We couldn’t miss this retrospective exhibition about the father of Video Art and one of the main references in the history of art for Audiovisual experimentation.
More than 200 artworks ranging from TV screens, to robots, video walls and immersive installations. A must-go event meticulously curated by the Tate to give insight into the work of this game-changing artist and researcher.
The first thing that strikes in Paik’s work is his playfulness. No matter what device he uses, the outcome is always lighthearted and pervaded by a witty sense of humor.
His personal relationship with technology has always featured curiosity and optimism. In TV Garden he creates a surreal immersive environment where TV screens and plants aesthetically coexist harmoniously, although weirdly.
His attitude shows a deep connection with Buddhist philosophy. TV Buddha clearly states this. With Buddha watching the TV and watching himself at the same time, he helps us to realise that our body merges with the nature in the same way it merges with technology. One is all and all is one.
Paik embraces chaos and technology all together in his Zen driven artistic experimentation. In his Robots, wires, pins, knobs, every component is well exposed in his fascinating ironic mess. Paik’s playful approach intends to humanize technology bringing it closer to the people, easier to grasp and easier to intervene.
Paik manipulates analog technology not only for aesthetic purposes but also as a political act. His anarchist artistic experimentation counteracts the consumerism driven by the mass manipulation through the TV.
Audiovisual City top picks of Paik’s expo are undoubtedly the two spectacularly immersive installations: Video Wall and Sistine Chapel.
Video Wall is a mesmerizing live collage of multiple video feeds. It strongly communicates the instability of perception and lack of focus in the mass media world.
Our eyes restlessly bounce within the video space from one feed to the other. Only after thorough observation we realize each image is linked up with its surrounding revealing the artistic and rhythmic pattern of the artwork. Only going through these steps we manage to embrace the multiple inputs as one video totem.
The Sistine Chapel is a stunningly sumptuous Audiovisual feast. It’s a large-scale installation made by 40 video projectors exhibited in plain sight in the centre of the room as if they were musical instruments.
This baroque multi-projection is a pioneering experiment of video mapping. As it’s really hard to focus on the single video feeds, the viewer is lead to appreciate the overall immersive AVscape created by this chaotically symphonic orchestra.
Artistic expression and technological experimentation bound together and filled with Nam June Paik’s refined sense of humor. Art that speaks to everyone that has ears and eyes for it!
The post Exploring the art of the VJ pioneer: Nam June Paik @Tate Modern appeared first on Audiovisualcity.
Video Mapping del espectáculo L.U.X de RAIO, cubos!! 🇬🇧3D Projection mapping from show L.U.X by RAIO, dynamics Cubes!! @ayuntamientovll @renault_esp @avsistemas @cover.club @alfonsolosco #madmapper #resolume #millumin #3dprojectionmapping #audiovisuales #videomapping #encendidodeluces #mappingprojection #mapping3d #blender #foley #moog #makenoise0coast #animationnodes
The third act of the triology of Lapsus Festival 2019 welcomed Cuzanne Ciani, a pioneer of sound design and electronic music, pianist and powerful creative mind who opened the way to many other female artists.
Lapsus is the sixth edition and is divided into three special events. After ACT 1 in which the sounds of the Eastern Europe were explored through the collaboration with Unsound Festival in Poland; ACT 2, with multidimensional sounds of Moritz Von Oswald and Pina; and ACT 3, by the title of A Sonic Womb, a journey through the powerful beginnings of female electronic music.
In ACT 3, A Sonic Womb took place in CCCB with the performances of Suzanne Ciani and Eva Geist. Also Philip Sherburne talked with Suzanne Ciani about her life experience in the field and there was a projection “Circle of Light” by Anthony Roland with the soundtrack of Delia Derbyshire and Elsa Stansfield. This edition explored the beginnings of women in electronic music thanks to the immersive sound environment designed by Intorno Labs. In the night, more artists performed at LAUT.
EVA GEIST (Live)
Geist is a Vocalist, Songwriter, Composer, Synthesist and Sound Designer. She invited us through a cinematographic musical journey with peculiar melodies, warm rhythms and atmospheres with space disco – since 2016, Andrea Noce has been buliding recognised and respected work in the electronic music scene, publishing her work on record labels such as Macadam Mambo, Hivern Discs and Elestial Sound.
SUZANNE CIANI (Live)
After 40 years of professional trajectory, she has been nominated five times in Grammy awards, and her work has been important to understand the beginnings of the synth music. In her show at Lapsus she brought an exclusive performance with the modular synthesizer Buchla 200e.
Circle of Light (Projection)
This project is a film in colour of 32 minutes directed by Anthony Roland and developed through the photographic material of Pamela Bone. The soundtrack was signed by Delia Derbyshire and Elsa Stansfield. The composers had ideas that were innovative in their times.
Infinite Waves (Conversation between Suzanne Ciani and Philip Sherburne)
The well-known Philip Sherburne (Pitchfork, The Guardian) interviewed the American producer Suzanne Ciani at CCCB. Both talked about the professional career of Ciani, and of the female on the electronic scene in the 70s until the present day.
After attending ACT 3 of Lapsus Festival, with Audiovisual City, we felt kind of inspired and proud of Suzzane Ciani, a strong and brave woman who fought to work for what she loves doing despite the cultural circumstances of the moment. We also felt proud of Eva Geist, who made us dance and enjoy her incredibly special rhythms. In general, the work of the artists in this edition was impressive.
