ARCHIVE/2O19
Oleg Savunov
From the first sight
installation
— Russia
BIO
Oleg is photographer/artist, born in 1983 in Leningrad, Russia. In 2005 graduated from Moscow State Pedagogical University with a degree in Law. Since 2006 studied photography in Moscow Museum of Modern Art. Lives in Saint-Petersburg since 2008 where continued his photography education. In 2012 graduated from Faculty of Press Photographers. Since 2012 part of the Fotodepartament Institute program. His works were published in The Guardian, F-Stop, Calvert Journal, GEO, The Village magazines. His conceptual projects are build up somewhere in between of such terms as space and place, identity and psychoanalysis, using mixture of landscape and documentary photography.
olegsavunov.com
Oleg is photographer/artist, born in 1983 in Leningrad, Russia. In 2005 graduated from Moscow State Pedagogical University with a degree in Law. Since 2006 studied photography in Moscow Museum of Modern Art. Lives in Saint-Petersburg since 2008 where continued his photography education. In 2012 graduated from Faculty of Press Photographers. Since 2012 part of the Fotodepartament Institute program. His works were published in The Guardian, F-Stop, Calvert Journal, GEO, The Village magazines. His conceptual projects are build up somewhere in between of such terms as space and place, identity and psychoanalysis, using mixture of landscape and documentary photography.
olegsavunov.com
WORK
Technologies became inseparable from human life. Different gadgets with screens surround us and inevitably affect our behaviour and interaction with the others. By having only a smartphone with the internet access we feel connected, we feel part of the whole world like a big family. Let's say you have a video call from a friend. Usually at the same time with the other's person video translation you've got video of yourself somewhere in a corner. This image of ourselves is pretty seductive for us, it attracts maybe more attention then a person you are talking to. You move your head side to side, back and forth and then that's it, you are looking good, you are satisfied. The surface of a digital screen is like a reflection on the water in which mythological Narcissus fell in love with. But the interaction itself fails to happen because in fact we are thinking more of how «the other» perceives us and not really involved in the conversation. From the other side we can't interact even with our own image because it requires an eye contact. The front camera is situated on a side of the axis of view which makes it impossible to look yourself in the eyes. They always run away, hide somewhere on a side. This metaphoric fracture gives us opportunity to take a look to our own face in an unusual perspective. I can see movements of my eyeball, contemplating my face like a landscape without recognising it. The encounter is not happening, the screen controls it.
Technologies became inseparable from human life. Different gadgets with screens surround us and inevitably affect our behaviour and interaction with the others. By having only a smartphone with the internet access we feel connected, we feel part of the whole world like a big family. Let's say you have a video call from a friend. Usually at the same time with the other's person video translation you've got video of yourself somewhere in a corner. This image of ourselves is pretty seductive for us, it attracts maybe more attention then a person you are talking to. You move your head side to side, back and forth and then that's it, you are looking good, you are satisfied. The surface of a digital screen is like a reflection on the water in which mythological Narcissus fell in love with. But the interaction itself fails to happen because in fact we are thinking more of how «the other» perceives us and not really involved in the conversation. From the other side we can't interact even with our own image because it requires an eye contact. The front camera is situated on a side of the axis of view which makes it impossible to look yourself in the eyes. They always run away, hide somewhere on a side. This metaphoric fracture gives us opportunity to take a look to our own face in an unusual perspective. I can see movements of my eyeball, contemplating my face like a landscape without recognising it. The encounter is not happening, the screen controls it.
Cinzia Campolese
"Lost intersections"
from "The Specular series"
from "The Specular series"
audiovisual installation
— Canada
BIO
Cinzia C. is an artist who lives and works in Montréal.
Her work is linked to the field of visual and new media art. Focusing on the creation of audio-visual immersive environments, mostly involving the use of projected light. In October 2012 she co-founded the creative label IF in Paris working on projects covering architecture, object design, set design and audio-visual installations. Three years later she started the production of her own pieces and received the "Call4robot price" for the installation «Continuum» in Bologna, Italy. In October 2016 she had her first solo exhibition with her project «Who». One year later she joined the digital art center Perte de Signal in Montréal, as invited member. In her recent bodies of works, the artist has been working on the creation of generative audiovisual installations using reflective materials, creating a set of light sculptures called "Specular Series» and the piece «Frame of Reference».
Her artworks were exhibited at cultural institutes, galleries and cultural events such as Perte de Signal, BAM Festival, Chromatic Festival, Stereolux, Friche de Belle de Mai, Adiacenze Gallery, Livart Gallery and Nuit Blanche Montréal 2018. Her projects were featured on The Creators Project, Juliet Art Magazine, L'Œil, Archdaily, Fubiz and many other publications. She recently been featured on the Exibart book "222 emerging artists worth investing in" She has been taking part of the Chroniques Biennale in Marseille in 2018, and she presented the third piece of the Specular Series project, Lost intersections, at Stereolux cultural and artistic center in Nantes, December 2018.
www.cinziac.net
Cinzia C. is an artist who lives and works in Montréal.
Her work is linked to the field of visual and new media art. Focusing on the creation of audio-visual immersive environments, mostly involving the use of projected light. In October 2012 she co-founded the creative label IF in Paris working on projects covering architecture, object design, set design and audio-visual installations. Three years later she started the production of her own pieces and received the "Call4robot price" for the installation «Continuum» in Bologna, Italy. In October 2016 she had her first solo exhibition with her project «Who». One year later she joined the digital art center Perte de Signal in Montréal, as invited member. In her recent bodies of works, the artist has been working on the creation of generative audiovisual installations using reflective materials, creating a set of light sculptures called "Specular Series» and the piece «Frame of Reference».
Her artworks were exhibited at cultural institutes, galleries and cultural events such as Perte de Signal, BAM Festival, Chromatic Festival, Stereolux, Friche de Belle de Mai, Adiacenze Gallery, Livart Gallery and Nuit Blanche Montréal 2018. Her projects were featured on The Creators Project, Juliet Art Magazine, L'Œil, Archdaily, Fubiz and many other publications. She recently been featured on the Exibart book "222 emerging artists worth investing in" She has been taking part of the Chroniques Biennale in Marseille in 2018, and she presented the third piece of the Specular Series project, Lost intersections, at Stereolux cultural and artistic center in Nantes, December 2018.
www.cinziac.net
WORK
"The Specular series" is a project that presents a set of audio-visual installations of different light sculptures created through the use of projected light and reflective materials. Each sculpture redirects light in a different way and the reflective property of the material allows each sculpture to blend with its environment while also modifying our perception of its shape.
Networks of algorithms generate interlinked sound and light.
A cycle repeats but with infinite variations in multi-temporal-scales.
The piece aims to represent a constant search for perfection; a quest that is here simultaneously emphasized and disrupted by the subtle differences seeping through the repetition of each sequence. Through this process, the seemingly strict uniform nature of the composition is infused back with a dynamic sense of reality.
"Lost Intersections" combines a set of convex surfaces placed on the floor, side by side, in the center of the space. The reflected light rays diverge following the geometry of the surface and the generated reflections merge together creating a series of light intersections.
"The Specular series" is a project that presents a set of audio-visual installations of different light sculptures created through the use of projected light and reflective materials. Each sculpture redirects light in a different way and the reflective property of the material allows each sculpture to blend with its environment while also modifying our perception of its shape.
Networks of algorithms generate interlinked sound and light.
A cycle repeats but with infinite variations in multi-temporal-scales.
The piece aims to represent a constant search for perfection; a quest that is here simultaneously emphasized and disrupted by the subtle differences seeping through the repetition of each sequence. Through this process, the seemingly strict uniform nature of the composition is infused back with a dynamic sense of reality.
"Lost Intersections" combines a set of convex surfaces placed on the floor, side by side, in the center of the space. The reflected light rays diverge following the geometry of the surface and the generated reflections merge together creating a series of light intersections.
Guillaume Marmin
Timee
installation
— France
BIO
Trained at the University of Lyon II and ARFIS, Guillaume Marmin is a French visual artist.
His work, connected from the beginning to the music scene and performing arts, is part of a revival of the visual creation by overcoming traditional forms of storytelling and traditional performing media. Through his work Guillaume Marmin is looking for a new synaesthetic alphabet, a common language between images and sounds, rhythms, contrast and sleek moving figures.
In order to offer new media on this new language, the work of Guillaume Marmin is taken away from the traditional screen to test all types of media: mapping on 3D sculptures and buildings, projection on photography and screen printing, bodies in motion and smoke. His immersive works in public space consisting of collaborations between architects, musicians and lighting designers.
His works have been exhibited in festivals and art centres around the world, such as Scopitone, Biennale Némo, Signal, Centre de Recherche Astrophisyque de Lyon, Digital Art Center Taipei.
guillaumemarmin.com
Trained at the University of Lyon II and ARFIS, Guillaume Marmin is a French visual artist.
His work, connected from the beginning to the music scene and performing arts, is part of a revival of the visual creation by overcoming traditional forms of storytelling and traditional performing media. Through his work Guillaume Marmin is looking for a new synaesthetic alphabet, a common language between images and sounds, rhythms, contrast and sleek moving figures.
In order to offer new media on this new language, the work of Guillaume Marmin is taken away from the traditional screen to test all types of media: mapping on 3D sculptures and buildings, projection on photography and screen printing, bodies in motion and smoke. His immersive works in public space consisting of collaborations between architects, musicians and lighting designers.
