Connexion
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.
2. SPIME.IM
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.
3. HP [HASWELL&POWELL] W/ VISUALS BY MATHIAS GMACHL
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.
5. Alessandro Cortini – VOLUME MASSIMO Live AV
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!
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NORBERG, July 25-27 2019
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.
Norberg Festival
Norberg, Sweden
info@norbergfestival.com
LINK BOX
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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 fulldome 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.
Mira! Festival
Fabra i Coats, Barcelona
C/ de Sant Adrià, 20
LINK BOX
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ENSCHEDE, September 5-8 2019
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.
Gogbot
Enschede, Netherlands
contact@gogbot.nl
LINK BOX
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PRAGUE, October 10-13 2019
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.
Signal Festival
Kubelíkova 1548/27
Praha, Czech Republic
LINK BOX
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Marta Verde nos regala esta crónica de Sensorium Festival 2019. Toda tuya si sigues leyendo.
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:
Instalaciones
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
Luca Kasper
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.
ORB /play
Roman Mackovič
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
Corentin Vignet
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
πTon
Cod.Act
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.
Satelit gallery
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.
Performances
A4, KARPATSKÁ 2, BRATISLAVA
Jonathan Reus – iMac Music
Puro glitch.
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.
LINK BOX
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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.
LINK BOX
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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.
La entrada Kubrick’s Odyssey 2019, el primer mapping audiovisual dentro de un cine aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.
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.
#repost @u.machine
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https://www.instagram.com/p/BxLEgVGJJhe/?utm_source=ig_tumblr_share&igshid=uol4iirncalw
🎈 BAM Festival 2018 / Come and try our installation !
#Repost @bamfestliege
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Pre-opening for kids
#bamfestival #bamliege #bam5 #liege #belgium #artfestival #audiovisual #lightandart #digital #art #festival #international #visualart #audiovisualperformance #avperformance #contemporaryart #mapping #projection #installation #liveshow #3D #digitalart #visualeffects #artnumerique #vr #virtualreality #motiondesign #stagedesign (at Liège, Belgium)
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Audiovisual City met up with L’Aubaine and interviewed her.
This is how it went down.
The article about L’Aubaine is here.
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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.
LINK BOX
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‘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.
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Audiovisual City went to a VJ London meeting and interviewed three different VJ’s: Mowgli, Marta, and Pete.
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.
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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.
LINK BOX
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ROMA 28 August – 01 September
FOTONICA from photon, historically as light, from Greek φωτός (photòs), is a 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.
PHOTONICA 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
Lectures
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.
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HONG KONG
Microwave Festival began in 1996 as an annual video art festival of the local video art institution Videotage. As technology progressed and became more accessible, video art slowly evolved to involve other media; thus Microwave began to embrace the wider range of new media art. As the first and only art festival in Hong Kong dedicated to new media art, Microwave has steadily grown into a well-established festival that brings cutting-edge works to provoke thought in the technological hub every year.
In its 10th anniversary, Microwave Festival celebrated by becoming an independent organization, completed with a re-branding by design partner Milkxhake and a strengthened curatorial and working team. Microwave then continues the hard work to inspire Hong Kong and the rest of the world with pioneering media artworks selected to suit themes relevant to the society today, while also avidly supporting the exchange and dialogue between artists, professionals, and the general public.
They envision that through the Microwave network, Hong Kong artists will be introduced to international institutions and curators, working as a platform and gateway for them to develop their art and skills. Apart from the grand annual festival, Microwave also endeavors to nurture a rising local new media arts community, organizing various programmes such as educational workshops, seminars, forums, and exhibitions.
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NONOTAK studio is the collaboration between the illustrator Noemi Schipfer and the architect musician Takami Nakamoto. Commissioned by the Architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, NONOTAK was created in late 2011.
In early 2013, they start to work on light and sound installations, creating an ethereal, immersive and dreamlike environment meant to envelop the viewer, capitalizing on Takami Nakamoto’s approach of space & sound, and Noemi Schipfer’s experience in kinetic visual.
They presented their first audiovisual installation at the Mapping Festival in May 2013. In summer 2013, NONOTAK comes up with a performance, LATE SPECULATION, where they are the creators and contents of the project.
nonotakstudio@gmail.com
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Onionlab is a multidisciplinary studio. They create interactive products and experiences, motion design movies and audiovisual shows for companies that want to be related to technology, design, and art. Their works are based on the aesthetic attention to detail and the technical innovation.
