Connexion
When artists are free to work on the concept as they are on the technical implementation, they deliver a much more powerful and meaningful experience to the viewer.
Steve Gerges began to take an interest in Digital Art in 2000 when he created Visual-Delight, the first collective of VJ’s (visual-jockeys) in Luxembourg. This project allowed him to take his first steps in this innovative art form for that time.
Following a trip to Montreal to the Elektra Festival in 2012, he created his first interactive digital artwork entitled LAN 1.0 at the Carré Rotondes in 2014. Here a few projects we felt best showcased his main features as an audiovisual artist.
ONE is a generative art sculpture that develops in real time. The audiovisual totem grows and evolves while progressively revealing its organic essence to the viewer.
One tells us the story of the creation of the universe, from the big bang, to energy flows, creation of planets and humankind.
Steve Gerges
We love this amazing kinetic sculpture that exploits the use of machine programming. Light is the main course of this audiovisual feast. An ethereal force that contours the surrounding space in a beautiful ephemeral moment.
This is an immersive and impressive projection mapping representing the creation of the universe, a recurring them in Steve Gerges work. The audiovisual storytelling features abstract patterns slowly turning into figurative elements.
The viewers is invited to reflect upon the strive of mankind to understand and explore the unattainable complexity of the universe.
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Rafael has been living in Asia for 10 years where he merged his own European artistic and sociocultural background with the Asian aesthetics and political issues, especially within South Korea.
His phography academic background heightened his sensibility towards the image, with special reference to the body within the space.
This is an extract of a live performance named “BOM” which is part of an ongoing day-by-day project made in Korea: KYOULBOMYOELEUMGAEUL.
The performance took place at the SEMA: Seoul Museum of Art. KYOUL means Winter in Korean, BOM is Spring, YOELEUM is Summer and GAEUL is Autumn.
The four season piece is a video reportage of Rafael experience in South Korea, presented in chronological order throughout different audiovisual mediums such as Live Cinema performance, Installation and screening.
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Memo Akten describes himself as:
http://www.memo.tv/
“an artist and researcher from Istanbul, Turkey. He works with emerging technologies as both a medium and subject matter, investigating their impact on society and culture – with a specific interest in the collisions between nature, science, technology, ethics, ritual and religion.”
His work goes much further your average visual artist, as he specialises in Artificial Intelligence, works with algorithms and large-scale responsive installations with image, sound and light. In AV culture’s layman terms he’s an audiovisual jack-of-all-trades and a true techy, oh and he’s studying for a PhD in AI as if that wasn’t enough. Here you can see a selection of his work in the very accurately named video, ‘Selection of work in 3 minutes’ (2017).
Akten received the Prix Ars Electronica Golden Nica – the most prestigious award in Media Art – for his work ‘Forms’ in 2013. He has exhibited and performed internationally at exhibitions including The Grand Palais’s “Artistes & Robots” in 2018 (Paris FR), The Barbican’s “More than human” in 2017 (London UK) and the Victoria & Albert Museum’s landmark “Decode” exhibition in 2009 (London UK). He has shown work at venues such as the Moscow Museum of Modern Art (Moscow RU), Shanghai Ming Contemporary Art Museum (Shanghai CN), Mori Art Museum (Tokyo JP), Royal Opera House (London UK), Lisbon Architecture Triennale (Lisbon PT), Itaú Cultural (Sao Paulo BR) and many others.
He has collaborated with celebrities such as Lenny Kravitz, U2, Depeche Mode and Professor Richard Dawkins, and brands including Google, Twitter, Deutsche Bank, Coca Cola and Sony PlayStation. Akten’s work is in numerous public and private collections around the world.
Alongside his practice, Akten is currently working towards a PhD at Goldsmiths University of London in artificial intelligence and expressive human-machine interaction, to deepen collaborative creativity between humans and machines and augment human creative expression. Fascinated by trying to understand the world and human nature, he draws inspiration from fields such as physics, molecular & evolutionary biology, ecology, abiogenesis, neuroscience, anthropology, sociology and philosophy.