Second #ledlight #artinstallation for @festilumi #bonifacio, featuring #3deffect on both #light and #audio in St Dominique street, making the festival entrance a real #immersiveart #audiovisual #experience. Made with love on @touchdesigner, @millumin2 and @mad_mapper, driving #sound and #lightcreation using only #video files.
#lightsculpture #ledartist #immersiveexperience #lightart #lightartist #lightfestival #street #animation #festilumi #visualart #installationart #millumin #madmapper #madlight #leddisplay (at Bonifacio)
The past week, 5th – 9th November, MIRA FESTIVAL celebrated its 9th Edition and Audiovisual City were present to enjoy the program that featured audiovisual shows, 360-degree experiences in DOME format, installations, workshops and conferences.
This edition rethought the combination of art and technology as tools of protest, to turn thinking into action, and invited us to interfere in a personal transformation to trigger a change in the future. In addition to this ingenious theme, the festival opened a new stage at Fabra i Coats, dedicated to multidimensional sound: the 3D Sound Room by Estrella Galicia.
For the live AV shows, we want to highlight some well-known artists that MIRA festival brought this year. Thursday Sam Shepert (AKA Floating Points) played accompanied by the visuals of Hammill Industries. Friday’s Av highlight was CLARK feat. Evelyn Bencicova and her show of a wide gamma of textures along with his characteristic techno. Alessandro Cortini also produced some emotional content through electronic sounds, with his warm and human visuals. On Saturday Biosphere performed a series of recordings and improvisations captured outdoors on the island of Senja, and Vessel and Pedro Maia presented the dualities of the human condition. But these are just some of the many artists who participated in this edition.
Some of the artists that surprised us at Audiovisual City were, on Friday, the Nihiloxica band, with their intercultural experiment, fusing the indigenous Bugandina percussion with dark European club music. Also, on Saturday, the duet of 700 Bliss, with who you clearly see a relationship with the theme of the festival, sounds and words are embodied in suffering and social alignment in an unfair world. And finally, Curl, on Saturday, where we could see an unexpected turn in the style of the band, showing a previous experimental work. The originality and strength of these artists left us astonished.
We show you some of the magical moments that we captured at the festival.
Fascinated by music, video, photo, and film- I dive into everything regarding audiovisual that interests me or sparks my interest. Same thing.
Social media is amazing, it is a way to connect and speak to people all over the world. One image can go through so many countries. It’s fascinating!
Berlin, January 24 – February 2 2020
CTM’s 21st edition launches with an announcement of new performances, special projects, and commissioned works.
Combining unique productions, concerts, and club nights with a dense daytime programme of talks, discussions, installations, and an exhibition, CTM 2020 proposes multiple entry points into thinking about this year’s Liminal theme.
Liminal phenomena and states are transitional phases in which a familiar order sees its values and symbols destabilised; norms are suspended or turned on their heads. We find ourselves in ambiguous spaces, somewhere between a past that is no longer valid and an ever-becoming future.
TM 2020 will again play out across some of Berlin’s most standout cultural and nightlife venues. For the first time, the festival hosts special projects at Radialsystem V and an immersive listening series at Silent Green’s Betonhalle, while continuing its close relationship with HAU Hebbel am Ufer, Berghain, Kunstquartier Bethanien, Festsaal Kreuzberg, and SchwuZ. A limited number of Early-bird Festival Passes are available now.
As always, CTM takes place parallel to and in collaboration with transmediale festival. The jointly organised Vorspiel 2020 Open Call is out now. Vorspiel will again bring together a wide range of Berlin-based artists, initiatives, and venues, hosting a city-wide programme of cultural events.
From a festival organization to an international platform for trans-disciplinary creativity: ever since the launch of its first edition in 2005, TodaysArt has been bringing artists, thinkers, and audiences together in an ever-changing, yet inspiring setting.
Inspired by relevant political and artistic topics, TodaysArt aspires to promote and foster innovation and creativity as well as public interest for current developments within arts, culture, and society.
The network specializes in the presentation and development of emerging digital culture and contemporary visual and performing arts. By doing so, TodaysArt connects local and international talent to established creators and pioneers to collectively explore new possibilities and forms of expression.
The festival is known for its surprising settings: every year, the festival travels through the city of The Hague before temporarily finding its niche in a wide array of unconventional public spaces and venues.
Over the past thirteen years, TodaysArt has built up an impressive international profile by presenting and producing works that are developed in collaboration with some of today’s leading creators. TodaysArt’s key activity is the annual TodaysArt festival in The Hague. Besides this, the network organizes and participates in a variety of international events, exhibitions, and acts as a co-producer for the development and distribution of artists and projects in The Netherlands as well as abroad. (See the program here)
The Hague, Netherlands
WE ARE CREATIVE CONTENT DESIGNERS AND VISUAL STORYTELLERS
Formed in 2012, The Colour Project is a UK based Motion Graphics and 3d Design studio specialising in video projection mapping.
We design shows and visual content for, events, launches and epic architectural mapping shows. We produce original graphics, animations and bespoke video content to tell compelling stories and amaze audiences.
We’ve created shows internationally and at home, from galleries to World Heritage sites. Our audiences range from hundreds to tens of thousands and we work with brands and cultural organisations to create spectacular live events and installations in public spaces.