Starting from graphic concepts and detailed ideas, they get lost in the development and find themselves again at the resolution. They usually make use of the power of scripting and the seduction of music and sound design. They are interested in learning in each project, that’s why they invest many hours researching. They like collaborations.
Music is a source of inspiration for them, and it is often the starting point of their work. VR (virtual reality) experiences, projection mapping, stage design, and music videos are some of the formats through which we relate to music.
To celebrate the bicentenary of the Prado Museum, on November 24th, 2018, Onionlab projected a video mapping organized by the events agency Ciudadano Kien on the facade of the building. The video mapping transformed the inert facade of the building into something organic thus creating an immersive visual journey of lights, shadows, and optical illusions.
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Nick Verstand (1984) is a contemporary artist exploring human behavior and perception through spatial audiovisual compositions. His autonomous installations and live performances investigate the materialization of internal emotional experiences and are created through collaborative design processes aimed at breaking down social boundaries.
The resulting intuitive experiences, co-creations of artist and audience, generate a hypnotizing environment for the subconscious mind.
Nick has exhibited and performed at Stedelijk Museum Amsterdam, Dutch Design Week, Art Central Hong Kong, SXSW and collaborated with artists such as Fatima Yamaha, Joep Beving and Suzanne Ciani. Dezeen selected his project AURA as one of the top 10 art installations of 2017, alongside Olafur Eliasson, Ai Weiwei, and Anish Kapoor.
studio@nickverstand.com
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A fond believer of the concept of Homo Ludens, Daan’s interactional works are always based on the expressive potential of the spectator. The audiovisual elements within such a piece are used as a means to achieve a new kind of social experience.
Other pieces strive to be perceptual explorations. Light, sound & kinetics flood the senses, to see what remains.
His work has been shown at renown art places such as the Stedelijk Museum, but it can just as well be found in public space or at techno parties. His work has been shown at venues in Amsterdam, London, São paulo, Monaco, Paris, Berlin, Ghent, Warsaw, Ljubljana and Bucharest. He has received grants and prizes from the Dutch Institute for Media Arts, Stroom, the Foundation for Visual Arts and the City of The Hague.
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Mowgli has been passionate about all things creative since a very young age. He’s always painted and made things and he had the fortune of having DJ as his first ever job after finishing school. Mowgli graduated in Scientific and Natural History Illustration in 1996, a field in which he worked on a freelance basis for a short time.
Since then he had worked using a vast range of media. He completed an apprenticeship in the ancient crafts of Cordoban and Guadameci in 1997 after which he worked for Arte 2 on interior design projects incorporating the craft while also co-founding MIX, a Madrid based workshop and shop specialized in the upcycling of furniture and decorative objects, an endeavor that was way ahead of its time as the term “upcycling” wasn’t even in use then.
Mowgli started Vjing in 2004 alongside the band Detwiije, this led to more VJ gigs and visual creation for world-class artists and festivals including Above & Beyond, Astrix, Roisin Murphy, Infected Mushroom and Greg Wilson. He was classed amongst the top 8 European VJs in 2008 at the London International Music Show.
Soon after and as a natural progression from Vjing, Mowgli developed an interest in audiovisual performance which he’s been developing since 2010 when the show MAYA was created with producer Silverio Funk. It was premiered at the BFI Southbank as part of Dark Fibre and has since been performed at several venues in London and Rome. During this time he also developed a piece for the Musion holographic projection system which was screened at Kinetika Art Fair in London.
Throughout his career, he’s been involved in organizing and promoting various music and arts events including Stylistik, Sound on Vision, The Nozzle and AV Depot while also being a director of VJ London, a community-focused monthly event dedicated to the diffusion of audiovisual and technology based art forms.
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Ouchhh is a creative new media studio with expertise in AI, data paintings, data sculpture, and public art. The studio integrates art, science, and technology in every work they create. A multidisciplinary creative hub focused on new media platforms, offering direction and art direction and also producing video mapping projections.
Skilled in animation, design, illustration, 3D, 2D, interactivity, interaction, and live-action -and seamlessly combining some or all of these- OUCHHH considers each project as a challenge and takes a fresh and unique approach to each other. They have an office in Istanbul, and partnerships in L.A., Vienna, Barcelona, Paris, and Berlin.
