Mawena Yehouessi (born in 1990) is a curator, researcher, and artist whose practice is rooted in collage, both as an ethic and a methodology for collective emancipation.

After studying literature, philosophy, project management, and contemporary dance, she founded the Black(s) to the Future collective in 2015, launching a body of work at the intersection of art, research, and activism. Describing herself as a “collisionist,” she explores the frictions and synergies between disciplines, formats, and narratives. In 2024, she defended the first research-creation dissertation in the arts at Villa Arson and the Université Côte d’Azur, titled Afrofuturist Poetics: Weaving Patterns at the Intersection of Collage and Curation. Since 2025, she has been teaching at the École nationale supérieure des Beaux-Arts in Lyon.

In Europe and abroad, she has curated exhibitions and public programs (Bétonsalon, La Box, Villa Arson, Fondation Ricard, Berghain/LAS…), while also conducting educational activities, notably at HEAD–Geneva and ENSA Paris-Malaquais. Her first two collaborative films, Sol in the Dark and Joy Boy, premiered at the 72nd (2022) and then at the 76th Berlinale (2026), while his visual work has been exhibited, among other places, at the Beursschouwburg, the Dunkirk Triennale, Tanzhaus Zürich, deSingel, and the IAC—Villeurbanne/Rhône-Alpes. She has also contributed to the translation of several of Fred Moten’s texts into French, and her own writings have been published in e-flux Architecture, A*Desk, Klima, and The Funambulist, as well as in various exhibition catalogs.

DJs and producers Gernot Bronsert and Sebastian Szary, known as MODESELEKTOR, hardly need any introduction.
Since the early 2000s, they have been a staple of the Berlin techno scene, deeply rooted in East Berlin.

After numerous tours, they became an internationally recognized band. At the same time, Bronsert and Szary founded the label Monkeytown Records, a true creative hub within the MODESELEKTOR universe. There, they produce not only their own tracks but also those of many other artists across various genres.

It’s clear that MODESELEKTOR is built on friendship, open-mindedness, and an eclectic optimism toward electronic music. IDM, hip-hop, UK bass, breaks, house, ambient: MODESELEKTOR has thrown itself wholeheartedly into all these styles, bringing great variety to their music. Not to mention their numerous collaborations with international producers,
, and musicians—and, of course, their friends. For example, on their album *Monkeytown*, you can hear Thom Yorke of Radiohead. MODESELEKTOR has also collaborated with Tommy Cash, Flohio, Siriusmo, Blixa Bargeld, Iggor Cavalera, Catnapp, Otto Von Schirach, Paul St. Hilaire, Omar Souleyman, Anti Pop Consortium, Miss Platnum, and many others. Bronsert
, and Szary are one and the same; they’ve never really worked separately over the years.

Then came Moderat. It was a project with their best friend Sascha Ring, aka Apparat. The formation of this trio opened up a whole new world for MODESELEKTOR. Sold-out concerts, packed venues: they created a true phenomenon.
But then, Sascha Ring relaunched his solo project under the name Apparat, and MODESELEKTOR was in need of a well-deserved break. They were like chemists in their lab, concocting music in the noblest sense of the word. The duo is returning to its roots, to its beginnings. With K7!, they’re releasing the DJ-Kicks compilation *
* by MODESELEKTOR. While creating this compilation, they were able to take a fresh look at their music, which guided them toward their new projects.

With “Classics Vol. 01” (MTR139 – CV1, inspired by Curriculum Vitae), MODESELEKTOR is releasing a special edition that traces the history of their career. With these eight tracks, the duo has reinterpreted their first two albums, *Hello Mom!* and *Happy Birthday!*, to create a new work.

These tracks weren’t simply reworked from old files, but were completely re-recorded with Johannes Wagner.

Fifteen years ago, the Scale collective was made up of a group of four passionate friends eager to think outside the box by combining their skills in their spare time. Today, Scale has grown and is now multigenerational; its work is exhibited around the world, but the collective remains committed to a DIY and “made-at-home” ethos. Its members refuse to define themselves individually as artists and prefer to claim collective production of new media art installations under a single name, drawing inspiration from science and the world of contemporary art as much as from mainstream pop culture. Together, they explore the connections between music and visuals, light and architecture, entertainment and art, nature and the future, and humans and machines. Over the years, through creations for festival music stages and museum settings, Scale has developed its own language to create works that are technological, narrative, sensory, and playful—accessible to as wide an audience as possible—with a particular commitment to never ceasing to innovate.

Since 2011, the Franco-American choreographers Liz Santoro and Pierre Godard have been collaborating closely to create generative and algorithmic choreographic works that seek to subvert our habitual patterns of attention. For Liz Santoro, a classical training at the Boston Ballet, a degree in neuroscience from Harvard, and a career as a performer on New York’s experimental scene have fostered an inexhaustible curiosity about what the human body is capable of. For Pierre Godard, a deliberate path from science to directing and choreography—via a dissertation on artificial intelligence—fuels his reflections on the future of dance and its connection to society as a whole.

The uniqueness of their respective artistic journeys has led them to develop original choreographic systems—centered on movement and text—that offer audiences playful and hypnotic experiences.

Their work has been presented in France, Europe, North America, and Asia. They have created various group pieces, including *We Do Our Best* ( 2012), *Relative Collider* ( 2014), *For Claude Shannon* ( 2016), *Maps* ( 2017), *Noisy Channels* ( 2018 and 2019), *Stereo* ( 2019), *Scales* ( 2019), *Tempéraments* (2019), Mutual Information (2021), The Game of Life (2022), as well as site-specific works such as Watch It ( 2012), Quarte ( 2014), FCS Redux ( 2017), Mass over Volume ( 2017), Learning ( 2018 and 2019), Contrepoints ( 2023). Watch It received a Bessie Award in 2013 in the category “Outstanding Production for a work at the forefront of contemporary dance.” In 2021, the work Contrepoints was selected as a winner of the “Mondes nouveaux” program initiated by the Ministry of Culture.