THE COLOUR PROJECT
Toru Izumida is an audio & visual artist who graduated from the Musashino Art University in Tokyo, Japan in 2010, and currently lives and works in New York.
In his A/V live sets he uses multiple layered programmed visuals reacting to the live soundscape.
In 2019, he showcased his live A/V sets at //Dreamlands\\ presented by Testu Collective x Ideal Glass Studios. He is one of the organisers of 0 // 2019 Public Visuals, live A/V event in Brooklyn, NY.
Moscow, 20-24 September 2019
The Circle of Light Moscow International Festival is an annual event where lighting designers and audiovisual artists from various countries reinvent the architecture of Moscow.
For a few days Moscow will turn into a universe of light while fascinating building projections will animate the streets and fantastic multimedia shows using light, flame, lasers and fireworks will shake the viewers to the core. As always admission to all festival venues is free.
THE ART VISION VIDEO MAPPING CONTEST RUNS UNDER THE AEGIS OF THE «CIRCLE OF LIGHT» FESTIVAL.
This year contestants from 35 countries joined the competition.
All entries will be projected onto iconic buildings in Moscow.
The organizer of the «Circle of Light» festival is the Department of Sport of Moscow. The coordinator of the festival is LBL Communication Group.
Circle of Light – Art Vision Contest
BARCELONA, 27-28 September 2019
The VISUAL BRASIL Festival will hold its seventeenth edition at Punt Multimedia. A dynamic center for multimedia projects and digital technologies, located in the Casa del Mig of the Parc de la Espanya Industrial de Barcelona.
Local and international artists will hold this meeting aimed at researching and experimenting within the Audiovisual arts: video art, mapping, audiovisual performances, workshops, installations, and VJs.
The event focuses on real time video production, the culture of free creation and new collaborative formats.
Visual Brasil is an independent project supported by several cultural entities and artists. VB fulfils thanks to the interests of the participating artists, whom are the core engine
This year is a pivotal year for L.E.V. Festival as they take residence in Madrid for the first time. When we attended L.E.V. way back in 2014, we were astounded by the potential of this seemingly small festival in Gijón. It inspired us with its delicate combination of musical and audio-visual performance, its variation between genres and the balance between sit-down performances and exceptionally well-curated concerts. We loved the daytime with the change of venue to the botanical gardens, and ending the day in a church.
As LEV themselves state on their website, Plaid is able to fill venues as diverse as the Sydney Opera House, right through to Berghain.
On Warp Records, as they approach their 30th anniversary, Plaid are a clear reference to the industry.
“The problems and benefits of Polymers felt like good themes for this album, their repetitious strength, endurance and troubling persistence, the natural versus the synthetic, silk and silicone, the significant effect they have on our lives.” – Plaid
Dancers, inspired by the colossal quantities of plastic in our oceans, shows that Polymer is much more than just a musical performance, but an artistic reference to the world context in which their creation has been made. The official music video, whilst quite surrealist, and disturbing, is strangely beautiful. We’re really excited to see how this can translate to a live visual performance.
This seems to be the technological performance of the festival. With growing exploration into the world of virtual and digital technologies, new media art really is at the cutting edge of what’s to come and is an exhilirating way to be introduced to new world contexts.
EXALAND is an AV performance using ‘wearable controllers,’ which we imagine to be a development on what we saw with Chagall’s performance using the mi.mu gloves at Sonar Festival some years back http://www.audiovisualcity.org/avcity/2016/05/23/sonarplusd-chagall-mi-mu-gloves/
These guys have got all of the buzz words Audioreactive Video Projection and an Audioreactive Video in VR/360°, as well as 3D art and electronic music, not forgetting of course, immersive.
We’re interested to see this interactive performance for the visual aesthetic and graphics, and of course, one of the audiovisual artist’s favourite topics: audio-reactivity.
We’re always intrigued by a write-up that focuses a lot on the visual aspect of the performance, particularly as this isn’t always common practice in the industry, and the description of Mathias Gmaci, triggers a lot of intrigue.
As director of the studio, Loop, who create ‘experiences and environments that radically rethink the future’, we get the impression that this will be yet another audiovisual performance to remember.
‘Mathias Gmachl is a trans-disciplinary artist, researcher and design thinker. He is director of studio Loop.pH founded in 2003 to form an entirely new creative practice that reaches beyond specialist boundaries by facilitating collaborative spaces, mediating between digital & biological media and intervening at an urban scale to re-imagine life in the city.’ -L.E.V.
4. Nkisi: Initiation Live AV
Based in London, and coming to L.E.V with a new live AV format in collaboration with artist Charlie Hope, Nkisi promises ‘African rhythms, uncompromising European hard dance tropes, foreboding synth melodies and a relentless, galvanising energy, as harnessed for her increasingly kinetic live performances.’
If that isn’t a description to get the juices going, we don’t know what is. Unable to find any link to Charlie Hope’s previous work, we decided we’d leave this one as a surprise (although we did catch a few exciting sneaky glimpses on Instagram of a performance at Kraftwerk, Berlin…shhhh).
It’s always good to leave a performance for surprise, we think.
Volume Massimo debuted at Berlin Atonal just a few days ago and will tour all the way to the Barbican in London. Like Plaid, the visual aesthetic is photographic, and is said to take the audience on an emotional journey, using music as a map for life’s journey. It tells the story via footage from the family archives.