Memo hasn’t just emerged on the scene by any means. In 2007 Akten founded The Mega Super Awesome Visuals Company (MSA Visuals), an art and tech creative studio. For some of those who have been following audiovisual culture since before even Audiovisual City was born, then they’ll recognise the name Marshmallow Laser Feast (MLF) – the evolution of MSA Visuals in 2011. In more recent years and a lot of success, Akten is now focusing on his own work and research, though his contribution to audiovisual culture and performance, must not go unmentioned. I strongly recommend that you explore his exceptionally wide and varied body of artwork and scientific investigations, as it takes you on a socia cultural journey that goes beyond audiovisual art.
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She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).
In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.
Her latest project can be found on Vimeo (below).
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A small team creates magic installations and art projects, exploring mechanisms of interaction and inter-influence of inter-subjective reality and its digital projection.
Interacting with constantly changing projection, the viewer enters meditative state, turns from a passive observer into a co-creator. Thus, in “Symbiosis” installation the viewer literally merges with the alien creature, becoming a digital avatar that can be controlled by him or her.
Installations by Kuflex have been featured in many Russian and foreign exhibitions, festivals, museums, science and education centers in Moscow, Saint-Petersburg, Yekaterinburg, Krasnoyarsk, Tyumen, Abrau-Dyurso, Netanya (Israel), Antalya (Turkey), Athens (Greece, ADAF), Las-Vegas (USA, CES), Beijing (China,China Science and Technology Museum), Manila (Philippines) and others.
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In creating art installations and performances using sensor technology, she strives to explore the importance of human relationships and connections.
Park is a recipient of the New York Foundation for the Arts Fellowship. Her works have been featured by Art21, Artnet, The Creators Project, New York Times magazine, Wired, PBS, Time Out NY, the New York Post, and through many other media outlets.
She received BFA in Fine Arts at Art Center College of Design and her Masters from the Interactive Telecommunications Program at New York University’s Tisch School of the Arts.
It highlights the importance of human presence and physical connection in our lives. It cannot be bloomed alone and is only bloomed by the relationship between people. As a response to participants’ skin- to – skin contacts, heart rate, and gestures, “Blooming” blossoms according to their intimacy. As audience members hold hands or embrace , the digital Cherry tree flowers bloom and scatter.
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They combine digital media with other artistic disciplines such as music, dance, theatre and performance.
Medusa Lab took part of many national and international event such as Venice Biennale of Architecture 2014, Mediaxion, Live Performers Meeting and Circuito Electrovisiones.
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Delight Lab is an audiovisual design and experimentation studio pivoting around the concepts of video, light and space.
Established in 2009, covering a variety of projects such as large-scale videomapping projections on architecture, museology audiovisual installations, audiovisual stage design for performing arts, audiovisual content for commercial events, and audio-reactive visuals for live shows among other things.
The origin of Delight Lab goes back when two brothers decided to make projects together at the university: Germán (Design) and Andrea (Art and Aesthetics).
Both audiovisual artists had developed investigations and experimentation with light, the phantasmagoria, the video-projection and the intervention of spaces. All different experiments culminated in a projection mapping on the facade of The Contemporary Art museum of Santiago.
This projection realized in January, 2009 was one of the first mapping projections in Chile. This milestone opened the way to further investigation, artistic and technological experimentation, interdisciplinary exchange and cultural management. These values are still present in every project carried out by the duo.
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We present the new media artist, Mónica Rikić, whose work focuses on code, electronics and non-digital objects to create interactive projects often framed as experimental games.
Her interest lies in the social impact of technology, human-machine-human coexistence and the reappropriation of technological systems to rethink them through art. From educational approaches to sociological experimentation, her projects propose new ways of interacting with the digital environment that surrounds us.
She’s participated in festivals such as Arts Electronica, Sónar and FILE, among others. She’s been awarded at Japan Media Arts Festival, AMAZE Berlin, Margaret Guthman Musical Instrument Competition (Atlanta) and with a BBVA Foundation Leonardo grant to work on a research project about robots and social interactions.
She has also done artistic residencies at TAGin Montreal, QUT- The Cube in Australia, Platohedro in Medellin and Medialab Prado in Madrid.
Currently she’s part of two Creative Europe projects: Contested Desires and ARTificial IntelligenceLab.
We encourage you to see her webpage to know more about different projects that connect humans with technology.
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This ambitious duo of A/V architects and toolmakers cook up mind-altering experiences in generative art that require expertise in math, coding and the science of sound.