His works have been exhibited in festivals and art centres around the world, such as Scopitone, Biennale Némo, Signal, Centre de Recherche Astrophisyque de Lyon, Digital Art Center Taipei.
guillaumemarmin.com
WORK
In roughly 360BC, Plato shared his dialogue Timaeus, in which he imagined the universe as a geocentric system, including a concept called Music of the Spheres where each planet had its own sonic tone based on its unique orbital revolution. The entire system was divided into an octave, a fifth, a fourth, and tone, and as all the planets revolved around the Earth, the solar system would comprise a perfect musical score. Artist Guillaume Marmin and musician Philippe Gordiani used this theory as the inspiration for their recent installation, Timée, a man-made universe that re-imagines a sonic solar system with light structures that emanate immersive beams and soundwaves.
Guillaume and Philippe discussed their vision with Isabelle Vauglin, astronomer at the CRAL. Even though Plato's concept has been proven wrong for centuries, this idea still supplies us with a poetic reading of the cosmos. Although we know today that there is no matter in space to convey sound, we can nonetheless find bridges between astronomy and music.
In roughly 360BC, Plato shared his dialogue Timaeus, in which he imagined the universe as a geocentric system, including a concept called Music of the Spheres where each planet had its own sonic tone based on its unique orbital revolution. The entire system was divided into an octave, a fifth, a fourth, and tone, and as all the planets revolved around the Earth, the solar system would comprise a perfect musical score. Artist Guillaume Marmin and musician Philippe Gordiani used this theory as the inspiration for their recent installation, Timée, a man-made universe that re-imagines a sonic solar system with light structures that emanate immersive beams and soundwaves.
Guillaume and Philippe discussed their vision with Isabelle Vauglin, astronomer at the CRAL. Even though Plato's concept has been proven wrong for centuries, this idea still supplies us with a poetic reading of the cosmos. Although we know today that there is no matter in space to convey sound, we can nonetheless find bridges between astronomy and music.
Mariska de Groot
Nibiru
audiovisual performance
— Netherlands
BIO
Intrigued by the phenomena and history of optical sound, Mariska de Groot (1982, NL) makes, performs and composes comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experience in light, sound, movement and space.
Mariska obtained her BA in graphic design in Arnhem (2000-2005) and received her masters diploma at the ArtScience interfaculty in 2012. In 2009/2010 Mariska received a Startstipendium from Fonds BKVB. She won the BNG Workspace12 Project Prize in 2012, in 2014 she won the O68 Price for German/ Dutch artists and in 2016 she received Creatives Industries Talent development grant.
Mariska de Groot has presented her work at several national and international events like STEIM (NL), Fiber (NL), Resonate (RS), Ars Electronica (A), Atonal (DE), CTM (DE), Oddstream Festival (NL), Todays Art (NL), Shiny Toys (DE), NCCA Moscow [RUS], NCCA Arsenal (RUS), Centras (LI), Glow (NL), Lab30 (DE), NK Berlin (DE), STRP (NL), IFFR (NL), Worm (NL), Atelier Nord (NO), Mirage Festival (FR), Nederlands Film Festival (NL), EYE Filminstituut Amsterdam (NL), STUK (BE), KIKK (BE).
www.mariskadegroot.com
Intrigued by the phenomena and history of optical sound, Mariska de Groot (1982, NL) makes, performs and composes comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experience in light, sound, movement and space.
Mariska obtained her BA in graphic design in Arnhem (2000-2005) and received her masters diploma at the ArtScience interfaculty in 2012. In 2009/2010 Mariska received a Startstipendium from Fonds BKVB. She won the BNG Workspace12 Project Prize in 2012, in 2014 she won the O68 Price for German/ Dutch artists and in 2016 she received Creatives Industries Talent development grant.
Mariska de Groot has presented her work at several national and international events like STEIM (NL), Fiber (NL), Resonate (RS), Ars Electronica (A), Atonal (DE), CTM (DE), Oddstream Festival (NL), Todays Art (NL), Shiny Toys (DE), NCCA Moscow [RUS], NCCA Arsenal (RUS), Centras (LI), Glow (NL), Lab30 (DE), NK Berlin (DE), STRP (NL), IFFR (NL), Worm (NL), Atelier Nord (NO), Mirage Festival (FR), Nederlands Film Festival (NL), EYE Filminstituut Amsterdam (NL), STUK (BE), KIKK (BE).
www.mariskadegroot.com
WORK
No one ever discovered Nibiru – 'Planet of crossing' - the ninth planet that is said to visit our solar system one in a 3000 years. With its huge mass and elongated different angled orbit it causes a slight moment of disorient to our known planets, what would explain their offbeat position compared with the human made calculations. Intrigued by this ancient myth de Groot goes in conversation about the position and movement of this lost planet. How does this galaxy old choreography of Nibiru look like, sound like?
Nibiru is an audiovisual performance instrument constructed from simple, yet unstable handmade pendulum oscillators. The pendulums are activated by rhythmical body movements which then scratch complex curvilinear patterns into black chalk treated glass. Noises of instability and resistance in the apparatus are amplified and sound patterns are created by light sensitive speakers that scan the changing projected geometric line image. Rhythmical movement, light and sound all come together naturally as an analogy for cosmological trajectories, whereas the drawing becomes a plotted chronicle of Nibiru's dance.
No one ever discovered Nibiru – 'Planet of crossing' - the ninth planet that is said to visit our solar system one in a 3000 years. With its huge mass and elongated different angled orbit it causes a slight moment of disorient to our known planets, what would explain their offbeat position compared with the human made calculations. Intrigued by this ancient myth de Groot goes in conversation about the position and movement of this lost planet. How does this galaxy old choreography of Nibiru look like, sound like?
Nibiru is an audiovisual performance instrument constructed from simple, yet unstable handmade pendulum oscillators. The pendulums are activated by rhythmical body movements which then scratch complex curvilinear patterns into black chalk treated glass. Noises of instability and resistance in the apparatus are amplified and sound patterns are created by light sensitive speakers that scan the changing projected geometric line image. Rhythmical movement, light and sound all come together naturally as an analogy for cosmological trajectories, whereas the drawing becomes a plotted chronicle of Nibiru's dance.
Minus.Log
No time_03 Coi Piedi per Tierra
audiovisual installation
— Italy
BIO
Minus.log is a collective formed in 2013 from the already tried out collaboration between Giustino Di Gregorio and Manuela Cappucci. Giustino is active since the 90's as a composer (Sprut, 1999 Tzadik Records), videomaker and audiovisual artists, Manuela comes from informal painting and she began painting in the late 90's. From the union of these two sensibilities a research borns in which material and immaterial soak each other, in which music and painting, analog and digital, participate in the work as synaesthetic elements of an experience based on a subtraction and reduction process of the means. Similarly, the authorship of the two artists is merged into unitary and indissoluble participation in its creation.
The attention of Minus.log is focused on the empty space, on the break, on a communication that comes from silence. Simple elements such as lines of light and minimalist shapes interact with surfaces, sculptures or environments that, receiving the formal rigor, play in the interstices of the sense and logic bringing up what is often shelved faster: the mistake, the wait, the repetition. Minus.log, in the creation of immersive environments, investigates and invites you to explore a different relationship with space and time, a dimension in which it's possible to capture subtle nuances and minimal changes.
Among the major group and solo exhibitions where Minus.log be noted: Stills of Peace, Scuderie Ducali Palace degli Acquaviva (Atri, Teramo, 2016), Unotrezerouno, Abbazia di Propezzano (Morro d'Oro, Teramo, 2016), HearteartH festival (Berlin-Milan, 2016). What remains, Museolaboratorio ex tobacco factory (Città Sant'Angelo, Pescara, 2016), FILE 2015. Electronic Language International Festival (São Paulo, Brazil, 2015), door/angelo della rivelazione framco/summa project (Castelvecchio Subequo, L'Aquila, 2014), UntitledLine, Galleria Bianconi (Milano, 2017).
minuslog.it
Minus.log is a collective formed in 2013 from the already tried out collaboration between Giustino Di Gregorio and Manuela Cappucci. Giustino is active since the 90's as a composer (Sprut, 1999 Tzadik Records), videomaker and audiovisual artists, Manuela comes from informal painting and she began painting in the late 90's. From the union of these two sensibilities a research borns in which material and immaterial soak each other, in which music and painting, analog and digital, participate in the work as synaesthetic elements of an experience based on a subtraction and reduction process of the means. Similarly, the authorship of the two artists is merged into unitary and indissoluble participation in its creation.
The attention of Minus.log is focused on the empty space, on the break, on a communication that comes from silence. Simple elements such as lines of light and minimalist shapes interact with surfaces, sculptures or environments that, receiving the formal rigor, play in the interstices of the sense and logic bringing up what is often shelved faster: the mistake, the wait, the repetition. Minus.log, in the creation of immersive environments, investigates and invites you to explore a different relationship with space and time, a dimension in which it's possible to capture subtle nuances and minimal changes.