Christine Armanger is a French artist. A choreographer, performer, writer, and visual artist, she has worked with Laurent Bazin and Marie-Noëlle Genod, among others; she trained with Romeo Castellucci, Jan Fabre, Ambra Senatore, and Gisèle Vienne. She plays the mandolin and holds a Master’s degree in Performing Arts—Cultural History. A fan of wide-ranging forms and styles, she performed as a burlesque stripper (2010–2011) while also working as a performing arts j
r on Radio Campus Paris (2008–2015). After her early works, she founded [Compagnie Louve], with which she developed her choreographic and visual language through a resolutely hybrid and unique approach. She is particularly interested in ceremonial practices and the connections between the contemporary and the non-contemporary, drawing on art history to reinterpret it. Alongside her stage work, from 2010 to 2020 she developed a performative practice on social media under her avatar: Edmonde Gogotte. In 2017, she was a recipient of the Institut Français’s “Hors les murs” program; in 2024–2025, of the Paris Réseau Danse program; and in 2025–2026, of the Franco-Quebec program “Choreographic Art and Digital Imaginaries .” Blurring the lines between live performance and contemporary art, she presents her works and performances in France and abroad.

Maxime Arnould, born in Reims in 1992, has been living in Brussels for 10 years. Since 2018, Maxime has been working on technocritical and playful performances (such as “hello world” and “passion 4 fear”) and has collaborated with other artists (Magrit Coulon, Audrey Apers, Elsa Chêne, Ivana Müller, Paola Pisciottano, and Mikael Serre). His practice encompasses various forms—performances, videos, publications, and public interventions—all within the realm of live art.

In the field of parts manufacturing, his job is to create, for the duration of a performance,a potentially active community. Maxime does not see himself as an expert, but rather as a user, offering a critical and playful reflection on how we use our technological tools.

This work takes a form similar to that of craftsmanship, based on the creation and repurposing of objects or the archiving of personal materials (objects, videos), which are then used in her pieces.

Since 2019, Maxime has been a member of the 3ème vague collective, a Brussels-based group of artists whose work explores ecology as applied to the performing arts.

INVIVO was founded in 2011 as a collective. The team came together to explore the following question: How can the audience’s perception and sensations create a new form of storytelling?

With fifteen years of creative work, collaborations, cultural and artistic initiatives, and outreach under its belt, the team has successfully established itself as a leading force in the theater and digital arts sectors. Under the artistic direction of Julien Dubuc, INVIVO continues to develop, through each project, its distinctive creative voice and its commitment to exploring the audience’s role and perceptions.

Julien Dubuc and INVIVO are associate artists at the Théâtre Ducourneau, a state-subsidized youth theater in Agen, and members of the Théâtre de l’Union ensemble, the National Center for Dance (CDN) of the Limousin region. INVIVO is funded by the DRAC of Nouvelle-Aquitaine and the Lot-et-Garonne Department, and supported by the Nouvelle-Aquitaine Region and the City of Agen.

Racha Baroud is a Lebanese performer and director. In 2015, she directed *Today was my birthday* in Paris, a musical tribute to Tadeusz Kantor’s *Theater of Death*. In 2020, she co-directed the documentary *Ali, Hachem, and Khaled* with filmmaker Roy Arida. In May 2022, she presented her play *What if those tears were not only mine? * in Beirut. In 2023, she began a performative research project on the theme of erasure with patients at the Malévoz psychiatric hospital in Monthey, Switzerland. She is currently working on her next performance , *When adjusted to darkness, your eyes begin to see*, in collaboration with composer Kinda Hassan, with whom she forms the duo Deaf-Tones. Since 2019, she has been part of the team at Studio Amalgam, a space dedicated to the performing arts in Beirut.

Kinda Hassan is a Paris-based composer and artist who works with sound, video, crafts, and software programming. Her works have been presented at various festivals, museums, and art galleries, including the Résonance Festival in Marseille (Mucem), the Propagations Festival (GMEM), Mans Sonore (Le Mans Biennale), in Cannes, at the Berlinale, in Oberhausen, in Jihlava, at Transmediale, at La Maréchalerie, at the Mumok in Vienna, at the Casa Árabe in Madrid, and at other art spaces, festivals, and platforms across Europe, North America, and the Middle East. Kinda Hassan earned a Master of Fine Arts from the Lebanese Academy of Fine Arts (ALBA) in 2007 and a Master’s degree in sound design from the Higher School of Art and Design (ESAD-TALM) in Le Mans in 2018. Since October 2024, she has been working on an artistic doctoral research project focused on the construction of automated instruments as an electroacoustic compositional practice. She has collaborated as a sound designer and composer on numerous video, film, and performance projects.

After getting her start in a jazz band and making several forays into the electronic music scene in Tunis, the Tunisian producer and DJ moved to France in 2016. She then joined the Paris-based label InFiné, on which she released two EPs, Klabb (2017) and Dhakar (2020), as well as a debut album, *Khonnar* (2018), which was praised by international media outlets such as Pitchfork and The Guardian.