Synthesizers, combined with memory, this will be another piece to make us think. Oh, and did we forget to mention that he’s best known as the keyboard for Nine Inch Nails, not to mention has collaborated with the likes of Ladytron and is now member of Los Angeles alternative electronic band, SONOIO.
So, what are you waiting for? If you’re planning on attending the event, get in touch and we’ll see you there!
The post Top 5 A/V performances at L.E.V, Madrid 2019 we want to see appeared first on Audiovisualcity.
Norbergfestival is a 20-year running festival, held on the abandoned iron mine site of Mimerlaven in Norberg, Sweden.
A growing group of artists presents contemporary music, performances, and interdisciplinary works. We make use of what the site provides and we sleep on the ground. We extract what we produce and leave the mine as it was left in 1981.
Norbergfestival brings experimental music and performing arts to the defunct mining site of Mimerlaven, centrally located in the small post-industrial town of Norberg, Västmanland, Sweden.
Three days a year, industrial concrete buildings transform into an international playground where festival visitors experience a multicolored spectrum of electronic music, sound art, and clubs. Norbergfestival offers a unique mixture of live electronic music at the spectacular location around Mimerlaven, an abandoned mining area in the small town of Norberg.
Since it’s inauguration in 1999, the festival has evolved from a utopian counter-cultural assembly to a national front-runner and internationally recognized platform for groundbreaking and unique musical experiences. Together with light and sound installations, workshops in the fields of audio and video and a friendly and creative atmosphere matched by none, this truly makes Norbergfestival one-of-a-kind.
In 17 years Norbergfestival has grown from being a utopian project for a handful of people into one of the most important annual events in the Scandinavian electronic music scene.
BARCELONA, November 05 – 09 2019
MIRA wants to bring the audience closer to several realms of artistic creativity through an event with two main objectives: to function as a platform for new creators as well as a showcase for world-renowned artists and to create unique immersive experiences through digital and technological innovation and the interlacing of live music and visuals.
MIRA is a digital arts festival based on three interconnected areas: exhibition, dissemination and education, and is held annually in Barcelona (since 2011) and Berlin (since 2016).
Focused on the intersection between arts and digital culture, the festival features a program comprised of audiovisual shows in both traditional and full dome formats, digital art installations, screenings, conferences, and workshops.
MIRA promotes artistic collaborations and boosts the creation of new projects, supporting the relationships between collectives, associations and artists from the fields of digital arts and technology. The associative and non-profit nature of the organization, aided by the participation of volunteers, guarantees that the results are reinvested in promoting digital culture in a sustainable way.
Fabra i Coats, Barcelona
C/ de Sant Adrià, 20
The free festival for creative technology, science, media, art, music and more celebrates its 15th anniversary this year.
GOGBOT 2019 appears with the theme “BIO THE NEW DIGITAL” in the much-discussed world of bio-art and digital technology. Subjects such as genetic modification, stem cell transplantation, nanotechnology, and farmed meat are covered within this theme. International famous artists such as Agi Haines (UK) and Dmitry Morozov (RU) investigate the ethical boundaries of these worlds with their controversial works.
GOGBOT festival is the annual showcase for creative technology, electronic music, and contemporary art. The festival has been running since 2004 and it lasts for four days and nights. GOGBOT’s mission is to provide an inspiring platform for the most original, the most visionary and the most avant-garde artists active today. Innovation in digital creativity is key and the festival creates a sonic space for this. The festival offers a stimulating rendez-vous for artists, professionals, and visitors.
GOGBOT offers a playground of convergence. Drawing participants from all over the world are presented, in order to profit from a context of active discovery. We are proud to present the outstanding talents from the Netherlands, supporting this by having the Awards for the best of art and creative technology graduates.
The SIGNAL Lighting Festival is the largest cultural event in the Czech Republic, which, thanks to the unique interconnection of art, urban space and modern technologies, has attracted more than 2 million viewers for its five-year existence.
The festival uniquely combines visually attractive works with demanding installations of international quality. Its approach thus appeals to both broad and professional public.
The SIGNAL Festival brings to the streets of Prague cutting-edge forms of art which show the streets and recesses of the capital city in new perspectives due to the connection between technology and light.
About twenty installations annually combine visually attractive work with demanding installations of international quality.
The festival concept determined by its art council aims at the public and also experts. Owing to its support of new artworks, the SIGNAL Festival represents a respected platform also on an international level and it is a popular place to see new projects in the field of visual art.
For four days in October, the historical heart of Prague will be turned into a center of new technologies, amazing ideas, and unbound creativity. SIGNAL Festival will revive both well-known and hidden mysterious places of Prague with creations of renowned Czech and foreign audiovisual artists.
Praha, Czech Republic
Sensorium es festival de tamaño pequeño-mediano, muy completo (workshops, panels, charlas, performances…) en una ciudad europea seguro desconocida para muchos; que nos recuerda a los inicios del antiguo Resonate; tanto por el contenido como por el tipo de venues elegidos para las diferentes actividades. Totalmente recomendable. Se agradecen iniciativas como esta, hechas por un equipo humano con ganas de hacer las cosas bien.
Se usó la temática “La mente aumentada” como una lente para poder explorar el modo en la que los artistas, diseñadores y tecnólogos trabajan con el concepto de “aumento” como principio creativo.