Among the major group and solo exhibitions where Minus.log be noted: Stills of Peace, Scuderie Ducali Palace degli Acquaviva (Atri, Teramo, 2016), Unotrezerouno, Abbazia di Propezzano (Morro d'Oro, Teramo, 2016), HearteartH festival (Berlin-Milan, 2016). What remains, Museolaboratorio ex tobacco factory (Città Sant'Angelo, Pescara, 2016), FILE 2015. Electronic Language International Festival (São Paulo, Brazil, 2015), door/angelo della rivelazione framco/summa project (Castelvecchio Subequo, L'Aquila, 2014), UntitledLine, Galleria Bianconi (Milano, 2017).
minuslog.it
WORK
A digital cut catches a fragment of sky and hooks it to the ground. The flowing of time becomes visible at close range as if we could grasp it. This audiovisual installation is part of the "no time" project, coming from the desire to investigate the relationship between man and time - a spalled and unpredictable time that in the imprecision of human perception leads to new possibilities. The sky, which is the natural element that every day represents the everlasting change, becomes the digital icon of the flowing of time. We could observe it just looking up, but it catches more easily our attention through the digital cut af a screen.
"Thanks to two projection of the same video in different moments, a lag occurs that gives to the viewer the sensation of physically crossing time, of losing control of its linearity. Besides, nowadays mankind is used to see mostly through a screen, and the digital sample offers the possibility to come at close contact with what could easily be experienced directly in everyday life. It happens as if digitalisation made the sky worth of more attention. The panel that hosts the projected image becomes a sort of lens between natural and digital". (Maria Chiara Wang)
A digital cut catches a fragment of sky and hooks it to the ground. The flowing of time becomes visible at close range as if we could grasp it. This audiovisual installation is part of the "no time" project, coming from the desire to investigate the relationship between man and time - a spalled and unpredictable time that in the imprecision of human perception leads to new possibilities. The sky, which is the natural element that every day represents the everlasting change, becomes the digital icon of the flowing of time. We could observe it just looking up, but it catches more easily our attention through the digital cut af a screen.
"Thanks to two projection of the same video in different moments, a lag occurs that gives to the viewer the sensation of physically crossing time, of losing control of its linearity. Besides, nowadays mankind is used to see mostly through a screen, and the digital sample offers the possibility to come at close contact with what could easily be experienced directly in everyday life. It happens as if digitalisation made the sky worth of more attention. The panel that hosts the projected image becomes a sort of lens between natural and digital". (Maria Chiara Wang)
OLO Creative Farm
Sorgente
installation
— Italy
BIO
OLO creative farm was founded in Como in January 2005 by Mattia Amadori, Andrea Corti, and Max de Ponti with the aim to cultivate creativity in order to astonish, thrill and inspire people.
From music videos to documentaries, from commercials to visuals, from installations to corporate image, OLO creative farm carries out all kinds of projects related to visual communication.
As interactivity plays a leading role in experimentation, OLO does its best to find out new ways of bringing technology closer to people.
The strong inclination towards cinematographic art pushes the studio to conceive and realize scripts, and create short and full length movies.
OLO creative farm has collaborated with international brands like MUSE and JET, and Italian musicians like Afterhours, Calibro 35, Rita Pavone, and Garbo among others.
OLO realised several documentaries for major events like MITO Settembre Musica, Milano Film Festival, Swing Crash Festival, Lake Como Film Festival, installations, and spots for big brands like Juventus, Ferrari, Poltrona Frau, Brooks Brothers, Vans, Ericsson. OLO collaborates with major National theatres like Teatro Regio di Parma, Teatro Sociale di Como, and with international museums like MuDeC, Veneranda Biblioteca Ambrosiana in Milan, Art Science Museum of Singapore, Tsinghua University in Pechino, Indianapolis Museum of Art, and North Carolina Museum of Art.
olocreativefarm.com
OLO creative farm was founded in Como in January 2005 by Mattia Amadori, Andrea Corti, and Max de Ponti with the aim to cultivate creativity in order to astonish, thrill and inspire people.
From music videos to documentaries, from commercials to visuals, from installations to corporate image, OLO creative farm carries out all kinds of projects related to visual communication.
As interactivity plays a leading role in experimentation, OLO does its best to find out new ways of bringing technology closer to people.
The strong inclination towards cinematographic art pushes the studio to conceive and realize scripts, and create short and full length movies.
OLO creative farm has collaborated with international brands like MUSE and JET, and Italian musicians like Afterhours, Calibro 35, Rita Pavone, and Garbo among others.
OLO realised several documentaries for major events like MITO Settembre Musica, Milano Film Festival, Swing Crash Festival, Lake Como Film Festival, installations, and spots for big brands like Juventus, Ferrari, Poltrona Frau, Brooks Brothers, Vans, Ericsson. OLO collaborates with major National theatres like Teatro Regio di Parma, Teatro Sociale di Como, and with international museums like MuDeC, Veneranda Biblioteca Ambrosiana in Milan, Art Science Museum of Singapore, Tsinghua University in Pechino, Indianapolis Museum of Art, and North Carolina Museum of Art.
olocreativefarm.com
WORK
A well draws the viewer in the depths of the Earth - the legendary chasm, a limitless fall.
A symbolic element leads to an introspective reflection on the bound between man and Earth, in which the chasm becomes an infinite vortex of images and ancestral sounds that generates upsetting suggestions, making the viewer escape from reality and pushing the view towards the unknown.
The well represents the place where to come in contact with the deeper self, where to get water, the source of life, but also a gathering place surrounded by a sacred aura. It is a link with an underground world that evokes our deepest intimacy, in a wide range of sensations and feelings.
Sound credits: Notclub
A well draws the viewer in the depths of the Earth - the legendary chasm, a limitless fall.
A symbolic element leads to an introspective reflection on the bound between man and Earth, in which the chasm becomes an infinite vortex of images and ancestral sounds that generates upsetting suggestions, making the viewer escape from reality and pushing the view towards the unknown.
The well represents the place where to come in contact with the deeper self, where to get water, the source of life, but also a gathering place surrounded by a sacred aura. It is a link with an underground world that evokes our deepest intimacy, in a wide range of sensations and feelings.
Sound credits: Notclub
Roberto Pugliese
Equilibrium Variant
installation
— Italy
BIO
Roberto Pugliese was born in Naples in 1982, and there he currently lives and works.
After the degree in Electronic Music at the San Pietro a Majella Conservatory in Naples, with prof. Agostino di Scipio, he divides between teaching Multimediality at Bari Conservatory, the musical carreer and the production of sound installations. His research draws its energy mainly from two tendencies in art, sound art and that of the kinetic and programmed art. Using mechanical equipments driven by software that interact with the surrounding environment and the user, I intend to examine new points of research to the phenomena attached to sound, analysis of the processes that use the human psyche structures to differentiate natural from artificial ones (both acoustic and visual), on the relationship between man and technology and the relationship between art and technology, giving a role no less important to the visual aspect. Sound then becomes both the object of research, of acoustic and visual means of expression, vital energy that animates the inanimate, to guide the investigation and stimulate the psyche and the human perception.
www.robertopugliese.com
Roberto Pugliese was born in Naples in 1982, and there he currently lives and works.
After the degree in Electronic Music at the San Pietro a Majella Conservatory in Naples, with prof. Agostino di Scipio, he divides between teaching Multimediality at Bari Conservatory, the musical carreer and the production of sound installations. His research draws its energy mainly from two tendencies in art, sound art and that of the kinetic and programmed art. Using mechanical equipments driven by software that interact with the surrounding environment and the user, I intend to examine new points of research to the phenomena attached to sound, analysis of the processes that use the human psyche structures to differentiate natural from artificial ones (both acoustic and visual), on the relationship between man and technology and the relationship between art and technology, giving a role no less important to the visual aspect. Sound then becomes both the object of research, of acoustic and visual means of expression, vital energy that animates the inanimate, to guide the investigation and stimulate the psyche and the human perception.
www.robertopugliese.com
WORK
This work has the purpose of exploring the occurrence of the Larsen effect (also known as feedback) through the use of mobile devices in a three-dimensional space. The distinctive screech of the Larsen effect typically occurs when a microphone catches the sound emitted by a too close speaker. The microphone amplifies and reproduces the speaker's frequency with increasing width, virtually unlimited, actually stopped by the amplifier's clip. Two mechanical arms are located on a ground support, carrying respectively a microphone and a speaker. An ad hoc software manages the position of the arms and ensures that the distance between the microphone and the speaker never causes the amplifier to clip. This way, the system tends to reach an equilibrium that is physically impossible to attain. The struggle for balance creates an acoustic and visual dimension that is never the same: the frequency of feedback and the movements of the mechanical arms are always different and change in real-time. In nature, the phenomenon of feedback is the capacity of a system to regulate itself and affects all living beings. This project introduces this phenomenon into the world of cybernetics through the use of sound. The sound makes all the movements extremely harmonic and natural, and the mechanical arms show a movement pattern that is similar to the behavior of living beings, such as two animals fighting or courting. The system changes into a biomechanical organism that has its own life and reacts to external solicitations.
(We thank Ing. Walter Pugliese for technical contribution to the realization of the work).