Her music explores new ways of creating a dialogue between the various elements of Arabic music, blending them with electronic music, club music, and today’s avant-garde and experimental scenes. In particular, she co-produced the track “an itch”, featured on the album Plunge by Fever Ray, and has produced several remixes for artists such as Bachar Mar-Khalifé, Flore, Domenico Torti, and Afrika Bambaataa. She also collaborates with the world of dance, composing and performing the music for Weaver by Alexandre Roccoli in 2017.

Whether performing live or as a DJ, Deena Abdelwahed has appeared on numerous international stages and at festivals, including Sonar (twice), Les Dunes Électroniques in Tunisia, the CTM Festival in Berlin, Dekmantel in Amsterdam, Dour, and Mutek in Mexico City. She has also played at iconic clubs such as Concrete and Dehors Brut in Paris, Berghain in Berlin, and Mutabor in Moscow.

Wael KOUDAIH (also known as Rayess Bek) is a Franco-Lebanese composer, performer, and artist who pioneered Arab hip-hop in the early 2000s. Through his work, he explores the cultural memory of the Arab world by blending audiovisual archives, electronic music, and critical storytelling.

After establishing himself as one of the leading voices in Arabic rap with the group Aks’ser, he turned to more experimental forms with *Good Bye Schlondorff* (2013), which was praised by the Centre Pompidou, the HKW, and Superdeluxe (Tokyo). His project *Love and Revenge* (2015), which remixes classics of Arab cinema, has toured in more than 24 countries.

He continues this approach with *Galbi Galbi*, based on the archives of Studio Baalbek, and *Agmal Layali* (2025), a commission from the Philharmonie de Paris in tribute to Umm Kulthum. His other works include *Strange Land* (2019), *DABAKA* (2018), and *4375* (2017), all of which lie at the intersection of memory, sound, and social engagement.

Wael KOUDAIH also works in film, theater, and documentary, pursuing an artistic approach that challenges dominant narratives and gives a voice to forgotten archives.

Composer, multi-instrumentalist, and video artist Khalil Hentati (EPI) has established himself as a central figure in the contemporary electronic reinterpretation of traditional and popular music. His soundscape moves freely between electronic, improvised, club, and classical music, bridging the gap between tradition and modernity with rare coherence and emotion.

*Aïchoucha*, his immersive production blending live music and a documentary film that he directed himself, has been a resounding critical and popular success—hailed by artists and major institutions for its unique approach to North African sound memory. His duo, Aïta Mon Amour, with Moroccan singer Widad Mjama, has since toured extensively, bringing their vision of contemporary Arabic popular music to stages across Europe and beyond. He is also a member of Frigya alongside percussionist Imed Alibi.

Over the years, he has collaborated with a wide range of artists, dancers, and musicians — N3rdistan, Seydou Boro, Masrah el Khachaba, Arabstazy — through visual art, contemporary dance, animation, orchestration, and lyrical arrangement. He co-directs the Franco-Tunisian record label Shouka and is a co-founder of Mottamar, the Arab Congress of Electronic and Innovative Music.

László Zsolt Bordos is a Hungarian artist born in Brașov, Transylvania (Romania), in 1977. He moved to Hungary in 1997, where he studied at the Hungarian Academy of Fine Arts in Budapest and then, thanks to a scholarship, at the MediaLab at the UIAH (University of Art and Design) in Helsinki. He has been working with video projectors since 2000. Recognized as one of the pioneers of the genre, he made a name for himself with his early 3D VJing performances (2000–2004), his innovative projections (2005–2006), and his 3D mapping works created since 2007. Having participated in numerous art exhibitions and festivals, he has presented his work in more than 40 countries, including the Mapping Festival in Geneva, Glow Eindhoven, Signal Prague, Lux Helsinki, Filux Mexico, Ars Electronica Linz, ZKM Karlsruhe, and the Adelaide Festival of the Arts. Bordos’s areas of interest include object mapping, architectural projections, and set projections for theater and opera, and he is involved in projects with MŰPA (Hungarian Palace of Arts), the Semperoper in Dresden, the Dijon Opera, and the Barbican Centre in London.

Bordos has launched several projects, such as: the first video mapping contest in the world (held in Budapest in 2010), ALO – Art of Light Organization (2020), the Manifesto of Light Art (2021), the Light Art course at MOME —the Moholy-Nagy University of Art and Design in Budapest (since 2021), co-founder and president of LIGHTHOUSE – the Association of Hungarian Light Artists (between 2021 and 2023), initiator and co-founder of LAM – the BudapestMuseum of Light Art (2022), co-organizer of the biennial symposia on light in Hungary (since 2023), member of the John von Neumann Computer Society ( since 2024) , co-chair of the International Kepes Society (since 2024).

Allison Moore is a multimedia artist who works in the field of immersive cinema. Based in Montreal (Tiohtià:ke), she holds a Master of Fine Arts (Film) from Concordia University. His work has been presented at the Venice Architecture Biennale, the Grand Théâtre du Québec, the Society for Art and Technology of Montreal, Ars Electronica, Tokyo Arts and Space, MUTEK, and ISEA. His recent projects draw inspiration from digital storytelling, video mapping of landscapes and architecture, fulldome, site-specific public art, and performance art. Moore’s works reinterpret and reconstruct the world as a metaphorical landscape in which sentient beings interact with their allegorical macrocosm. Moore works as a freelance editor, composer, and animator, and currently teaches part-time at Concordia University’s Film School.