Las actividades fueron muchas, pero estos son mis highlights:
Había dos tipologías de instalaciones, las reunidas en el venue principal, el Pistori Palace (donde también se daban las charlas, networking y otras actividades), e instalaciones en otros lugares de la ciudad; outdoors y galerías de arte (para los cuales no hacía falta entrada, eran abiertas al público)
Un bonito detalle la botella de agua de cristal con la programación del festival que entregaban con la pulsera. Con el calor que hizo en esas fechas se agradecía.
Otro detalle muy interesante, es que se hizo un tour gratuito previa inscripción el último día del festival, con visitas guiadas a las instalaciones, con explicaciones de los artistas/comisarios. Un gran modo de hacer más comunidad y también para el propio público tener una visión más completa de las piezas. También se hizo un “urban sound walk” promocionado por un artista sonoro, en el que los asistentes experimentaban diferentes sensaciones y un punto de “vista” diferente de la ciudad, mediante el recorrido de ésta con un dispositivo especial creado por el artista.
Pistori Palace: Sorprendente la mezcla de diferentes tipos de proyectos (bastante VR pero también proyectos que interseccionaban diferentes disciplinas, con una gran importancia por resaltar la parte física: la fabricación digital estaba muy presente), además de la presencia de algunas piezas de estudiantes de ECAL; con un nivel muy alto.
Dyne Modular System
El acabado de este kit de sintetizadores modulares con interfaces táctiles desarrollado por este estudiantede Écal era muy interesante; además del uso de superficies táctiles o gestos en vez de potenciómetros y sliders.
Esta instalación estaba situada antes de la zona de las charlas. Se trataba de un objeto interactivo esférico colocado encima de una estructura con rodamientos que permitía que rotase libremente sobre la base. Los gráficos se comportaban como un puzzle con físicas que se readaptaba a la posición de la esfera; generando sonido también a través de la colisión de estas piezas. Muy interesante.
Light Them All
Otro proyecto interactivo jugable (el objetivo era encender las lámparas utilizando el teléfono móvil como controlador, pudiéndose jugar en grupo) muy bien ejecutado, proveniente de la escuela Écal
Impresionante. Se trataba de una instalación performática, por lo que no estaba permanentemente en funcionamiento; sino que los pases se repetían a lo largo del día.
Se trataba de un extraño cuerpo elástico compuesto por módulos similares a llantas, que reaccionaban al sonido resultando una mezcla entre las distorsiones de una estructura elástica y síntesis en tiempo real de la voz humana.
The Inflovable Machine
Se trata de un instrumento musical colaborativo creado a partir de unos grandes inflables con forma tubular que se hinchan y deshinchan mediante la interacción del público y van generando de esta forma diferentes sonidos, como si de un órgano de aire se tratara. El público interactúa con la pieza mediante unos tubos dispuestos en una caja de control, por los que puede soplar, activando unos ventiladores que van hinchando y deshinchando los globos, creando distintos sonidos y composiciones musicales colectivas.
Conceptualmente, y en la línea temática de la ‘mente aumentada’ de Sensorium y ‘La ciencia del amor’ de Silbersalz, la pieza dispone de 3 botones en la parte frontal que modifican el tipo de output del instrumento. Cada uno de ellos se vincula a uno de los tres estados del amor, basado en la investigación de Helen Fisher (speaker invitada al festival Alemán): impulso sexual, amor romántico y apego.
Matthew Plummer Fernandez – Augmented Authorship
La obra de Fernández reflexiona sobre los conceptos de autoría y los procesos automatizados. Sus últimas piezas hablan sobre el concepto de aumentado como principio del diseño, y explora cómo los procesos computacionales facilitan nuevas formas de autoría y de creación.
Ejemplos: una escultura que fusiona todos los modelos 3d disponibles online de Mickey Mouse en una.
O un bot que rastrea uno de los repositorios más importantes de impresión 3d ; se descarga modelos random de diferentes usuarios, generando nuevos modelos a partir de ellos; incluso utilizando los títulos originales para generar los nuevos.
A4, KARPATSKÁ 2, BRATISLAVA
Jonathan Reus – iMac Music
El instrumento base de la performance, tanto para generar audio como para vídeo, era un Imac G3 circuitbendeado. Los propios sonidos del sistema modulados y los gráficos eran la base de la performance, dirigida en 3 actos. Cada acto realmente terminaba cuando el ordenador no aguantaba más y se reiniciaba de modo forzado.
Charlas, panels & industry
El nivel de las charlas (parte que considero muy importante en un festival de estas características) era muy alto, incluyendo tanto artistas consagrados (Elliot Woods de Kimchi & Chips, Claire Tymon de FutureEveryhing… ) como nuevos talentos o perfiles no tan conocidos a nivel internacional.
El acogedor tamaño del festival hacía muy accesible la posibilidad de hacer preguntas, o incluso de en momentos de networking o impass, poder charlar tranquilamente con los artistas.
Se trataron temáticas como el futuro del VR en las artes, como la tecnología “aumenta” la creatividad, la arquitectura digital en la educación….
Además, se hicieron otro tipo de “panels” abiertos al público en la ciudad, para los cuales no hacía falta entrada (un buen ejercicio para acercar el festival a la ciudad
Otro punto interesante del festival fue que se llevó a cabo un “industry meetup”, donde personas provenientes de la industria y otros festivales europeos relacionados con los medios digitales, compartieron ideas y experiencias para mejorar la interrelación y favorecer el intercambio entre ellos.