This work has the purpose of exploring the occurrence of the Larsen effect (also known as feedback) through the use of mobile devices in a three-dimensional space. The distinctive screech of the Larsen effect typically occurs when a microphone catches the sound emitted by a too close speaker. The microphone amplifies and reproduces the speaker's frequency with increasing width, virtually unlimited, actually stopped by the amplifier's clip. Two mechanical arms are located on a ground support, carrying respectively a microphone and a speaker. An ad hoc software manages the position of the arms and ensures that the distance between the microphone and the speaker never causes the amplifier to clip. This way, the system tends to reach an equilibrium that is physically impossible to attain. The struggle for balance creates an acoustic and visual dimension that is never the same: the frequency of feedback and the movements of the mechanical arms are always different and change in real-time. In nature, the phenomenon of feedback is the capacity of a system to regulate itself and affects all living beings. This project introduces this phenomenon into the world of cybernetics through the use of sound. The sound makes all the movements extremely harmonic and natural, and the mechanical arms show a movement pattern that is similar to the behavior of living beings, such as two animals fighting or courting. The system changes into a biomechanical organism that has its own life and reacts to external solicitations.
(We thank Ing. Walter Pugliese for technical contribution to the realization of the work).
Volna
Sub Rosa
kinetic installation
— Russia
BIO
VOLNA is an artist collective from St. Petersburg, Russia focused on visual and light art.
VOLNA consists of 5 creative individuals: Nikita Golyshev, Snezhana Vinogradova, Ekaterina Morzobitova, Aleksei Beliakov, Yana Cheklina who are coming from different backgrounds in the fields of architecture, design, art and cultural studies. The cross-media approach and an extensive network of collaborators and enablers make it possible for VOLNA to competently create extraordinary projects.
VOLNA places a priority on minimalistic shapes and clear, expressive animations in artistic practice, as well as in the real world on the site specifics incorporation and the very production cycle, beginning with concept development and visualization and continuing throughout the work with materials, programming, packaging and documentation.
Since 2014, VOLNA has implemented a variety of projects traversing the fields of light and installation art, scenography and rave architecture, animation, video, and design, as well as comprehensive promo campaigns and presentation events for own projects.
www.volna-media.com
VOLNA is an artist collective from St. Petersburg, Russia focused on visual and light art.
VOLNA consists of 5 creative individuals: Nikita Golyshev, Snezhana Vinogradova, Ekaterina Morzobitova, Aleksei Beliakov, Yana Cheklina who are coming from different backgrounds in the fields of architecture, design, art and cultural studies. The cross-media approach and an extensive network of collaborators and enablers make it possible for VOLNA to competently create extraordinary projects.
VOLNA places a priority on minimalistic shapes and clear, expressive animations in artistic practice, as well as in the real world on the site specifics incorporation and the very production cycle, beginning with concept development and visualization and continuing throughout the work with materials, programming, packaging and documentation.
Since 2014, VOLNA has implemented a variety of projects traversing the fields of light and installation art, scenography and rave architecture, animation, video, and design, as well as comprehensive promo campaigns and presentation events for own projects.
www.volna-media.com
WORK
"Sub rosа" is a kinetic light installation in an arched room, visible by the audience at close and mid-range. Following the festival's title "Blooming", VOLNA developed an installation form that resembles a flower, which transmits light through its moving petals and exists in permanent changing condition by the virtue of moire effect. This flower, however, is located in a dungeon, so it takes on some symbolic meaning. It does not reach for the sun, but becomes a likeness of the sun itself. It becomes the object around which а secret society gathers.
The title of the installation refers to the history of the trust communities and the secret meetings in the dungeons that have taken place since ancient times. This is also an allusion to the medieval sacred rituals of protecting knightly honor from slander, and in our time – protecting the right of every person to not disclose what was said, protecting from the abuse of words, taken out of a confidential conversation, asserting the eternal value of the first-person speech.
"Sub rosа" is a kinetic light installation in an arched room, visible by the audience at close and mid-range. Following the festival's title "Blooming", VOLNA developed an installation form that resembles a flower, which transmits light through its moving petals and exists in permanent changing condition by the virtue of moire effect. This flower, however, is located in a dungeon, so it takes on some symbolic meaning. It does not reach for the sun, but becomes a likeness of the sun itself. It becomes the object around which а secret society gathers.
The title of the installation refers to the history of the trust communities and the secret meetings in the dungeons that have taken place since ancient times. This is also an allusion to the medieval sacred rituals of protecting knightly honor from slander, and in our time – protecting the right of every person to not disclose what was said, protecting from the abuse of words, taken out of a confidential conversation, asserting the eternal value of the first-person speech.
Olivier Ratsi
Continuum
installation
— France
BIO
French visual artist. Lives and works in Paris.
Olivier Ratsi's work presents objective reality, time, space and matter as a series of intangible informative notions.
Focusing on the experience of reality and its representations, as well as the perception of space, he conceives works that encourage the viewer to question his or her own interpretation of what is real.
As part of his work process, Olivier Ratsi creates systems that deconstruct our spatio-temporal reference points, often using the technique of anamorphosis, developed during his research.
Making a break with objective reality, Olivier Ratsi's works are not specifically aimed to unleash emotions or to perturb the senses, but rather to work as a catalyst for different points of view and cultural and psychological references. As such, the viewer is not deprived of his own subjective capacity to reconstruct/reconstitute reality. Instead, he is invited to make up his own mind and to experience the works through his own personal reactions.
Olivier Ratsi is known as one of the co-founders and former member of the artist collective AntiVJ. Now working as a solo artist, he has had solo and group exhibitions around the world, including at Denise René Gallery and Charlot Gallery, Paris, FR; Atsuko gallery, Tokyo, JP; Puerta Roja, Hong Kong, HK; and Wood Street Galleries, Pittsburgh, US. His works have been exhibited in museums including OCT Museum, Shanghai, CN; K11 Art Village, Wuhan, CN; D-Museum, Seoul, KR; and the National Taiwan Museum of Fine Arts, Taichung, TW. His works have been presented at numerous festivals and events including Elektra, Mutek and International Digital Arts Biennial, Montreal, CA; Biennale Némo, Mirage and Bains Numériques, FR.
www.ratsi.com
French visual artist. Lives and works in Paris.
Olivier Ratsi's work presents objective reality, time, space and matter as a series of intangible informative notions.
Focusing on the experience of reality and its representations, as well as the perception of space, he conceives works that encourage the viewer to question his or her own interpretation of what is real.
As part of his work process, Olivier Ratsi creates systems that deconstruct our spatio-temporal reference points, often using the technique of anamorphosis, developed during his research.
Making a break with objective reality, Olivier Ratsi's works are not specifically aimed to unleash emotions or to perturb the senses, but rather to work as a catalyst for different points of view and cultural and psychological references. As such, the viewer is not deprived of his own subjective capacity to reconstruct/reconstitute reality. Instead, he is invited to make up his own mind and to experience the works through his own personal reactions.
Olivier Ratsi is known as one of the co-founders and former member of the artist collective AntiVJ. Now working as a solo artist, he has had solo and group exhibitions around the world, including at Denise René Gallery and Charlot Gallery, Paris, FR; Atsuko gallery, Tokyo, JP; Puerta Roja, Hong Kong, HK; and Wood Street Galleries, Pittsburgh, US. His works have been exhibited in museums including OCT Museum, Shanghai, CN; K11 Art Village, Wuhan, CN; D-Museum, Seoul, KR; and the National Taiwan Museum of Fine Arts, Taichung, TW. His works have been presented at numerous festivals and events including Elektra, Mutek and International Digital Arts Biennial, Montreal, CA; Biennale Némo, Mirage and Bains Numériques, FR.
www.ratsi.com
WORK
Continuum is a part of the Echolyse project, a series of works that deal with the perception of space. The installation seeks to establish a connection between four physical surfaces arranged at right angles in a real space. The geometric vocabulary of visual content, the "peels" common to the Echolyse project, as well as Thomas Vaquié's sound creation, help explore a temporal dimension in a four-dimensional space.
Concept Design & Art Direction: Olivier Ratsi
Sound design: Thomas Vaquié
Continuum is a part of the Echolyse project, a series of works that deal with the perception of space. The installation seeks to establish a connection between four physical surfaces arranged at right angles in a real space. The geometric vocabulary of visual content, the "peels" common to the Echolyse project, as well as Thomas Vaquié's sound creation, help explore a temporal dimension in a four-dimensional space.
Concept Design & Art Direction: Olivier Ratsi
Sound design: Thomas Vaquié
Motorefisico
Trappola Visiva
immersive space
— Italy
BIO
MOTOREFISICO is one entity composed of two people, Lorenzo Pagliara and Gianmaria Zonfrillo, both architects and designers based in Rome. They work in the fields of interior design, installation art and video making. Since 2015 they design surfaces for private homes, offices, schools, hotels and clubs.
MOTOREFISICO is a huge artistic container that expresses its creativity with a wide range of medias. They use duct tape for outdoor drawings and masking tape for interior paintings. They use Lycra and Wood lamps to create tridimensional wireframe spaces and huge environmental installations. They also work widely in visuals and video editing.
Motorefisico accomplished a great amount of projects all around the world, for different occasions and different commissions such as Miami iii points festival, Outdoor festival, Nike Seoul and many more.
www.motorefisico.com
MOTOREFISICO is one entity composed of two people, Lorenzo Pagliara and Gianmaria Zonfrillo, both architects and designers based in Rome. They work in the fields of interior design, installation art and video making. Since 2015 they design surfaces for private homes, offices, schools, hotels and clubs.
MOTOREFISICO is a huge artistic container that expresses its creativity with a wide range of medias. They use duct tape for outdoor drawings and masking tape for interior paintings. They use Lycra and Wood lamps to create tridimensional wireframe spaces and huge environmental installations. They also work widely in visuals and video editing.