Parker Heyl is a kinetic artist, set designer, and professor at the Bartlett School of Architecture in London. He creates kinetic sculptures and immersive environments that challenge the 20th-century vision of a world that can be digitally structured and managed by cybernetic systems. These translations are not without loss: what is lost is a sense of the object’s presence, or aura. Parker has created works for galleries, including Frieze No. 9 Cork St, the MAD Gallery in Geneva, and the Venice Architecture Biennale. His work as a set designer has been presented internationally at venues such as the Brooklyn Paramount, FOLD London, the Munich Biennale, the Glastonbury Festival, and the Coachella Music Festival.

The Collectif Impatience (75) places research and the relationship with the individual—the audience member—at the center of its creations.

“In light of global developments, we are taking an exploratory approach. We create forms that shift the viewer’s gaze, that transform the way a performance is experienced and the way one becomes a spectator. We are implementing a “dramaturgy of address.”

Our works and performances are conceived as interactive mediums with the audience: visual and/or participatory installations, theater without actors, audience-centered staging, and performances in which we ourselves take part…

The encounter can serve as the starting point for a performance such as Bâton which invites someone from outside the theater world to be at the center of the process. But our research on “the audience” can turn into an obsession, as in Lumen Text to the point where there are no more interpreters. The concept of “assembly” underpins the very principle of the TTension Conference. We develop performances, gallery installations, laboratories, game and discussion protocols, sound installations, and site-specific works in non-traditional venues. Our research is informed by protocols that encourage confrontation, intertwining, and hybridization.

The connection to the visual arts is emphasized. We are just as interested in the method and the creative process as we are in the final format.

The Research Project What Can the Night Do?, supported by the Ministry of Culture’s research division, brought together researchers, artists, and children to explore, in the space of the night, participatory formats tailored to children. As a result of this research, a work of the same name was created in December 2025.

The Collectif Impatience has been under contract with the DRAC Île-de-France since 2025; it regularly receives project funding for its productions from the DRAC Île-de-France, the Île-de-France region, Dicréam, and Spedidam… Its productions have been staged at venues including the Théâtre de Vanves (92), the T.U. (Nantes – 44), La Filature (Mulhouse – 68), at the Vivat in Armentières (59), at C.12 (Mantes-La-Jolie (78)), at Dello Scompiglio (Italy), at L’Échangeur (Bagnolet – 93), at Emmetrop (Bourges – 18), at the Laboratoires d’Aubervilliers (93), at the Maïf Social Club (Paris), at the MacVal in Vitry (94), at Bain Public/Saint-Nazaire (44), at the Théâtre du Train Bleu/Avignon Off Festival, the Studio-Théâtre de Vitry (94), the Frac Lorraine (57), and at the Bruits de Galop (75), Dans Ta Cour (75), OTNI (75), Connexions (63), etc.

Based in Grenoble, at the third place called La Bifurk, Collectif Coin was founded in 2009 by Maxime Houot, a physicist by training. He uses digital art as a medium to explore themes of movement and space, while challenging our perception of these concepts. For each new project, he leads a team assembled based on the project’s needs, the required expertise, and the desire to collaborate. The collective is therefore not made up of permanent members, but operates on a modular basis.

Coin focuses on producing installations and performances that range from monumental to intimate. Maxime Houot wears, in turn, the hats of musician, set designer, and “tinkerer” when it comes to electronics and microcontrollers.

Originally, Collectif Coin was a nonprofit organization formed around a music group. Gradually, the collective began experimenting with performance art, photography, and video. While the other members moved on to more conventional jobs, Maxime Houot kept the organization alive; today, it is essentially his own business, although he has retained the name for historical reasons.

Tom Hébrard is a designer and co-founder of the visual arts label OYÉ, which focuses on the ecological transition through art, design, and education. In particular, he co-developed a low-tech projection tool—the “visiophare” —made from a school overhead projector, which allows users to create immersive visual narratives that can be projected indoors or onto building facades. His motto: to create visions of a desirable future, put them into action, and share them.

Manon Lefébure is a visual artist and designer whose work lies at the intersection of craftsmanship and writing. Using intimate feelings as her raw material, she seeks to evoke collective and universal emotions in her audience—with whom she often collaborates—through her objects. In her singing practice, Manon Lefébure—under her pseudonym Miaule Mort—uses a vocal looper that allows her to set stories to music live.

Born in 1992 in France, he lives and works in Tunisia.
Fredj Moussa studied at Le Fresnoy from 2021 to 2023. In 2024, he is an artist-in-residence at the Villa Medici in Rome.

His work lies at the intersection of film and sculpture. He creates landscapes in which fiction becomes a form of resistance. Through videos and costumes made from recycled materials, he creates speculative narratives that blur the lines between documentary and myth.

Fredj Moussa’s works have been featured in exhibitions such as the B7L9 Art Station in Tunis (Tunisia), the Selebe Yoon Gallery in Dakar (Senegal), and the Berlin Biennale (Germany), among others.

He will receive the CIFRA Award at LOOP Barcelona in 2023. In 2025, Fredj Moussa received the award for Best Experimental Documentary Film at the Jihlava International Documentary Film Festival (IDFF).

Jérémy Griffaud is an artist who explores the role of the viewer in hybrid realities through installations that blend the virtual and the real. Using digitized watercolors, video game engines, virtual reality headsets, and large-scale projections, he creates immersive and interactive environments. Thus, in his installations *Enlarge Yourself* and *The Garden*, the visitor becomes a performer, and the activation of the work depends on the visitor’s involvement. In *The Origin of Things*, visitors find themselves immersed in a psychedelic science-fiction universe that explores humanity’s relationship with nature. Jérémy holds a DNSEP with a concentration in art (Master’s degree), which he earned in 2017 at the Pavillon Bosio, the City of Monaco’s School of Fine Arts. The public has been able to experience his works at numerous art venues, such as the Marc Chagall National Museum in Nice for a solo exhibition, the Panacée in Montpellier, the Gaîté Lyrique in Paris, and the Shenzhen Museum of Art. Some of his artist residencies have taken him to Norway, Poland, China, Japan, and Malaysia. In 2023, he was awarded a residency at the Villa Medici through the XR Farnese program. His film *Dungeon* has won two awards, at the Boden Film Festival in Sweden and the Emerald Peacock Film Festival in Saint Petersburg.