Cris Valenzuela impartió un workshop iniciático de un día completo enfocado en el uso de Runway, herramienta de Machine Learning para aplicaciones creativas. No pudimos asistir, pero la gente que salía del taller, tenía cara de haber recibido mucha información en poco tiempo, lo que es bueno
También había hueco para los más pequeños, con un taller dirigido a ellos.
Autora del artículo: Marta Verde
La entrada Sensorium Festival del 7 al 9 junio en Bratislava aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.
MONTRÉAL, 20-25 August 2019
MUTEK Montréal invites you to its 20th edition, running from August 20 to 25, 2019, with six days and nights of audiovisual performances, live electronic music and a full theatre of experiences that will push the boundaries of digital art and engage you in the playground that is our city.
This year, the festival week also integrates the 5th edition of MUTEK_IMG, a forum on current practices in digital creation, which runs three full days, from August 20 to 22. Covering mixed realities, artificial intelligence, and new iterations in audiovisual spectacle the event provides a high-level context for professionals, practitioners, researchers, and creative companies to reflect, exchange, and get inspired.
MID is an interaction design and technology studio, specializing in engineering, interactive design, and new media. They work with museums, marketing and communication agencies, architects, public institutions, companies, entrepreneurs, musicians, and artists.
Their studio was founded in Barcelona in 2009. MID’s origins are found in the arts production centre Hangar, a meeting point for creative professionals, artists, programmers, and designers. This background, along with the experience acquired by the management team, allowed MID to become an established studio.
El pasado viernes 10 de mayo en el cine Kubrick de Vilafranca del Penedès, el compositor musical Roger Subirana y la artista visual Silvia Isach, aka Sínoca, llevaron a cabo una experiencia pionera de mapping audiovisual nunca antes realizada en la sala de un cine.
Una obra inédita de video mapping inmersivo, emotiva, experimental, transgresora y de carácter futurista, inspirada en la película ‘2001: Una Odisea del espacio’ de Stanley Kubrick. Un espectáculo novedoso que activa los estímulos sensoriales gracias a la fusión de los efectos sonoros y la música con las imágenes sobre dos superficies: la pantalla del cine y la instalación de un monolito situado delante, creando de esta manera un espacio 3D.
Voces es una instalación audiovisual inmersiva que toma como lienzo la arquitectura interior de la Fundición Mayor de la Fábrica de Artillería de Sevilla.
La voz de la ciudadanía, elemento clave de este nuevo espacio cultural, insufla nueva vida a esta arquitectura singular. Voz que se transforma en luz, estableciendo un diálogo entre la arquitectura y sus futuros habitantes, entre el pasado y el presente, entre distintas culturas, opiniones y credos.
Real Fabrica de Artilleria de Sevilla
17, 18, 19 de Mayo . De 21h – 0h
La entrada Voces, instalación audiovisual inmersiva por playmodes aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.
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Refik Anadol is a media artist and director born in Istanbul, Turkey in 1985. Currently lives and works in Los Angeles, California. He is a lecturer and visiting researcher in UCLA’s Department of Design Media Arts.
He is working in the fields of site-specific public art with parametric data sculpture approach and live audio/visual performance with immersive installation approach, particularly his works explore the space among digital and physical entities by creating a hybrid relationship between architecture and media arts with machine intelligence.
He holds a master of fine arts degree from the University of California, Los Angeles in Media Arts, master of fine arts degree from Istanbul Bilgi University in Visual Communication Design as well as bachelors of arts degree with summa cum laude in Photography and Video. Co-founder and Creative director at Antilop.
As a media artist, designer and spatial thinker, Refik Anadol is intrigued by the ways in which the transformation of the subject of contemporary culture requires rethinking of the new aesthetic, technique and dynamic perception of space. Anadol builds his works on the nomadic subject’s reaction to and interactions with unconventional spatial orientations with data and machine intelligence. Embedding media arts into architecture, he questions the possibility of a post-digital architectural future in which there are no more non-digital realities.
He invites the viewers to visualize alternative realities by presenting them the possibility of re-defining the functionalities of both interior and exterior architectural formations. Anadol’s work suggests that all spaces and facades have potentials to be utilized as the media artists’ canvases.
‘We live in an Ocean of Air’ is a virtual reality experience where the invisible connection between plant and human is revealed through breath. It was created by Marshmallow Laser Feast.
What happens is that the cutting-edge technology illuminates the invisible connections between the human and nature world. What you’ll see when the installation starts, is the giant Sequoia tree. You’re being transported into a world that’ll leave your jaw on the ground and eyes wide open- wanting to capture every detail you’re seeing. And as time passes, the scenery changes as well.
Breathe in and out and you’ll see you’re right in the installation. The color changes and you can even move it around as you breathe out. It’s done with breath and heart sensors that are tracking your real-time breathing and essentially put it in the virtual reality. Making it even more immersive than it already was.
It’s a magical world you’re stepping into and time will feel as none-existant.
The installation will embolden you to reflect on the reality that we, as human beings, aren’t the only thing on this planet. We share our planet with other organisms and it’ll make you cerebrate about the responsibility that we carry. And reflect on our dependence.
It is a great experience and it stays in your mind even when it’s over. Overwhelming and impressive! We need more installations like this.
AVC: Can you tell us something about yourself?