Motorefisico accomplished a great amount of projects all around the world, for different occasions and different commissions such as Miami iii points festival, Outdoor festival, Nike Seoul and many more.
www.motorefisico.com
WORK
Trappola Visiva ("Visual trap") is an immersive space, made of two different pieces that play with tridimensionality.
The contrast between the upward development of the tower and the fake depth of the algorhythm-generated projected images creates a surreal atmosphere.
Sound: KosmonautMusic
Trappola Visiva ("Visual trap") is an immersive space, made of two different pieces that play with tridimensionality.
The contrast between the upward development of the tower and the fake depth of the algorhythm-generated projected images creates a surreal atmosphere.
Sound: KosmonautMusic
Spacetik
Impact
light installation
— Italy
BIO
Founded in 2017, Spacetik collective is a group of five Rome-based young creatives coming from different backgrounds, from exhibit to new technologies.
Trained at the Multimedia Arts and Design academic course in Rome, Spacetik collective uses different languages to create interactive multimedia installations and audiovisual performances that investigate the integration of images, light and sound, in order to accomplish synaesthetic and immersive experiences.
Founded in 2017, Spacetik collective is a group of five Rome-based young creatives coming from different backgrounds, from exhibit to new technologies.
Trained at the Multimedia Arts and Design academic course in Rome, Spacetik collective uses different languages to create interactive multimedia installations and audiovisual performances that investigate the integration of images, light and sound, in order to accomplish synaesthetic and immersive experiences.
WORK
Any action made by a body on another body has always an effect, even if it remains imperceptible to human eyes and sensitivity. The retroaction generated from a hit body can vary in its forms and intensity both for the strenght of the collision and the material of which the two bodies are made.
The light installation "Impact" reflects on the concept of cause - effect and the materiality of the bodies involved: the weightless element of light is used to emphasise the concreteness of metal.
From the collision of light particles with objects a "shape and physical-specific" effect is generated, creating an emotional environment that captivate the audience.
Any action made by a body on another body has always an effect, even if it remains imperceptible to human eyes and sensitivity. The retroaction generated from a hit body can vary in its forms and intensity both for the strenght of the collision and the material of which the two bodies are made.
The light installation "Impact" reflects on the concept of cause - effect and the materiality of the bodies involved: the weightless element of light is used to emphasise the concreteness of metal.
From the collision of light particles with objects a "shape and physical-specific" effect is generated, creating an emotional environment that captivate the audience.
Natan
Diorama
environmental installation
— Italy
BIO
Natan (Rome, 1994) lives and works in Rome.
Taking advantage of his studies in graphic design and programming, he reaches an eclectic approach to design, focusing his research on the dialogue between analogic and digital arts.
Natan carries out projects and site-specific interventions using videoprojections and interactive systems, trying to enhance the visual component that is central to each of his projects.
Natan (Rome, 1994) lives and works in Rome.
Taking advantage of his studies in graphic design and programming, he reaches an eclectic approach to design, focusing his research on the dialogue between analogic and digital arts.
Natan carries out projects and site-specific interventions using videoprojections and interactive systems, trying to enhance the visual component that is central to each of his projects.
WORK
Diorama is an environmental installation that examines the behavior of vegetal organisms and explores the processes that regulate the changes and morphology of plants, especially the reactions to the presence or absence of light.
Through different video projections that hit the botanical diorama, the audience will be able to catch the imperceptible dialogues among the elements.
Diorama is an environmental installation that examines the behavior of vegetal organisms and explores the processes that regulate the changes and morphology of plants, especially the reactions to the presence or absence of light.
Through different video projections that hit the botanical diorama, the audience will be able to catch the imperceptible dialogues among the elements.
Alessandro Panzetti
Anamorfosi cinetica –
Prassinoscopio
Prassinoscopio
kinetic installation
— Italy
BIO
Alessandro Panzetti is an Italian architect that lives and works in Roma. He creates "anamorphic installations" as a result of his research on the ambiguity of sign and the difficulties of its interpretation.
After the degree in Architecture, before his engagement in teaching artistic techniques, he dedicated himself to theatrical activities in urban outskirts and in the field of music, developing instruments and studying music composition in Rome.
He's been able to mix architectural research around perspective with the moving image. He thus accomplished many prize-winning experimental animation movies in which he reached suggestive visual effects. He successfully connects graphic research with tech innovation, bringing this know-how in his teaching activity. He held courses at MIUR (Ministry for Education) and took part in European projects for Animation.
In recent years his work has been exhibited in several occasions: Inthebox4, Galleria Margini e Segni, Bracciano, March 2013; Inthebox All Sessions, Lanificio 159, Roma, May 2013; Con il Pretesto del Teatro, MoLL-Monteverde Living Lab, Roma, June 2014; Forme inverse, spazio 311b, Roma, December 2014; Forme inverse #2, Casa di Raffaello, Urbino, 2015.
www.instagram.com/studiodoppio
Alessandro Panzetti is an Italian architect that lives and works in Roma. He creates "anamorphic installations" as a result of his research on the ambiguity of sign and the difficulties of its interpretation.
After the degree in Architecture, before his engagement in teaching artistic techniques, he dedicated himself to theatrical activities in urban outskirts and in the field of music, developing instruments and studying music composition in Rome.
He's been able to mix architectural research around perspective with the moving image. He thus accomplished many prize-winning experimental animation movies in which he reached suggestive visual effects. He successfully connects graphic research with tech innovation, bringing this know-how in his teaching activity. He held courses at MIUR (Ministry for Education) and took part in European projects for Animation.
In recent years his work has been exhibited in several occasions: Inthebox4, Galleria Margini e Segni, Bracciano, March 2013; Inthebox All Sessions, Lanificio 159, Roma, May 2013; Con il Pretesto del Teatro, MoLL-Monteverde Living Lab, Roma, June 2014; Forme inverse, spazio 311b, Roma, December 2014; Forme inverse #2, Casa di Raffaello, Urbino, 2015.
www.instagram.com/studiodoppio
WORK
Taking the cue from the pre-cinema machine from which the title is drawn, the author wants to highlight the composition aspect and the dynamics of geometries. When the sculpture is still, those geometric elements create non-casual groups of forms, while when it's moving they cyclically originate a hypnotic tridimensional caleidoscope.
Taking the cue from the pre-cinema machine from which the title is drawn, the author wants to highlight the composition aspect and the dynamics of geometries. When the sculpture is still, those geometric elements create non-casual groups of forms, while when it's moving they cyclically originate a hypnotic tridimensional caleidoscope.
Alessio Hong
Entropy, Complexity
light installation
BIO
Visual artist and director.
He works as a director and director of photography, but his interest in videoart often pulls him to blend the two worlds, developing a language between conceptual and narrative.
Visual artist and director.
He works as a director and director of photography, but his interest in videoart often pulls him to blend the two worlds, developing a language between conceptual and narrative.
WORK
The second principle of thermodynamics states that in an isolated system entropy tends to increase in time irreversibly. Universe marks the borders of an isolated system, so the second principle is valid: if universe lives for a sufficiently long time, it will asymptotically reach a state in which all the energy is distributed in every direction evenly, and no more energetic process, included life, will be possible.
From the supreme order of Big Bang to the thermic death of the universe. White and black. All and nothing. Values that can be considered as interchangeable.
And yet it is halfway in this process that the most interesting events occur. "Complexity" emerges, as a close system made by different parts that interact following particular relationships. The easiest symbol of complexity is life itself, from the procaryotes to human being and the mystery of consciousness. We are maybe in the most interesting and complex era in the life of universe. The game of life before going back in the eternal numbness.
The second principle of thermodynamics states that in an isolated system entropy tends to increase in time irreversibly. Universe marks the borders of an isolated system, so the second principle is valid: if universe lives for a sufficiently long time, it will asymptotically reach a state in which all the energy is distributed in every direction evenly, and no more energetic process, included life, will be possible.
From the supreme order of Big Bang to the thermic death of the universe. White and black. All and nothing. Values that can be considered as interchangeable.
And yet it is halfway in this process that the most interesting events occur. "Complexity" emerges, as a close system made by different parts that interact following particular relationships. The easiest symbol of complexity is life itself, from the procaryotes to human being and the mystery of consciousness. We are maybe in the most interesting and complex era in the life of universe. The game of life before going back in the eternal numbness.
Cosmica Collective
live set
— Italy
BIO
Decomposer is a music collective shaped by Agostino Maria Ticino and Carlo Marchionni.
Targeting a dreamy cinematic hybridation, they bring together dynamic jazzy drums and vintage synthesisers crafting a wide spectrum of emotional environments. During the last 4 years they performed at some of the most freaky festivals in Europe: OZORA, Amore, Mo:Dem and Sonica.
https://www.facebook.com/decomposerstudio/
Lorenzo-Giulio Morresi aka Seven People is a Dj, Producer and Multi Instrumentalist working between United Kingdom (London) and Italy. His personal style is an experimental junction of contemporary, jazzy, psychedelic, world, disco, cosmic, dance music - performed both as dj set or with a live band. In the last two years Lorenzo has been constantly performing in various clubs and events across Europe including Amsterdam Dance Event, Brilliant Corners, GNU Festival, Serendipity, Spiritland, Malloni Trace.
http://sevenpeoplemusic.com/
Decomposer is a music collective shaped by Agostino Maria Ticino and Carlo Marchionni.