Lara Tabet is a physician and transdisciplinary artist working at the intersection of art, ecology, biomedical sciences, and politics. She works in a variety of media, including experimental photography, installation, video, and bioart. Her recent work blends scientific research, fiction, and autobiography to explore water, toxicity, and the multiscale interconnections between microscopic exchanges and global flows.

In 2012, after completing his residency in clinical pathology at the American University of Beirut, Tabet graduated from the International Center of Photography in New York and received the Lisette Model Fellowship.

Her work has been exhibited throughout the Arab world, the United States, and Europe. Her exhibitions include the 13th Taipei Biennial; “How Will It End,” at Villa Boghossian, Brussels, 2022; “Emergent Strategies from the Deep,” at Savvy Contemporary, Berlin, 2021; and many others. She has received grants from AFAC and Al-Mawred Al Thaqafi, and was the recipient of the Arte East grant in 2016 and the Sursock Museum Prize in 2018. In 2022, she received the Prince Claus Mentorship Award for cultural and artistic responses to environmental change. She currently lives in Marseille.

Miguel Miceli is an Italian-Spanish interdisciplinary artist. His practice centers on the transformation of the landscape, at the intersection of the technological sublime, the occult, and ecology. By weaving connections between ancestral traditions and modernity, he shifts the focus away from an anthropocentric perspective through speculative narratives and evolving installations. He often works on the fringes of territories, seeking out elements that carry personal and collective memories and challenge the dualisms between nature and culture, subject and object, dream and reality.

Stéfane Perraud and Aram Kebabdjian have been working together for 10 years. They are developing a practice at the intersection of art, scientific research, and environmental humanities. Their work examines measurement methods, standards of evidence, and ways of sensitively interpreting ecological phenomena, by integrating data, technical protocols, and contemporary narratives. Their work explores the relationships between landscape, listening, and immersion through installations, compositions, and site-specific works. Together, they create narrative machines. Straddling the lines between fiction and documentary, art and science, literature and mythology, and ranging from sculptural installations to transmedia works, their work seeks to create an archaeology of our time. Their work has been presented at Plateforme 10 in Lausanne, at the CENTQUATRE and the BAL in Paris, at the Lieu Unique in Nantes, at the Centre Wallonie Bruxelles, and at the FRAC Corsica…

Born in 1991, Thomas Garnier is a French visual artist and architect whose work explores the life cycle of the built environment through the lens of digital automation. A graduate of ENSAPVS and Le Fresnoy—National Studio of Contemporary Arts, he is the recipient of the ADAGP “Révélation Arts Numériques” Award for his installation *Cénotaphe*.

Thomas Garnier draws on cutting-edge production techniques—robotics, 3D printing, and environmental engineering—to revive pre-cinematic devices such as phantasmagoria, lithophany, and “Pepper’s Ghost.” His work embodies a form of “technical hantology,” in which the precision of contemporary machines serves to reanimate the spectres of architectural history. From automated concrete models that are perpetually being built and collapsing to the robotic shadow plays of “dark factories,” his installations create a dialogue between the mass of industrial ruins and the immateriality of the digital flow.

By juxtaposing 18th-century Romantic imagery with AI-generated landscapes—where servers and logistics hubs intermingle—Thomas Garnier documents a world adrift, suspended between construction and decay. His work reveals an archaeology of the present: an unstable and illusory space where the boundary between the archaic and the futuristic eventually dissolves.

Yue Cheng is an artist-researcher of Chinese origin who lives and works in France. A graduate of the École nationale supérieure de la photographie in Arles, she is currently a doctoral student at Le Fresnoy – National Studio for Contemporary Arts, in collaboration with the Université du Québec à Montréal (UQAM).

His work is rooted in a reflection on contemporary ways of living in the Anthropocene era. Drawing on his experience of growing up in China amid rapid development, he explores the tensions between anthropocentrism, urbanization, and the ecological crisis. Through speculative ecosystems—an underground city, an artificial island, a sphere, a mycelial system—she explores the interconnections between phenomena that define modernity, such as consumer society, the persistence of revolutionary narratives, and changes in the urban landscape.

At the intersection of photography, video, sculpture, and digital hybridization, she has developed a poetic and forward-looking practice. His works create microcosms that explore themes of utopia, dreams, spectacle, and the relationships between human beings and their environment.

His work has been exhibited in France, China, Canada, Germany, Switzerland, and Greece.

Yasin is a unique talent who seamlessly blends his expertise as an electrician with his passion for light art. Since 2018, he has been contributing to artistic productions, notably the INTERFERENCE Light Art Project in Tunis. In his creative practice, Yasin repurposes materials from his electrician’s workshop.

Hichri Dorra, born in Sousse, Tunisia, holds a Ph.D. in aesthetics and art practices. She currently teaches at the Institut Supérieur des Arts et Métiers in Sidi Bouzid. An active visual artist since 2018, she has developed a practice at the intersection of research and creation.

Her approach combines theoretical reflection with artistic experimentation across various media. She is particularly interested in the digital image, which she explores as a material in a state of transformation. Through her installations, she creates immersive visual experiences using video projection, video mapping, and screens. Since 2022, her work has drawn connections between art and science, opening up new ways of perceiving the image.