Mowgli: My first job out of school was DJ, I literally left school and I started working in a club fulltime as a DJ. One day I went to see my friend’s band play -they’re kind of a post-rock band- and he asked me after the gig what I thought about it and I thought it was great but it was quite boring to look at them. There was no frontman, and there’s no singer. They all just looked at the floor. They needed some visuals. And he said to me, “You do them”. And that was my first VJ’ing gig. That’s how I got into VJ’ing.
I mean, I’ve done visuals before but I never even thought it was a thing. I was just doing visuals with light projections but there was no VJ’ing. It was just ‘I’m putting a light projector in a club’. From there on I started to get into the VJ thing and I started doing visuals more and more. I started doing like corporate stuff and then I started coming to VJ London.
Suddenly it expanded and I realized that there were more and more people what I was doing and that it had a name. From there, in 2008, they did a VJ competition at the London International Music Show. Which happens every year. I was selected as one of the eight finalists of Europe for that. I didn’t win but it was a big thing at the time.
I played at the Big Chill festival. I play loads of festivals. Moving on from the VJ’ing, I started doing audiovisual performances. Which is what I do mostly nowadays. But I also started doing more interactive stuff. I had an award-winning installation at Burning Man, in 2011.
Marta: I’m a visual artist/ designer with a passion for performing arts. My artistic development has been initially shaped at The High School of Fine Arts in Krakow and later I mastered my skills in studying graphic design at the Pedagogical University of Krakow. I’ve got over 8 years of experience of creating video projections, mappings and LED installations for various music, arts, and events related projects. I’ve worked as a VJ at cyclical gigs in Krakow and London. During that time I collaborated with many musicians and artists from all around the world and I was a resident VJ at Prince of Wales, London.
Pete: I don’t think I consider myself a VJ anymore because I rarely do VJ’ing anymore for other people. I still love the culture and I believe that it’s something very important in my life, however, the last gig I did was like a half year ago in Brighton. It was a commercial gig and I completely hated it. Because basically, it was… I kind of forgot how the commercial part of VJ’ing looked like, so I was being asked to just show the logos. And people kept coming over to me that it was the wrong logo but they didn’t even bother me to give it to me before.
So I would say that a lot of stuff in my life happened because of the VJ’ing, but I don’t consider myself a VJ anymore.
AVC: What drew you into the AV culture?
Mowgli: I’ve always liked doing creative things but I’ve never had an agenda. I was never like ‘I wanna pursue that’. I’ve always been very open. So most of the things I’ve done, I’ve done because something’s happened. Something’s taken me down that road. But it wasn’t really a conscious thing most of the time. So getting a DJ job straight out of school, that was a complete coincidence. Like I used to go to this club with a friend of mine in Madrid, and it was a very niche club at that point in time. And then one day a DJ who worked there came over to us and said, “You two have got most of the records that we play here, right?” And we were like, “Yea, yea”. She told me that she wanted to go on a holiday but needed to find a replacement. She asked us to take over and we did. And she was never taken back by the club.
We basically stole her job. She gave us her job and then it was never given back to. But I never went out looking for that. It just happened. It’s the same with like doing VJ’ing. A friend of mine said, “Oh, you do it”. And then I was like, “Oh yea, I’ll do it”. And from then on, I mean that was the start really. With my friend saying that I should do it and then me getting more and more interested in it. And looking more into it and learning more things. Developing in that direction. And very involved in that use of technology.
Marta: In 2010, when I was living and studying in Krakow, I went to Jonsi’s concert during the Sacrum Profanum Festival. I didn’t expect that event to set a new direction in my life, I didn’t even plan to go there, it was very last minute, my friend gave me a spare ticket. I liked the concert a lot and I was absolutely amazed by the visual part of the show. Projection, lights, music and space, everything together was combined perfectly and it was a beautiful experience. I was so moved and inspired that at that moment I decided this is what I want to do in my life. In a very short time, I quit my job and I booked my first gig where I was going to do live visuals. It went pretty good and since then I worked as a VJ. I had a few other jobs in the meantime, but I never gave up my passion. I was lucky to meet many great people and we’ve done some awesome shows together. Three years ago I moved to London. I found the company that designed Jonsi’s live show that I saw in Krakow 8 years ago. It’s 59 Productions and another amazing part of this story is that now I work there.
Pete: Well, the thing is the VJ’ing is one thing and the audiovisual culture is some other thing. They’re not the same thing. They’re interconnected however, there are slight differences. Because for me it’s kind of the natural way of progressing from a purely visual side. Whilst to try to do audiovisual performances with people. Because I realized this is a powerful way of making people feel something.
However, my visual adventure started in coding. I was a programmer and I did graphics before it even was a thing and a name. I made the demos in 1996… 1998, I was sixteen back then. So that was my whole root of digital creativity. That’s where everything stems from. Because it kind of converted into the audiovisual performance group. They were playing the ambient music and I was playing the graphics. So my roots were actually in programming.
At the moment I mostly work as a creative developer. And I try to focus my activity on VR because I believe that is the next step forward. Because this is something that is the next level. You can not only the audio but also the visuals and movements, that gives you a very powerful storytelling opportunity.
AVC: What about your current and future projects?
Mowgli: I tend not to think about the future. As I said, I just go along and do things and keep evolving and suddenly… I’m easily distracted. I have millions of projects that I never finish. Like, I start something feeling excited, but halfway through I get excited by something else and pause the first one. And then sometimes I do go back to the previous things but not really finish them but utilize whatever state they’re in and doing something completely different. I recycle my stuff.