Targeting a dreamy cinematic hybridation, they bring together dynamic jazzy drums and vintage synthesisers crafting a wide spectrum of emotional environments. During the last 4 years they performed at some of the most freaky festivals in Europe: OZORA, Amore, Mo:Dem and Sonica.
https://www.facebook.com/decomposerstudio/
Lorenzo-Giulio Morresi aka Seven People is a Dj, Producer and Multi Instrumentalist working between United Kingdom (London) and Italy. His personal style is an experimental junction of contemporary, jazzy, psychedelic, world, disco, cosmic, dance music - performed both as dj set or with a live band. In the last two years Lorenzo has been constantly performing in various clubs and events across Europe including Amsterdam Dance Event, Brilliant Corners, GNU Festival, Serendipity, Spiritland, Malloni Trace.
http://sevenpeoplemusic.com/
WORK
Cosmica Collective is a group of musicians from Marche formed during the jam sessions at Piazza Conchiglia Festival in Civitanova Marche.
Every week, during the summer season, musicians and producers from the regional scene take it in turns in cosmic and space-flavoured electronic jam sessions.
Guests at Blooming the founders of the collective Agostino Maria Ticino (aka Decomposer) and Lorenzo G. Morresi (aka Seven People).
Cosmica Collective is a group of musicians from Marche formed during the jam sessions at Piazza Conchiglia Festival in Civitanova Marche.
Every week, during the summer season, musicians and producers from the regional scene take it in turns in cosmic and space-flavoured electronic jam sessions.
Guests at Blooming the founders of the collective Agostino Maria Ticino (aka Decomposer) and Lorenzo G. Morresi (aka Seven People).
Out Of Range crew
Manifest!
interactive installation
— Italy
BIO
OOR Crew (Out OF Range Crew) is an artistic collective that since 2007 conducts the Out Of Range project, a digital and multimedia arts event. Born in the Castle of Frontone, over the years it moved to other places and faced other experiences (Museo del Balì, Notte Rossa di Rimini, OFFSET Fano - Rocca Malatestiana).
The group is composed of artists operating in the fields of video, photography, digital illustration, animation, generative art, mapping, augmented reality, sound art, and live electronics.
OOR Crew (Out OF Range Crew) is an artistic collective that since 2007 conducts the Out Of Range project, a digital and multimedia arts event. Born in the Castle of Frontone, over the years it moved to other places and faced other experiences (Museo del Balì, Notte Rossa di Rimini, OFFSET Fano - Rocca Malatestiana).
The group is composed of artists operating in the fields of video, photography, digital illustration, animation, generative art, mapping, augmented reality, sound art, and live electronics.
WORK
Manifest! is an interactive installation. The term "manifesto" means also "clear, obvious, evident, openly offered to others' view" (from Treccani encyclopedia).
The term somehow thus includes exchange, interaction, contact between two entities facing themselves. Actually, there is one offering itself to the other who can't do anything but accept the content offered as it is. This "transfer" is the key to the installation, the heart of the action.
The contents hereby have been donated by the collective in a digital format, then mixed and rearranged in form of a "manifesto" — a visual poster-sized 70x100 cm projected on a screen, in a generative casual loop disturbed by a glitch that remarks the physical, tangible status of the image.
Manifest! is an interactive installation. The term "manifesto" means also "clear, obvious, evident, openly offered to others' view" (from Treccani encyclopedia).
The term somehow thus includes exchange, interaction, contact between two entities facing themselves. Actually, there is one offering itself to the other who can't do anything but accept the content offered as it is. This "transfer" is the key to the installation, the heart of the action.
The contents hereby have been donated by the collective in a digital format, then mixed and rearranged in form of a "manifesto" — a visual poster-sized 70x100 cm projected on a screen, in a generative casual loop disturbed by a glitch that remarks the physical, tangible status of the image.
Lotta Stoever
Mutiertes L-System
installation
— Germany
BIO
Lotta Stöver is an emerging artist and designer in the fields of media, technologies and research. Her works are driven by a deep interest in the intersections and interdependencies of phenomena and matters aligning, disobeying, transforming, and mutating along with (new) technologies. She works in various media as installations, electronics, and publications. She is a founding member and co-editor of the ongoing technofeminist publication series href zine.
Since 2019, she holds a Bachelor of Arts degree in Digital Media at the University of the Arts Bremen (Germany), where she is currently based and continues her Master studies.
lotta-stoever.net
Lotta Stöver is an emerging artist and designer in the fields of media, technologies and research. Her works are driven by a deep interest in the intersections and interdependencies of phenomena and matters aligning, disobeying, transforming, and mutating along with (new) technologies. She works in various media as installations, electronics, and publications. She is a founding member and co-editor of the ongoing technofeminist publication series href zine.
Since 2019, she holds a Bachelor of Arts degree in Digital Media at the University of the Arts Bremen (Germany), where she is currently based and continues her Master studies.
lotta-stoever.net
WORK
Sui sistemi-L come interfacce del legame tra naturale e artificiale
Il biologo Aristid Lindenmayer concepì i sistemi-L intorno al 1968 per dare un modello al comportamento delle cellule vegetali. Oggi i sistemi-L sono stati implementati per dare modelli di interi organismi vegetali, e costituiscono una delle pratiche più diffuse sia in biologia che nell'informatica.
I sistemi-L da una parte sono utilizzati per cercare "principi che apparentemente accomunano diversi fenomeni", ma questo intento esplicito di unificare, opposto alla diversità dei processi di sviluppo delle piante, dimostra come i sistemi-L possano essere alquanto riduttivi, poichè funzionano come interfacce per tradurre i meccanismi di sviluppo di qualsiasi pianta in un set di regole prefissate.
Dall'altra parte i sistemi-L sono uno strumento essenziale nella programmazione, per sintetizzare immagini di piante con un approccio naturalistico, e offrono un'importante interfaccia per la fusione di fenomeni etichettati come "naturali" nel mondo "artificiale".
Quello che le due applicazioni hanno in comune è che si focalizzano entrambe sul guscio esterno delle piante e sulla loro struttura architettonica, e meno sui processi biochimici che sono gli effettivi responsabili della crescita.
Mutiertes L-System, 2017 - 2019
Questo lavoro indaga in modo sovversivo questi processi di formalizzazione, ribaltandoli.
Mutiertes L-systems è un algoritmo di sistema–L fisicamente sviluppato. Dal suo status originario di software esso migra nel mondo fisico.
Il substrato della scultura cinetica consiste in uno scheletro di carbonio e giunture di plastica, disposti secondo la regola che prescrive come ogni ramo dovrebbe generarne due, ruotati su due assi e piegati a un angolo di 89.8 gradi.
'F' ⟼ "Fx[-z-xFx][+z+xFx]"
Seguendo questa regola il sistema-L si espande e inoltre sviluppa strutture di supporto spontanee, che contravvengono al sistema di regole di origine, ma sono necessarie affinchè il sistema-L sia il più stabile possibile.
Dei fili sono agganciati tra una giuntura e l'altra per dare alla scultura la possibilità di muoversi. Questi "tèndini" reagiscono contraendosi a contatto con il calore, che è indotto grazie a dei transistor di 12 volt gestiti da un microcontrollore.
Sui sistemi-L come interfacce del legame tra naturale e artificiale
Il biologo Aristid Lindenmayer concepì i sistemi-L intorno al 1968 per dare un modello al comportamento delle cellule vegetali. Oggi i sistemi-L sono stati implementati per dare modelli di interi organismi vegetali, e costituiscono una delle pratiche più diffuse sia in biologia che nell'informatica.
I sistemi-L da una parte sono utilizzati per cercare "principi che apparentemente accomunano diversi fenomeni", ma questo intento esplicito di unificare, opposto alla diversità dei processi di sviluppo delle piante, dimostra come i sistemi-L possano essere alquanto riduttivi, poichè funzionano come interfacce per tradurre i meccanismi di sviluppo di qualsiasi pianta in un set di regole prefissate.
Dall'altra parte i sistemi-L sono uno strumento essenziale nella programmazione, per sintetizzare immagini di piante con un approccio naturalistico, e offrono un'importante interfaccia per la fusione di fenomeni etichettati come "naturali" nel mondo "artificiale".
Quello che le due applicazioni hanno in comune è che si focalizzano entrambe sul guscio esterno delle piante e sulla loro struttura architettonica, e meno sui processi biochimici che sono gli effettivi responsabili della crescita.
Mutiertes L-System, 2017 - 2019
Questo lavoro indaga in modo sovversivo questi processi di formalizzazione, ribaltandoli.
Mutiertes L-systems è un algoritmo di sistema–L fisicamente sviluppato. Dal suo status originario di software esso migra nel mondo fisico.
Il substrato della scultura cinetica consiste in uno scheletro di carbonio e giunture di plastica, disposti secondo la regola che prescrive come ogni ramo dovrebbe generarne due, ruotati su due assi e piegati a un angolo di 89.8 gradi.
'F' ⟼ "Fx[-z-xFx][+z+xFx]"
Seguendo questa regola il sistema-L si espande e inoltre sviluppa strutture di supporto spontanee, che contravvengono al sistema di regole di origine, ma sono necessarie affinchè il sistema-L sia il più stabile possibile.