Through her projects, she seeks to explore our relationship with the living and the sensory, inviting viewers to experience moving images that are in constant flux, oscillating between perception, emotion, and transformation.

Maïssane Alibrahimi is a Franco-Moroccan artist whose practice examines power dynamics, patriarchal structures, and the narratives and construction of femininity through a feminist and decolonial lens. She explores the tensions between gentleness and resistance, tradition and subversion, by using symbolic and domestic materials that she transforms into fragile, ornate, and evolving structures, at the intersection of sculpture, installation, and mechanical performance.

Drawing on the intimacy of the home, she extracts gestures, customs, and micro-rituals. Her work draws on the latent qualities of objects, ceremonial codes, and domestic images, exploring how the body marks its presence in time and space. By bringing these ordinary forms to life, she uncovers fragments and totems of everyday life whose banality masks their symbolic significance.

Based on assembly, stacking, and the ephemeral, she develops an aesthetic of imbalance and transformation. Her gestures, both meditative and transgressive, deconstruct standardized forms to reveal the latent violence embedded in economic, social, familial, and spiritual structures.

Sensitive to cultural transmission and contradictory legacies, she subverts the conventions of ornamentation, traditional symbols, and rituals, reconfiguring them as spaces for critical engagement and as strategies for emancipation, displacement, and reappropriation.

A graduate of Villa Arson (Nice) and holder of an international MBA in Art from IESA (Paris), she lives and works between Paris and Rabat. In 2024, she was selected for the Arab Artists Now – Feminist Legacies program organized by K-oh-llective and Lina Ramadan. In 2025, she received the Audience Award at the Prix Icart Artistik Rezo and the Jury Prize at the Prix Dauphine for Contemporary Art, alongside curator Juliette Hage.

Born in 1964, Albertine Meunier lives and works in Paris and Vitry-sur-Seine.

She has been practicing what is known as digital art since 1998 and uses the Internet as a medium for her work. She explores the essence of poetry, digital aesthetics, and networks. She favors simple, minimalist forms—which sometimes seem “homemade”—deliberately steering clear of the hyper-technical nature of certain digital systems.

These works take a critical yet playful look at major internet players such as Google, Twitter, and Facebook, as well as the new world around us.

Through her research and the works she creates, she seeks to reveal the invisible or the poetry of digital things.

Albertine weaves a tale of playful, irreverent, and funny poetry. She’s DataDada, and it shows!

Cécile Babiole has been active in the field of music and electronic and digital arts since the 80s. Her creations combine visual and sound arts in installations and performances that question technologies with irony and singularity. Her latest work focuses on language, its transmission, dysfunctions, reading, translation and algorithmic manipulation. In 2016, she co-founded the Roberte la Rousse collective, a cyberfeminist group working on language, gender and technology. She is a member of the artist-curator collective “Le sans titre”.

She is also an exhibition curator. Her latest exhibition: Hadaly et Sowana, cyborgs et sorcières at L’Espace Gantner, Bourogne (2019-2020). Her work has been exhibited internationally: Centre Pompidou, Gaîté Lyrique – Paris, IMAL – Brussels, Mutek, Elektra – Montreal, Fact – Liverpool, MAL – Lima, NAMOC – Beijing, … and awarded numerous prizes and grants: Ars Electronica, Locarno, Prix SCAM, Bourse Pierre Schaeffer, Bourse Villa Médicis hors les murs, Transmediale Berlin, Stuttgart Expanded Media Festival…

Jean-Marie Boyer is an artist-developer specializing in the creation of installations, performances, and interfaces that draw equally on the codified systems of artistic representation (painting, architecture, countercultures) as to human and physical phenomena (geopolitics, socioeconomics, finance), sensory perception, and cognitive systems. He is a founding member of the RYBN collective.

An artist who humorously examines our hypermodern times, Filipe Vilas-Boas offers a satirical critique of the notion of technological progress while cultivating his own analog and digital poetry. His installations, videos, and performances blend AI and DIY, robotics and philosophy, sociology and literature, astronomy and music.

Filipe Vilas-Boas is an artist born in Portugal in 1981. He lives and works in Ivry. A conceptual artist who explores the porosity between the IRL and URL worlds, his creations combine upcycling, repurposing, and new media. In particular, he explores the possibilities and excesses of the digital world and attempts to bring its ethical and aesthetic implications to life.

A self-taught artist, his practice began in 2008 with network-based interventions in public spaces. That same year, he began exhibiting at venues including the FIT Freie Internationale Tankstelle in Berlin. Starting in 2014, he participated in Nuit Blanche with an interactive starry sky installation inside the Saint-Eustache Church. In 2015, he held his first solo exhibition at the Flaq Gallery in Paris and participated in the Musée Passager. His work was featured in two editions of the book *Portuguese Emerging Art* in 2018 and 2019. He now regularly exhibits his works in France and abroad.

Recently, his installations, videos, and performances have been featured in various artistic and digital events, such as the International Conference on Artificial Intelligence at UNESCO, French Language and Francophonie Week, and the Siana Biennale, the Némo Biennial at the CENTQUATRE and the Musée des Arts et Métiers, the Teatros del Canal in Madrid, the ADAF in Athens, Share in Turin, the Zaratan Gallery, the MAAT Museum in Lisbon, the CCBB Belo Horizonte in Brazil, and the Tate Modern in London.