By creating mesmerizing digital matter of frighteningly porous frontiers exclusively through TouchDesigner and modular gear, they push back the limits of footage and sample-free language that is opulent and breathtakingly singular.
Taking as starting points their most irrepressible fascinations with death, the unknown and the cosmos, they craft thrilling, precise, painterly code-art that broaches big philosophical questions and provides mesmerizing though highly speculative answers. Kristina and Aleksandr create modern generative art and innovative tools that raise the bar on the synergistic possibilities of visuals and sound.
They participated in many international festivals and exhibitions in Russia, Germany, Indonesia, USA, Peru. Including MUTEK festival, GAMMA festival, Electric Castle festival, LACMA, Moscow Planetarium, Orpheum Theatre LA e.t.c. 404’s works were selected by Japan Media Arts Festival and awarded by Genius Loci Weimar Festival, IMAP festival.
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London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there.
Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation.
Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects.
With a unique blend of formats, colors, designs and mediums, the audiovisual artist has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Tame Impala, Radiohead, Nabil, Hype Williams, Charlie XCX, Smerz, Onetrix Point Never, Sophie Muller, Diane Martel and Miley Cyrus.
Weirdcore performed live in the most important festivals worldwide such as Glastonbury, Sonar, Fuji Rock, Coachella, Club2Club, Future Music, Field Day, Mira, Unsound, Melt, Lowland, Dour and more.
Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera.
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GRIDSPACE is a multimedia entertainment studio specializing in the conception and production of creative environments.
From state-of-the-art temporary installations to permanent locations, physical and digital worlds collide through our signature scenography, motion graphics, set design, and technological innovation.
One of their main projects is Wavv – mood modulator:
Wavv is an integrated multimedia proprietary eco-system that uses light, video and sounds, that transforms space perception and enhances emotions. It can be integrated into various contexts and settings, from gym and yoga classes to public transit areas and corporations.
Their various backgrounds mean they’re not only experienced but inspired to explore original ways of implementing storytelling with technology to bring locations to life.
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DubLab is the new label of Dub Video Connection, mix-media studio based in Lisbon since 1997. DubLab used to be the name of the Arts & Experimentation department, but now it became that department. New name, new life.
Stage & Visuals design for music labels and artists. DubLab creates concepts, visual contents and technical engineering projects for live performances. On top of that, they offer a long time experience with branded content and institutional video mappings on corporate events.
DubLab mission is to combine audiovisual technology with creativity, to achieve new sensorial light and video communication with the public. All this skills together, create excellence on project managing for show tours, DJ artworks and event design.
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teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world.
teamLab aims to explore the relationship between the self and the world and new perceptions through art. In order to understand the world around them, people separate it into independent entities with perceived boundaries between them.
teamLab seeks to transcend these boundaries in our perception of the world, of the relationship between the self and the world, and of the continuity of time. Everything exists in a long, fragile yet miraculous, borderless continuity of life.
teamLab’s works are in the permanent collection of the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; National Gallery of Victoria, Melbourne; and Amos Rex, Helsinki.
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Yannick Jacquet has spent ten years developing an visual arts project exploring how to reverse the deterioration inherent in our exchanges with the world.
His process of visual creation draws on structural elements as disparate as the architecture of the Centre Pompidou-Metz and a Ravel string quartet. While the precise stratagem may vary, from the spectacular to the intimate, each undertaking is always rooted in the concept of resilience.
This is art haunted by a discourse on the end of time. Jacquet makes no mystery of it. He invokes parallels with the Belgian artist Berlinde de Bruyckere’s work on mutations in living matter, the Japanese Ryoichi Kurokawa‘s stellar visions, and his fellow Swiss artist Jean Tinguely’s sardonic laugh and his 1960s machines designed to self-destruct.
Born in Geneva in 1980, Yannick Jacquet lives and works in Brussels. His work was presented at Contemporary art events, museums & galleries, in Paris, Moscow, Tokyo, Brussels, Montreal and Taiwan. He has received awards at the Milan Design Week and the collector’s prize at Brussels Slick Art Fair.
His regular collaborations with different artists lead him to the Mécaniques Discursives work-in-progress, developed with the printmaker Fred Penelle, a project that is frequently exhibited in Europe and Asia. He is one of the founders of the Antivj visual label.