Dei fili sono agganciati tra una giuntura e l'altra per dare alla scultura la possibilità di muoversi. Questi "tèndini" reagiscono contraendosi a contatto con il calore, che è indotto grazie a dei transistor di 12 volt gestiti da un microcontrollore.
Psicofonie Granulari
—
live set
— Italy
BIO
Paolo F. Bragaglia lives and works between Milan and Marche.
Since the 80's he is deeply concerned with the creative possibilities offered by technologic evolution. Over the years he spreads his research towards the relationship between music and moving image, then with architecture, visual arts, words and scene.
He thus begins an intense activity as a composer and sound designer for tv and movie soundtracks, voicing, and multimedia shows, together with discography. In 25 years he participates in festivals and concerts, as well as a producer.
He is the founder and director of Acusmatiq festival in Ancona (IT) and chairman to Acusmatiq Matme Association, born to promote the history of electronic music in the Marche region as well as its present achievements.
——
Alessandro Petrolati is a musician and developer with more than 20 years of experience in electronic music.
In 2011 he founds Ur.L.O. (Urbino Laptop Orchestra), the first laptop orchestra in Italy, with which he carries on a huge disclosure of electronic music. Among the 30 tour dates all around the Country, most important have been Acusmatiq festival Ancona, Teatro Valle in Roma, Foligno Auditorium, Perugia Fanta-City, Planetario di Roma with Ennio Morricone.
In 2012 he founds apeSoft and creates 13 apps for iOs and Apple devices - all dedicated to sound design. Since then, apeSoft gains a place among iOs musicians, counting on more than 35.000 world-spread users applying these sound design audio tools in filmmaking and electronic composition.
He has been invited to lecture at Max Festival in Leicester and ICSC (International Csound Conference) in S. Petersburgh.
He teaches Technology for instruments at Conservatorio Rossini in Pesaro (IT).
——
Leonardo Gabrielli, phD in Electronic engineering and his work deals with algorythms for sound synthesis, Deep Learning and music technologies at Università Politecnica delle Marche.
He is curator of the scientific-learning programmes at Acusmatiq festival from 2013. From 2016 he teaches in the field of Computer Music Production.
He took part in many avant-garde music performances as an engineer, creative and musician. In 2018 he is among the founders of Acusmatiq-MATME Association, responsible of the Italian Synth Museum - a project for the revival and promotion of the Italian district of musical instruments.
Paolo F. Bragaglia lives and works between Milan and Marche.
Since the 80's he is deeply concerned with the creative possibilities offered by technologic evolution. Over the years he spreads his research towards the relationship between music and moving image, then with architecture, visual arts, words and scene.
He thus begins an intense activity as a composer and sound designer for tv and movie soundtracks, voicing, and multimedia shows, together with discography. In 25 years he participates in festivals and concerts, as well as a producer.
He is the founder and director of Acusmatiq festival in Ancona (IT) and chairman to Acusmatiq Matme Association, born to promote the history of electronic music in the Marche region as well as its present achievements.
——
Alessandro Petrolati is a musician and developer with more than 20 years of experience in electronic music.
In 2011 he founds Ur.L.O. (Urbino Laptop Orchestra), the first laptop orchestra in Italy, with which he carries on a huge disclosure of electronic music. Among the 30 tour dates all around the Country, most important have been Acusmatiq festival Ancona, Teatro Valle in Roma, Foligno Auditorium, Perugia Fanta-City, Planetario di Roma with Ennio Morricone.
In 2012 he founds apeSoft and creates 13 apps for iOs and Apple devices - all dedicated to sound design. Since then, apeSoft gains a place among iOs musicians, counting on more than 35.000 world-spread users applying these sound design audio tools in filmmaking and electronic composition.
He has been invited to lecture at Max Festival in Leicester and ICSC (International Csound Conference) in S. Petersburgh.
He teaches Technology for instruments at Conservatorio Rossini in Pesaro (IT).
——
Leonardo Gabrielli, phD in Electronic engineering and his work deals with algorythms for sound synthesis, Deep Learning and music technologies at Università Politecnica delle Marche.
He is curator of the scientific-learning programmes at Acusmatiq festival from 2013. From 2016 he teaches in the field of Computer Music Production.
He took part in many avant-garde music performances as an engineer, creative and musician. In 2018 he is among the founders of Acusmatiq-MATME Association, responsible of the Italian Synth Museum - a project for the revival and promotion of the Italian district of musical instruments.
WORK
This special performance, specifically created for Blooming festival, is based on the project "Psicofonie" by Paolo Bragaglia. The project consists in collecting, playing and manipulating voices, speeches, monologues and sound documents locked up among the grooves of vinyl records - forgotten and unheards sounds that belong to a lost world.
"Psicofonie granulari" is about real time manipulation, through the granular synthesis of the voices from the "talking records" with the softwares developed by Alessandro Petrolati. The trio is composed as well by Leonardo Gabrielli, musician and computer music expert.
This special performance, specifically created for Blooming festival, is based on the project "Psicofonie" by Paolo Bragaglia. The project consists in collecting, playing and manipulating voices, speeches, monologues and sound documents locked up among the grooves of vinyl records - forgotten and unheards sounds that belong to a lost world.
"Psicofonie granulari" is about real time manipulation, through the granular synthesis of the voices from the "talking records" with the softwares developed by Alessandro Petrolati. The trio is composed as well by Leonardo Gabrielli, musician and computer music expert.
Roberto Memoli
—
live set
— Italy
BIO
He graduated from the Academy of Fine Arts in Urbino. During the academic years, he attended courses and seminars at ISIA in Urbino and at the LEMS - electronic music laboratory - at the Rossini Conservatory of Pesaro.
From 2011 to 2013 he was member and coordinator of the project "Ur.L.O. Urbino Laptop Orchestra", a work based on improvisation and direction of an electronic orchestra. In 2013 he founded with the VJ Luca Moroni the AudioVisual project "K-Sine" hosted, from 2013 to 2016, in several festivals including Robot Festival of Bologna (IT), Transient Festival of Paris (FR). At the same time, he carried out projects under the pseudonym Nero.txt.
In 2017 he began working on a new solo production that tries to combine contemporary art and electronic music. The scope of the research has abstract noise / lo-fi influences, trying to explore the noise component and reasoning on the concept of limit and attention to detail. He carries on projects that have an attitude toward visual arts, graphics, electronic music and environmental installations.
Recently he has participated in some artist residencies and some of his works have been performed in different places dedicated to art. Among these, the Luigi Pecci Center for Contemporary Art in Prato. He is currently performing live his new project "Not a Grid" - AudioVisual together with VJ artist Marco Santoro.
He graduated from the Academy of Fine Arts in Urbino. During the academic years, he attended courses and seminars at ISIA in Urbino and at the LEMS - electronic music laboratory - at the Rossini Conservatory of Pesaro.
From 2011 to 2013 he was member and coordinator of the project "Ur.L.O. Urbino Laptop Orchestra", a work based on improvisation and direction of an electronic orchestra. In 2013 he founded with the VJ Luca Moroni the AudioVisual project "K-Sine" hosted, from 2013 to 2016, in several festivals including Robot Festival of Bologna (IT), Transient Festival of Paris (FR). At the same time, he carried out projects under the pseudonym Nero.txt.
In 2017 he began working on a new solo production that tries to combine contemporary art and electronic music. The scope of the research has abstract noise / lo-fi influences, trying to explore the noise component and reasoning on the concept of limit and attention to detail. He carries on projects that have an attitude toward visual arts, graphics, electronic music and environmental installations.
Recently he has participated in some artist residencies and some of his works have been performed in different places dedicated to art. Among these, the Luigi Pecci Center for Contemporary Art in Prato. He is currently performing live his new project "Not a Grid" - AudioVisual together with VJ artist Marco Santoro.
WORK
His research is a mix of ambient-noise with various influences and hinted rhythms, which leaves an aggressive yet elusive mark. The continuous translation between different states does not follow a specific pattern, but events and their progression.
The audio material is the result of a series of recording sessions during 2018/2019 between field-recordings during artistic residencies and studio productions.
His research is a mix of ambient-noise with various influences and hinted rhythms, which leaves an aggressive yet elusive mark. The continuous translation between different states does not follow a specific pattern, but events and their progression.
The audio material is the result of a series of recording sessions during 2018/2019 between field-recordings during artistic residencies and studio productions.
Andrea Scaglione
Dj from Roma, mastering the consolle since early 2000s, presents different influences that result from his passion for clubbing. Deep House, Minimal House, Techno sounds melt in order to express a simple idea: music is for everyone and it has to be shared.
He's been playing in several clubs in Rome and Italy like Rashomon, Brancaleone, Esc, Vicious, Pascià, Byblos, NEO club, Peter Pan, and in festivals like Day festival and Liminal.
He's been playing in several clubs in Rome and Italy like Rashomon, Brancaleone, Esc, Vicious, Pascià, Byblos, NEO club, Peter Pan, and in festivals like Day festival and Liminal.
dj set
— Italy
Arssalendo
G O L A X is a site-specific sound installation in which Arssalendo de-contextualises the daily noises of Pergola, processing and re-inserting them pinged in the space of the town. From sunset, the main street becomes an immersive and evocative space enlivened by the same sounds of the city, revisited, amplified and diffused in order to create a dynamic and shifting enivronment.
sound art installation
— Italy
Kali
"Kali" is the feminine form of "time" or "the fullness of time" with the masculine noun "kala" - and, by extension, time as "changing aspect of nature that brings to life or death".
dj set
— Italy
Luca Cataldo
From light to projection
workshop
— Italy
BIO
Luca Cataldo (Ka:lu) is a multimedia artist focusing on audiovisual installation, big projections, vjing and djing.