Julien Prévieux is an artist and professor at the École nationale supérieure des Beaux-Arts in Paris. He creates work that focuses on technologies that organize, measure, and sometimes anticipate human behavior. Rather than treating artificial intelligence as a recent breakthrough, he examines its historical context: the classification systems, measurement protocols, predictive tools, behavioral models, and cybernetic imaginaries that preceded it and made it possible. In this sense, his work is part of a critical archaeology of media and technology, in which contemporary technologies appear as the result of a long history shaped by administrative machines, norms, and constrained bodies. His works take many forms (films, performances, installations, drawings, letters, or protocols) and subvert or slow down computational systems to better reveal their political logic.

A recipient of the Marcel Duchamp Prize in 2014, he has presented his work in numerous solo and group exhibitions, notably at the Centre Pompidou in Paris, the Art Sonje Center in Seoul, the MAC in Marseille, the RISD Museum of Art in Providence, the ZKM in Karlsruhe, the 13th Lyon Biennale, and the 10th Istanbul Biennale. His performances have been presented at the Ménagerie de verre in Paris, the T2G – Théâtre de Gennevilliers, DiverseWorks in Houston, and Usine C in Montreal.

Daniela Nedovescu and Octavian Mot, known collectively as “mots,” are a Romanian-German artist and filmmaker duo who have been working together for over 14 years. They write, direct, and produce works in the fields of installation art, film, web series, and digital media. Their hybrid approach combines emerging technologies, custom-designed physical environments, narrative thinking, and participatory formats.

At the heart of their work lies an interest in how society and technological systems shape perception, behavior, and social experience. By incorporating custom software, interactive design, and audiovisual media into their broader artistic language, they create projects that combine immersive storytelling, critical perspective, and cultural relevance.

Their works have been exhibited internationally and won the 2025 Lumen Prize Experiential Award. The mots art projects have also been featured in Artnet, Wired, Variety, CBS, and Designboom.

Olivain Porry is an artist and a SACRe doctoral candidate at the EnsadLab research laboratory of the École nationale supérieure des Arts Décoratifs. By repurposing existing objects and technologies, his work explores the roles of both the viewer and the creator, the subject and the object. He explores the relationships between humans and machines through the connections that form between the audience, the artwork, and the environment. From 2019 to 2022, he is conducting his doctoral thesis on the form of robot collectives as a modality of artistic practice. His ongoing research, which includes the “Lies Language Models” project, focuses on the operativity and interactivity of writing in the age of large language models. In 2024, he co-founded Éditions du Respirateur and published “Arafed Dictionary,” a dictionary in the form of data poisoning; he then embarked, with the “Synthetic Syncretism” project during a residency at the Villa Albertine (2026), a project on artificial creolization in dialogues between AI systems. Olivain’s writings on the modalities of artistic practices through the lens of contemporary technologies have been published in several academic journals and books. His work is recognized for its innovative approach; he has won awards such as the Pulsar Prize (2018), as well as grants from institutional calls for proposals. He has contributed to various research projects and exhibitions in France, the United States, and Sweden, notably at the Musée des Arts et Métiers, the Gaîté Lyrique, the Centre Wallonie-Bruxelles, and the Maison des Métallos, and is currently represented by the Avant-galerie Vossen in Paris.

Lundja Medjoub is a designer, artist, and composer. She creates installations, performances, and electroacoustic compositions. Lundja Medjoub was born in 1992 in Ermont; she lives and works in Marseille. She graduated from the Saint-Étienne School of Art and Design with a degree in spatial design (2016) and then from the TALM School of Art and Design in Le Mans with a degree in sound design (2018). She created sound installations in collaboration with visual artists Joséfa Ntjam and Audrey Perzo, and then began her journey into theater alongside playwrights and directors such as Marine Bachelot Nguyen, Karima El Kharraze, and Penda Diouf. The staged reading *Soeurs* is her first work for the performing arts, and through it she is discovering an entirely new performance space.

Using sound, she weaves music between the words, brings foreign languages to life, and plays with the voices of the female authors on stage. Since then, the staging of sounds has become the primary arena for experimentation in his sound and visual art.

In Marseille, she composes electroacoustic music, works with a free improvisation group, and is an artist-in-residence at Artagon Marseille (2024–2025), where she is developing her artistic practice and pursuing her own projects.

His plays and installations have been presented in France at the 2022 Manifest Festival at the Centre Pompidou, Supersonique, and Art’o’rama Marseille, as well as at the CAC la Traverse in Alfortville and the Espace Camille Lambert in Juvisy. In 2023, she undertook a residency in Dubai with the French Institute of the United Arab Emirates, which led to the creation of a sound installation project exploring the voice of service in public spaces.

Agnès de Cayeux sometimes compulsively observes our online world. Just like the rest of us. From the Virginia Tech massacre to the Cyborgiennes, she crafts texts from afar: In my room, literary rooms produced by Arte and superimposed onto fragments of women’s bodies filmed by the women themselves— Alissa, a programmed AI creature, a literary figure developed for the Jeu de Paume— The Case of the Hippocampus, an immersive and literary work created for the Venice Music Biennale. D Since 2010, Agnès de Cayeux has been exploring in situ Arctic issues: archival matters, family legacies linked to the French polar expeditions of the 1950s, and eco-technological, postcolonial, and feminist issues. She was in residence in Greenland in 2011 as part of a Villa Médicis Hors les Murs program, and was subsequently supported by the CNAP in 2015. Her Arctic installations have been featured at the Centre Pompidou (2017), the Centre d’art La Panacée in Montpellier (2015), and most recently at the SIANA Biennale in Paris-Saclay (2025). Together with performer Maëlla Mickaëlle, they traveled along the west coast of Greenland in 2023, filming the dancer’s movements—from the immutable icebergs of the Ilulissat Fjord to the futuristic forms of the Nuuk data center.