The studio has created the “POETIC AI” Solo Exhibition at Atelier des Lumières, it’s a world’s largest AI exhibition which will last for 6 months. It uses 50K pixels and in total 136 projectors, 1 million people visited the exhibition in 7 months.
The studio worked with many brands such as Google, Cern, Nike, Wired, their collaborators transcend all industries and all continents. Their works have received multiple accolades and awards in the international arena. Ouchhh has been featured at Ars Electronica 4 times and will be attending for the 5th time this year.
They became Istanbul’s first new media agency to win Reddot design awards, German Design Award, 10th Annual IDA Awards (The International Design Awards) and ADC Awards ( The Art Directors Club), in addition to an Honorable Mention from the City University of Hong Kong.
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Marta Radecka is a visual artist, VJ, surface pattern designer, graphic designer and an illustrator. Her artistic development has been initially shaped in an Art College and later she mastered my skills studying graphic design at university.
Marta creates video projections, mappings and LED installations for audiovisual performances, concerts or live DJ sets. She is a VJ at recurring gigs in Krakow and London. For her the starting point of any creative concept is always music.
She uses her own drawings, graphics and animations to design unique loops. Her artistic creations are characterised by multiple dissolving and intertwining layers and monochrome colour palette. Her live shows are never 100% planned; there is always lots of space for improvisation. She was born in Poland, currently live in London.
mrtrdck@gmail.com
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Covarrubias received a Bachelor of Music Composition degree in 2006 from the National School of Music at the UNAM in Mexico City. She earned a Master’s degree in Musicology, Creation, and Society in 2010 from the University of Paris 8 (France), where she specialized in Computer-assisted composition and Ethnomusicology.In 2016, she received a Ph.D. degree in Esthetics, Science and Technology of the Arts from the University of Paris 8.
Sabina has also studied and trained to program with languages such as Java and C++, among others, at the National Polytechnic Institute in Mexico. She studied “Mastering Techniques” at Berklee Music College. Today she is an associated researcher of the CICM (Centre d’Informatique et Création Musicale), Paris, France; besides, she is part of the SNCA program (Art Creators National System) from Mexico, for this program, she is composing acousmatic, octophonic music, financed by FONCA.
Her works encompass a wide array of genres, which have been shown in highly renowned concert halls and festivals in Mexico, the United States, and France. Performances of her compositions have taken place in the International Festival for Women in Art in the Palacio de Bellas Artes in Mexico City and in the International Forum of New Music Manuel Enríquez in Mexico City.
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L’Aubaine (Laurie Bender) VJ, a visual artist from Geneva-based in London.
L’Aubaine started performing live visuals in 2005 while studying a master in Digital Arts in Barcelona. From her study, she got interested in real-time performances and exploring different forms of narrative.
All elements she uses in her work are self-produced, mixing different techniques, analog and digital, as hand-drawn animations, 2D and 3D animations, graphical elements, photography, and videos. Her creations have that handmade feel, imperfect, bold and very colorful. Laurie crafted her unique style over the years by superimposing layers, interlinking shapes, and colors, mixing elements from different techniques in an unusual and elegant way.
Her VJ sets are evolving compositions, audio-reactive, created live and flowing with the crowd and the music. Each set never look the same, she shares emotions, playfulness and she feels like a painter and his canvas. She is since 2015, part of VJ London, organizing monthly meet-up & showcase and bigger events with interactive installations and AV performances with artists based in the London area and international.
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AV Link Jam / BYOB was organized by Crux, the hub for learning, experimenting, collaborating and entertaining, on Thursday, November 15th, 2018. It was their second edition and free for everyone who wanted to join.
When you entered the space, it all seemed very open and chill. People were drinking beer, talking to each other, walking around and admiring the people’s work. Almost every wall had a beamer projection on it. It was very diverse which made it refreshing. You weren’t looking at the same thing at every wall. Every minute it’d change so even if you’d be watching the same projection, you wouldn’t look at a video that was on a loop.
Because it was a free event, the genuinely passionate artists show up. It looked like a community, people know each other and talk about the same topic. When you would talk to the artists about their projection, you could see the fierce enthusiasm they had for it.
The soundtrack worked really well with the atmosphere. Many different things were going on at the same time but the music helped to keep you focused.
All and all, it was quite mesmerizing and hypnotic. It kept your eyes stuck on the all the projects you were seeing. It all moved fast, had bright colors, and had recurring movements. It’s a very fun night where you can chat and check out new and different artists. A good concept!
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Collanews 