His artistic approach is the result of learning by doing the process. His works are the way to show and express the achievement and goals in everyday life. His works are a mix between digital image/sound and different materials such as iron, fabric, wood. He is always looking for beauty and an aesthetic result that can provide a miscellaneous audience with immersive experiences.
In the last 10 years, he has been invited to many festivals, exhibitions, events, and art residencies. He also has been working with International Network for Culture and Arts at over 50 European projects as coordinator, trainer, and artist.
From 2008 to 2016 he has been in charge of the artist residencies and technical director for the dutch multimedia festival Oddstream.
He is one of the co-founder of the Italian visual label Antica Proietteria, specialized in the use of lights and projections in site-specific contexts.
He is Production manager, Technical Director and International manager for Kidsbit, a festival about digital creativity for kids and families.
ka-lu.net
Luca Cataldo (Ka:lu) is a multimedia artist focusing on audiovisual installation, big projections, vjing and djing.
His artistic approach is the result of learning by doing the process. His works are the way to show and express the achievement and goals in everyday life. His works are a mix between digital image/sound and different materials such as iron, fabric, wood. He is always looking for beauty and an aesthetic result that can provide a miscellaneous audience with immersive experiences.
In the last 10 years, he has been invited to many festivals, exhibitions, events, and art residencies. He also has been working with International Network for Culture and Arts at over 50 European projects as coordinator, trainer, and artist.
From 2008 to 2016 he has been in charge of the artist residencies and technical director for the dutch multimedia festival Oddstream.
He is one of the co-founder of the Italian visual label Antica Proietteria, specialized in the use of lights and projections in site-specific contexts.
He is Production manager, Technical Director and International manager for Kidsbit, a festival about digital creativity for kids and families.
ka-lu.net
WORK
"From light to projection" is a workshop for kids conceived to reveal the numerous ways that lead an image to be projected.
By playing with shadows, light tables, overhead projectors, tablet and projectors, kids will discover how to create visual compositions and intervene in the space with creative proposals made of toys, cuttings and tablet apps.
Different techniques are used depending on the age of participants.
A workshop that encourages manual skills through digital technologies.
"From light to projection" is a workshop for kids conceived to reveal the numerous ways that lead an image to be projected.
By playing with shadows, light tables, overhead projectors, tablet and projectors, kids will discover how to create visual compositions and intervene in the space with creative proposals made of toys, cuttings and tablet apps.
Different techniques are used depending on the age of participants.
A workshop that encourages manual skills through digital technologies.
urKinLab
Plastiqua
VR experience
— Italy
BIO
UrkinLab is a collective founded in 2015 with the aim of combining technology and arts, letting creativity flow freely. A constant research of what's new in computer graphics leads to sharing ideas and building projects.
The team is composed by Giacomo Scarpellini (software developer), Marco Lazzaretti (software developer) and Mariangela Malvaso (visual designer), joined by other professionals and technicians. On this occasion there are Alberto Formica (VR specialist), Leone Ruggiero (3d artist) and Enrico Liverani (sound FX).
www.urkin.it
UrkinLab is a collective founded in 2015 with the aim of combining technology and arts, letting creativity flow freely. A constant research of what's new in computer graphics leads to sharing ideas and building projects.
The team is composed by Giacomo Scarpellini (software developer), Marco Lazzaretti (software developer) and Mariangela Malvaso (visual designer), joined by other professionals and technicians. On this occasion there are Alberto Formica (VR specialist), Leone Ruggiero (3d artist) and Enrico Liverani (sound FX).
www.urkin.it
WORK
The sea. Non-lieu, symbol, tale, adventure, mistery, life, connection, communication, energy, poetry, passage, landscape, fun, fear.
In the past it was considered as a deity, nowadays it is a dump.
Waste is one of the main threats to marine ecosystems, and represent an increasing risk factor to biodiversity, environment and health. This project by urKinLab adds up with many other awareness attempts.
Plastìcqua is an interactive experience with virtual reality to express a strong message and call to action. With a VR viewer the user will be able to plunge in an apparently clean sea that slowly gets polluted. New creatures and new sea monsters will come to life from this slow and unstoppable "unintentional pollution" that we must absolutely stop.
"The sea smiles from far away. Teeth of froth, Lips of sky" (Federico Garcìa Lorca)
The sea. Non-lieu, symbol, tale, adventure, mistery, life, connection, communication, energy, poetry, passage, landscape, fun, fear.
In the past it was considered as a deity, nowadays it is a dump.
Waste is one of the main threats to marine ecosystems, and represent an increasing risk factor to biodiversity, environment and health. This project by urKinLab adds up with many other awareness attempts.
Plastìcqua is an interactive experience with virtual reality to express a strong message and call to action. With a VR viewer the user will be able to plunge in an apparently clean sea that slowly gets polluted. New creatures and new sea monsters will come to life from this slow and unstoppable "unintentional pollution" that we must absolutely stop.
"The sea smiles from far away. Teeth of froth, Lips of sky" (Federico Garcìa Lorca)
Live Cinema Festival
—
video screenings
— Italy
ABOUT
Live Cinema Festival is a live performing annual exhibition born in 2014 that explores and promotes all the artistic trends classified as "Live Cinema", with performances by artists that use this narrative technique as their stylistic code.
"Live Cinema" is an experimental narrative technique applied to the video performance that produces a simultaneous and real-time creation of sounds and images, where the traditional guidelines of narrative cinema, represented by the subjectivity photographed by the camera, expand in a wider horizon.
Live Cinema Festival is an event that reflects the spirit of our era in which technology has totally invaded every aspect of our lives: in this event machines, arts and technology melt in order to spread new messages and new perspectives, proposing a new imaginary, breaking down the borders between the medium and the content, manipulating images and using different approaches to make the final content clearly relied on the artists' improvisation and ability.
The project aims to offer to the audience an overview of these ways of interpreting Live Cinema, through the performances of artists coming from different countries; Live Cinema in fact is a form of expression spread throughout the world and, thanks to the development of technologies, it self-perpetuates creating new content almost every day, perspectives, ideas, dedicated events, academic courses and international cultural debates.
Live Cinema Festival is part of the AVnode project | LPM 2015 > 2018, a large scale cooperation project co-financed by the European Union cultural program "Creative Europe", including 13 partners from 12 countries with the purpose of promoting and developing the live video culture and the European audiovisual artists all over the world, through the production of 36 festivals, 3 meetings, 3 conferences about Audience Development and more than 200 satellite events in 3 years.
Live Cinema Festival is promoted by Flyer Communication and it's co-produced with Linux Club (linux-club.org) and FLxER.net (flxer.net), thanks to the cooperation of important international partners.
livecinemafestival.com
Live Cinema Festival is a live performing annual exhibition born in 2014 that explores and promotes all the artistic trends classified as "Live Cinema", with performances by artists that use this narrative technique as their stylistic code.
"Live Cinema" is an experimental narrative technique applied to the video performance that produces a simultaneous and real-time creation of sounds and images, where the traditional guidelines of narrative cinema, represented by the subjectivity photographed by the camera, expand in a wider horizon.
Live Cinema Festival is an event that reflects the spirit of our era in which technology has totally invaded every aspect of our lives: in this event machines, arts and technology melt in order to spread new messages and new perspectives, proposing a new imaginary, breaking down the borders between the medium and the content, manipulating images and using different approaches to make the final content clearly relied on the artists' improvisation and ability.
The project aims to offer to the audience an overview of these ways of interpreting Live Cinema, through the performances of artists coming from different countries; Live Cinema in fact is a form of expression spread throughout the world and, thanks to the development of technologies, it self-perpetuates creating new content almost every day, perspectives, ideas, dedicated events, academic courses and international cultural debates.
Live Cinema Festival is part of the AVnode project | LPM 2015 > 2018, a large scale cooperation project co-financed by the European Union cultural program "Creative Europe", including 13 partners from 12 countries with the purpose of promoting and developing the live video culture and the European audiovisual artists all over the world, through the production of 36 festivals, 3 meetings, 3 conferences about Audience Development and more than 200 satellite events in 3 years.
Live Cinema Festival is promoted by Flyer Communication and it's co-produced with Linux Club (linux-club.org) and FLxER.net (flxer.net), thanks to the cooperation of important international partners.
livecinemafestival.com
PROGRAM
- LCF 2014-2018 Report
- The Light Surgeons, "In Profile"
- Dies_, "Materia Sonica"
- Addictive TV, Orchestra of Samples by AV artists Showreel
- Klaus Obermaier, audiovisual performance
- Ernesto Sarasa (Fonosträbico), "Ente"
- Nikita Diakur, "Fest - Experimental short film"
- LCF 2014-2018 Report
- The Light Surgeons, "In Profile"
- Dies_, "Materia Sonica"
- Addictive TV, Orchestra of Samples by AV artists Showreel
- Klaus Obermaier, audiovisual performance
- Ernesto Sarasa (Fonosträbico), "Ente"
- Nikita Diakur, "Fest - Experimental short film"