Mathilde Reynaud, a digital artist born in 1994, lives and works in Saint-Étienne (Loire, France).

A graduate of the Saint-Étienne School of Art and Design, she studied at Kookmin University in South Korea. She then joined the Digital Research Unit at the Beaux-Arts de Lyon, and later the Fresnoy – National Studio for Contemporary Arts.

Her artistic practice revolves around 3D computer graphics, a medium she approaches as a tool for empowerment, from a feminist perspective. Through installations, videos, and video games, she explores the connections we form with virtual environments and the ecosystems they generate. Through these works, she seeks to foster dialogue among these possibilities that coexist between the real and the virtual. Her work, built around fictional narratives, veers toward a form of science fiction, opening up avenues for reflection on science, nature, otherness, and feminism. Stories that present sensitivity and consideration for others as a way of life, in order to imagine alternative technological futures.

His work has been exhibited in France, South Korea, Latvia, Armenia, and Senegal.

Born in 1991 in Nice, currently living in Marseille, Sacha Rey is a visual artist and filmmaker. He defended a research thesis on a working methodology he calls “documentary dance” at EHESS in Paris. Sacha has used this method in three previous films and installations: But I’m a Cheerleader, which was featured in a solo exhibition at the FID in Marseille and for which he won the Sud Émergence Prize at the OVNi festival in 2024; To Wander So Many Miles in Vain , which was screened at the Cinéma du Réel in 2022; and *This Picture of You*, with which he graduated from the École des Beaux-Arts de Paris with honors in 2019. His video installations and short films have been featured in solo exhibitions in Croatia (2026) as well as in Belgium and Germany (2025); and in group exhibitions at CAC Brétigny (2023), La Villette (2023), and the Festival Parallèle (2022). His work has been supported by the Fondation des Artistes, Mécènes du Sud Aix-Marseille, the CNC, the DRAC PACA, and the ADAGP.

Hela Lamine, born in Tunis in 1984, lives and works in Tunis. She is a graduate of the Tunis Institute of Fine Arts and the University of Paris I Panthéon-Sorbonne. Given her training as an engraver, drawing—which traditionally forms the very foundation of a print—plays a very important role in her work. Never taken for granted but constantly reexamined, Hela Lamine is interested in the technical and historical evolution of drawing, and above all questions the role it can play “in the age of technical reproducibility.” She thus explores the notion of “aura,” as well as that of the “sacred,” the confrontation between the “unique” and the “multiple,” the “original” and the “reproducible,” the “consumable,” the “consumed,” and “what remains”… leading to a form of linear excess that, over time, takes the form of superimposable layers similar to sedimentary strata. VR (virtual reality) drawing has played a very important role in her research over the past few months. She works primarily in series, all of which are based on portraits and/or human bodies that she discovers daily on the internet, as well as in books, magazines, and newspapers. She collects, archives, rearranges, draws, dissects, observes, repositions, and redraws them over and over again, in an almost obsessive manner; she stages and restages them in fictional narratives she describes as “open,” in reference to Umberto Eco’s concept of “open works.” The figure/body is often treated harshly in these works, oscillating between beauty and ugliness, between figuration and abstraction, between dream and nightmare… the human body is pushed ever closer to its own limits—and sometimes far beyond them. For her solo exhibition titled “The Unsecret Life of Samantha.C,” Hela Lamine decided to conduct a unique experiment lasting a year and a half, during which she secretly tracked the posts of a certain Samantha—chosen at random on Facebook—and worked with all the digital data to which she had legal access. What interested her most were the publicly visible photographs featuring Samantha, her friends, and her family. In 2015, Hela Lamine exhibited more than 100 graphic works, including paintings, drawings, and mixed media pieces, all exploring the “non-secret” life of Samantha.C. Since 2007, she has participated in numerous group exhibitions in Tunisia and abroad.

Stéphanie Roland is a visual artist and filmmaker based in Brussels. She creates films and installations that explore—somewhere between documentary and the imaginary—the invisible structures of the Western world, vast scales of time, and hyperobjects. She draws inspiration from a wide range of fields, from ecology to politics, geology, and the cosmos.

After graduating from La Cambre and taking Hito Steyerl’s class at the UDK Berlin, she completed a program at Le Fresnoy—Studio National. His work is regularly showcased internationally, and his projects have been included in exhibitions at major institutions such as the Venice Biennale, the Centre Pompidou, the Stedelijk Museum, the Louvre, the Benaki Museum, and the Haus der Kulturen der Welt., Botanique, Kampala International Art Biennial, Wiels, and ISELP. Breda Photo, the Belfast Photo Festival, Encontros da Imagem, BIP Liège, and MOPLA Los Angeles are among the photography festivals in which she has participated.

His films have been screened at international film festivals such as Visions du Réel, FID Marseille, Festival dei Popoli, ZINEBI Bilbao, FEST New Directors / New Films, the Rencontres Internationales Paris / Berlin, Curtas Cinema, and PÖFF Shorts Tallinn Black Nights, among others. Her first film, *Podesta Island*, won the Alice Guy Prize at FID Marseille, and her second film, *Le cercle vide*, received the TËNK Prize at the Visions du Réel festival in Nyon.

A “retrospective” program showcasing his entire filmography was organized at the Centre Pompidou in Paris in 2024.

Amer Al-Barzawi (born in 1987 in Damascus) is a Syrian multidisciplinary artist and filmmaker based in France. