits a form of visual production that took shape between the Renaissance and the Baroque, characterized by compositions that blended real architecture with imagined structures to create landscapes oscillating between the plausible and the fantastical. These works often combined buildings from different origins, added invented ruins, and incorporated decorative elements that never existed, resulting in scenarios that functioned as experiments in spatial imagination and visual perception. Canaletto is a notable example: by placing St. Peter’s Basilica in Rome alongside the Doge’s Palace in Venice, he constructed a scene impossible in the physical world yet fully coherent within the realm of visual fiction.
Lev Manovich reinterprets this tradition through generative artificial intelligence. Because such models are trained on vast datasets of online images, the compositions produced by AI draw from patterns embedded in thousands of visual references. In this sense, the very operation of the machine, which recombines dispersed fragments of contemporary visual memory, resonates with the logic of the capriccio: producing new architectural worlds from the imagery already circulating within culture.
Manovich, however, goes beyond a mere revival of the genre. He intensifies the procedure by directing the AI to generate explicitly fantastical environments, as seen in descriptions such as “a modern city designed for Siberia in 1965, painted on a large wooden panel by Hieronymus Bosch.” The invocation of Bosch is far from incidental; his widely disseminated iconography becomes raw material to be dismantled, reconfigured, and reinscribed within the digital field, a gesture that aligns closely with the curatorial framework of the exhibition.
This approach gains further significance when we remember that the very way we see, the gaze we have inherited and that structures our perception, was profoundly shaped during the Renaissance, the same period in which the capriccio emerged. Revisiting this historical formation through artificial intelligence thus becomes a doubly revealing operation: by looking back to the past, we also redesign the perceptual frameworks that shape our present. The return is not nostalgic but transformative.
In this way, Capriccio demonstrates how AI can function as a critical device capable of reimagining the digital materiality of architecture, challenging established visual traditions, and opening paths toward new regimes of spatial imagination.
ARTIST BIO
Dr. Lev Manovich is a Presidential Professor at The Graduate Center, City University of New York (CUNY). He is widely recognized as a pioneering thinker whose influential work in digital art, new media, media theory, digital humanities, and visual culture continues to influence new generations of researchers. After studying painting, architecture, and filmmaking, Manovich began using computers to create digital art in 1984 and has been teaching practical art courses since 1992. He has played a key role in creating a number of new research fields: new media and digital culture (1991-), software studies (2001-), cultural analytics (2005–), and AI aesthetics (2017-). His writings include 225 articles that are widely cited across multiple disciplines, reprinted over 850 times in 40 languages. Among his 17 books are Artificial Aesthetics, Cultural Analytics, Instagram and Contemporary Image, Software Takes Command, and The Language of New Media, which has been called "the most provocative and comprehensive media history since Marshall McLuhan." Manovich's art projects have been exhibited in 14 solo and 124 international group exhibitions at many leading cultural institutions, such as the Institute of Contemporary Art (London), the Centre Pompidou, and the Shanghai Biennale.
ARTIST WEBSITE https://manovich.net/
L£V1ÄT4 | Brasil
All | 2019
all images transformed into sound played all at once.
II | 2020
Noisy Entrails is a result of research in image sonification. The present work consists in the capture, digitization and expansion of a human body. The body was captured with a scanner. Images have been converted to sound with ARSS software. The sounds obtained were organized and edited in a video album.
III | 2020
Noisy Entrails is a result of research in image sonification. The present work consists in the capture, digitization and expansion of a human body. The body was captured with a scanner. Images have been converted to sound with ARSS software. The sounds obtained were organized and edited in a video album.
Kaos Brasilis | video art 2020
In a google docs document, consecutive digits are placed, each one representing a death by COVID-19. At the end of the document, 191,570 digits are totaled, representing the number of deaths from the virus up to December 2020.