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Pfadfinderei [fɑ:d’fɪndɜ:raɪ] is a Berlin-based design and motion graphics studio specializing in creative services for stage entertainment, large-format media installations, tradeshows and events.
Going beyond screen work, they apply innovative ideas to fusing light, video and spatial design. Pfadfinderei also sport a hot roster of patented fonts and design publications.
Founded in 1998 in Berlin, Pfadfinderei started as a design studio focused on print, fonts and logos designs. The name translates as ‘pathfinders’ or ‘boy scouts’ in German and refers to the studio’s initial work with vector graphics. To this day, vectors and a reductionist approach to creativity are their hallmark and signature style.
Pfadfinderei aim to produce timeless original design ideas and apply their creative hearts and minds to any and all of their work. Always.
In 2000 the studio added motion content and installations to its repertoire and soon found itself at the heart of the vibrant Berlin electronic music and nightlife scene. Through countless collaborations with leading Berlin clubs and talent, the Pfadfinderei crew became an integral part of the mix.
From sharing stages worldwide with the top tier of electronic musicians to crafting bespoke spatial concepts for an eclectic variety of clients, Pfadfinderei are innovators of interactive media scenography and a Berlin success story.
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Boris Chimp 504 – Miguel Neto (Sound) and Rodrigo Carvalho (Visuals & Interactive Systems) – tells the tale of Boris 504, a chimpanzee sent to the moon by the soviets in 1969 getting stuck in space forever. Since then he has been exploring the space-time continuum, jumping between several dimensions of the universe. With this starting point, Miguel & Rodrigo have been exploring the relation between sound & image since 2010 mixing techno, psychedelia and noise, along with audio-reactive visuals generated in real time, creating an immersive voyage strongly influenced by science fiction, interspersing with the most current scientific discoveries and merging reality and fiction into a narrative of its own.
Boris Chimp 504 has presented both av performance & interactive installations on festivals such as Sonar (Barcelona), Mutek.Es (Barcelona), ADAF (Athens), BAM (Liège), ECHO (Dubai), Stereolux (Nantes), Iminente (Lisbon) among many others.
Feature image and hero image photo credit: Ariel Martini, for Sònar 2017
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Their very diverse backgrounds (video editing, web design, VJing, 2D-3D graphics, video post-production, sound design) and a powerful synergy among themselves, lead to the development of Pixel Shapes collective that aims to produce impressive video mapping, visuals and installations.
From traditional video projection techniques to the most complex forms of architectural video mapping.
Looking for new forms of communication through the use of multimedia technologies and nonconventional supports.
Design of multimedia scenography.
Sound department is handled by Giovanni Raniolo, established sound designer and music producer.
Infopixelshapes@gmail.com
LINK BOX
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Evan Henry, from Dallas, Texas, is a truly multidisciplinary AV artist, who primarily works visually under the artistic name Cinema AV, but who is also known to write ambient music scores with both analog and digital synthesizers. His work embraces both analog and digital set ups, with his main interest visually representing sound.
What began as a love of photography, cinema and found footage grew into something much greater when in 2015, Evan was introduced to video circuit-bending and once-obsolete video electronics. Using these pieces in a live performance setting was always his goal, and from the get-go, tachyons boxes, vcrs, and video mixers turned into buying used Gieskes 3trinsrgb+1c standalone video synthesizer, building its expanders and just over a year later, the LZX cadet and castle line of DIY eurorack modules.
From there, video art went from beyond a hobby, to a complete way of life. Reliant on live performance, he plays at gigs relentlessly for both local, and touring artists alike. In 2018, he joined Ghostly Intl.’s Steve Hauschildt on a tour through the East Coast and Canada. He became the resident visual artist for Proton Limited in Dallas, Texas in 2019. These motions set the stage for a constantly evolving motion in the live visual dimension.
Cinema AV’s work extends itself to instant and 35mm film renderings and has appeared in galleries and pop-up’s throughout North Texas. But when not playing live, or coordinating visuals for Dallas Ambient Music Nights, Evan is occasionally writing or building a set of modules for fellow artists.
The result is an infinitely growing body of work, that in the last few years has expanded itself into largely digital dimensions in Resolume Arena and Max/Msp.
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Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.
Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.
Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013.
Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.
Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.
Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances.
Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.
Find out more about their work here:
Website | Seditionart | Bandcamp | Vimeo
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