The thing I’ve been working on most in the last couple of years is an audiovisual synthesizer. Which sounds great but in reality it’s a mini-controller that’s mapped to both able in Live and Resolume. But I don’t need to look at the computer screen. It’s basically like a really big mini-controller with loads of sliders and stuff. And using that, I do audiovisual performances which are always improvised. It’s got generative visuals. And generative audio in a way. It’s about the interface. You just fiddle with the knobs and create visuals and audio at the same time. And I’ve been doing that for a while. So I’m starting to think I need to do a newer version of that. I got lots of ideas on how to make it better and whatever, so that’s one thing.
On the other side, I’m also getting more interested in doing just sound performances with no visuals. Because I’ve been getting more and more into them… I don’t want to call it music and call myself a musician. I don’t have enough musical training. I like making sounds.
It’s all just an exploration. Sometimes the stuff you stumble on and make is really bad and other times it’ll be really good. You just gotta roll with it.
Marta: Before joining 59 Productions I was working as a freelancer, mostly for music-related events, a huge part of that was live electronic music. My visuals were characterized by multiple dissolving and interfusing layers. With time, my work got more minimalistic and monochromatic.
I’m interested in creating interactive installations and audiovisual artworks that allows an audience to be a part of the performance, to experience sound, lights, and projections surrounding them. In order to achieve that I play with dimensions and visual perception, make projection seem 3-dimensional. I design shapes to project onto them or I use object and surfaces already existing in the space. My shows were never 100% planned, there was always lots of space for improvisation.
Currently, I am a part of a design team at 59 Productions– a company of artists creating video design for stage and live events. I assist with artwork and animation content for the show. Since joining 5 months ago I’ve worked on a variety of theatre, exhibition and VR projects, including an exhibition for Imperial War Museum in London, VR artwork ‘Nothing to be Written’ and ‘Deep Field’- a film inspired by the Hubble Space Telescope discovery. Most recently I was working on ‘Black and White’- a theatrical show produced by JACC in Kuwait. It was a great opportunity for me to get to know more about a narrative type of visual arts.
I’m looking forward to taking up new design challenges.
Pete: At the moment I’ve done some commercial projects for different companies. However, I have been getting more involved in tech. Because the big part of the whole audiovisual immersive business is knowing how to deal with tech. How to make tech do what you want them to do.
I found it really interesting to do this for a commercial purpose and reuse to my personal projects. So this year, because of my own personal circumstances, I was mostly focusing on commercial projects which might not have been that interesting. But one of the things I did this year that I want to continue with next year is an audiovisual look machine. That’s a project I’ve been doing for the last two-three years and with different people. We’re playing some events as well.
Hopefully, I’m going to reach a state where I go from software working progress and turn it into a hardware working instrument. And the other project is basically I want to explore more of the new technology with VR. With a new headset that’s cheap enough for people to buy it.
French digital artist, Mathieu Le Sourd (Maotik) focuses his work on the creation of immersive multimedia environments and generative visuals. His work has recently been presented in various festivals around the world, such as Mutek Festival, Live Cinema in Rio, Signal Festival in Prague, the British Film Institute in London and ARS Electronica in Linz.
As the lead of Moment Factory’s interactive team in 2011, Le Sourd produced several large-scale projects including a multimedia experience in the new terminal at Los Angeles International Airport as well as the visuals for Nine Inch Nails’ world tour. In 2013, he produced the critically-acclaimed immersive multimedia performance DROMOS, which was presented at the SATosphere in Montreal as part of Mutek festival.
Always in search of new challenges, Le Sourd designs his own visual tools; generating animations from algorithms and creating 3D worlds to transform perceptions of space. He collaborates with musicians, sound artists, and scientists in order to continue his research into the relationship between art, science, and technology.
(edited 29.11.19 by Marta Minguell)
ROMA 29 November – 07 December
FOTONICA 3rd edition launches with new audiovisual projects of italian-based and international artists.
FOTONICA from photon, historically as light, from Greek φωτός (photòs), is a FREE festival that investigates art forms related to the light element, in particular, digital light. PHOTONICA wants to be a new project in a field where Rome has always been a reference, but today it suffers from the lack of an international event: the Audio Visual Arts.
Wants to be a project of the newborn roman network of organizations active in contemporary video audio to build a program that represents the various forms of expression: Audio Video Performances, Video Mappings, Light Installations, DJ-VJ Sets, NetArt, Workshops, and lectures.
The initiative is part of the program of Contemporaneamente Roma 2019 promoted by Roma Capitale, Assessorato alla Crescita Culturale and in collaboration with Siae. This 2019 will again play in the capital, specifically at Cinema Aquila in Pigneto area and at Fusolab 2.0 in Centocelle/Alessandrino in Rome.
FOTONICA is produced by Flyer communication, which in 2004 created the LPM Live Performers Meeting, the largest event in the industry. He came to his 18th edition, of which 11 in Rome and the others, thanks to the support of the European Community, Xalapa, Minsk, Mexico City, Cape Town, Eindhoven and Amsterdam. Since 2004, LPM has hosted more than 4600 artists, 2625 performances, workshops and showcases, with 72 participating countries and more than 1,500,000 visitors.