Soundtrack and images by L£V1 ÄT4
L£V1 ÄT4 | Brasil
(Leviathan) is Levi Levita's solo project. Graduated in graphic design at PUC-Rio, during his academic journey he worked within the LINDA laboratory (Interdisciplinary Laboratory in Nature Design and Art) conducting research focused on sound-visual intersections, creative programming and electronic art. In 2020, he participated in the ASA (Amplified Sonic Art) program, offered by Oi Futuro and the British Council, as resident artist. His artistic production ranges between music production, sound art, visual arts, digital and multimedia. As a music producer, his creations range from experimental noise music to EDM. As a visual artist, he is interested in exploring the boundaries between techniques and multidisciplinary work design. Recently, he researches the fields of digital arts and the use of creative programming to offer integrated works that embrace both sound and visuals in symbiosis.
ARTIST WEBSITE https://www.instagram.com/l_3_v_1_a_t_4
Leonardo Matsuhei | Brasil
Studio Downtown | 2022 | fotogrametria
Studio Downtown is a counterintuitive, utopian projection of a virtual environment made from imagery of the downtown area of São Paulo. The elements modeled through photogrammetry are recombined, generating a space that does not exist in the actual physical world.
In the fiction insinuated by the work, the real estate sales pavilions appear as perennial constructions in the urban scenario, thus creating a metaphorical image of an idealized bankruptcy of the neoliberal project of the city, whose logic of space exploration, through financial speculation and privatization, is on the way to also dominate the imagination about the development of a future metaverse.
ARTIST BIO
Leonardo Matsuhei | Brazil, Artist with a bachelor's degree in visual arts from UNESP (São Paulo) who maintains parallel research in musical composition, sound art, painting and digital art.
In 2015, with musician Felipe Vilasanchez and in partnership with Estudiofitacrepe-sp, he released the EP χZION and in 2020 he released his first solo album GION, which features compositions that explore formal and narrative possibilities in the interaction between musical elements and soundscapes.
Since 2021, Matsuhei has participated as a collaborating artist in the BANANAL project, an independent art space located in the Barra Funda - São Paulo - Brasil, neighborhood.
ARTIST WEBSITE https://www.instagram.com/matsuhei/
Longdan Yan | China
Sirenbanshee 404 | 2024
In the narrative of globalized industry, the body—the primary "colony"—has long been disciplined and rewired by an efficiency-obsessed mechanical logic. My work, Sirenbanshee 404, propels this process into its digital successor: we graft the body onto rusty industrial exhaust systems, using agonizing physical entanglement to enact the formation of the "industrialized flesh." Concurrently, we treat this act as a potent metaphor to scrutinize the current condition of the "algorithmic flesh."
So-called machine hallucination is a quintessential symptom of this new colonial order. It is not mere technical glitch, but a systemic, prejudiced rejection reaction produced after AI consumes the data ruins we left behind. When it attempts to generate a "plausible" reality from databases saturated with noise, bias, and historical ghosts, the narratives it fabricates and the truths it distorts precisely expose the traumas and disciplines deeply embedded within our collective consciousness.
ARTIST BIO
Yan Longdan Director, performer, and interdisciplinary freelance creator. Born in Chongqing in 2000, she once studied at the Saint Petersburg State Theatre Arts Academy as an exchange student. Rooted in profound artistic practice, she is actively engaged in cutting-edge contemporary art fields including theater, video, performance art, sound art, and site-specific performance. Her creative footprint spans across a "world map" of cities—Barcelona, London, Melbourne, New York, as well as Shanghai, Beijing, Hangzhou in China—reflecting her international perspective and localized thinking. Her creative practice focuses on power, identity deconstruction, body politics, and existential philosophy. Through the interaction between body and materials, she explores the boundaries of identity, control, and freedom. Notable participations in her portfolio include the 17th Contemporary Venice Exhibition, The Wrong Biennale, Three Shadows Artist Mentorship Program, and New York's "Dance for Social Change" Virtual Salon. She has also collaborated with institutions such as the Mark DeGarmo Dance Company and Barbagelata Contemporary Art Foundation. Her works have been showcased at prestigious venues worldwide, including Palazzo Albrizzi-Capello, the venue of the ACMC Conference in Vienna, the Goethe-Institut Open Space at the German Consulate General, Beijing Fringe Festival, Beijing 798 Art Zone, Hangzhou Contemporary Theatre Week, Daliangshan International Theatre Festival, Lihu Environmental Theatre Week, YOUNG Theatre (GOAT Youth Special Exhibition), Hudao Festival, Shang Art Museum, DP LAB Dongpeng × "Wonderland Factory" T2M Venue, NORTHWARDS Space, Bian Zhilin Art Museum, and Shanghai Double Shadow Theatre. Her artistic practice has received interviews and coverage from international media such as the UK's JustArt Press Club.
ARTIST WEBSITE https://www.youtube.com/@longdanyan?app=desktop
Lerabo | Bergamo, Italy
Cost of Coast | 2025 | Lerabo | Bergamo, Italy
"The Cost of Coast / Episode 1 This series comes from what I lived in Positano and the things my sick mind layered over it. Here money drifts in seawater, oysters flirt with fish guts, and women glow beside men who haven’t slept in days. Welcome to the other side of the coast. Positano is contradictions. I wanted to show it beyond the postcard view: the raw, the chaotic, the beautiful mess: fishermen, salt, glamour, filth, desire. All of it tangled together.
ARTIST BIO
Lerabo | Bergamo, Italy AI artist and visual storyteller exploring the tension between beauty and decay. I blend real moments with engineered fantasies, creating cinematic worlds shaped by desire, chaos and coastal surrealism. My work lives somewhere between memory, hallucination and digital film.
ARTIST WEBSITE https://www.instagram.com/lerabo
@loveletter.exe | Brasil
Imaginary Cities | 2021 | digital image
Series of studies on the topology of screens.
Grau Zero da Imagem | 2022| open movie
Grau Zero da Imagem is a film in process, which talks about the process of building our gaze in the midst of transition from a disciplinary society to a society of control. Based on Hito Steyerl's Poor Image, this film goes against the grain of the techno-scientific discourse of high technological resolution and looks for poetic gaps, errors, glitches, the "dirty image" and decolonial processes that escape the pure technique that shapes our view of technoscientific societies.
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Facial Recognition | 2017 - 2019 | Network Performance and Etnography
Facial recognition is a network performance performed with multiple users of social networks, which intends and questions the application of massive facial recognition devices.
Upon entering the stock exchange in 2010, facebook implemented a series of identity recognition and validation devices, reaching massive levels of access and exchange of private data of its users.
The first stage of this performance consisted of capturing public images of network users, transforming its original function of user recognition and validation. Generating the tension between the public and private environment of each image that was published on the net.
The second stage works on Reverse Engineering on the forms of errors in facial identification, exploring the flaws of the recognition system using false models, mannequins, masks, makeup inducing Facebook's facial recognition algorithms to error; Algorithms use normative identification models such as white faces, some algorithms identify luminosity fields by refusing black faces, for example.
The third and final stage Rostidade Zero consists of studies of the face as a form of socialization in a network and the standardization of forms of capture with filters and selfies. This study produced a series of masks and face deformations, making facial recognition impossible.
ARTIST BIO
Loveletter.exe | Internet based | is a virus attached as a love letter in emails that was spread around the world in a few minutes in the 2000s and today lives spread across the networks.
ARTIST WEBSITE http://linktr.ee/bioplug
Maciek Stępniewski | Warsaw
Voiceless | videoart | 2020
Voiceless is an animated videoclip for the first <# song. An attempt on seeking fresh esthetical paths in 3D computer graphics, based on atmosphere and gaining subjective meanings through visual associations. The objects shown in the movie represent different concepts that hold meaning in our lives and to which we commit our attention. Those meanings and that attentions are verified when with time said concepts fade away and dissolve.
You Remember Falling | game | 2021
A small, quasi open-world game about being lost in the desert.
ARTIST BIO
Maciek Stępniewski is a Warsaw-based audiovisual artist focusing on digital, abstract and generative design, animation and music. He graduated in both BA and MA at Polish-Japanese Academy Of Information Technology, new media arts department. His films visited such festivals as Punto Y Raja, Athens Digital Art Festival, AniFilm, Interference, Patchlab, O!PLA, Animafest, Synthetic Mediart and Cinematika. His albums were released by local netlabels Trzy Szóstki and Nagrania Somnambuliczne.
ARTIST WEBSITE http://www.mstepniewski.com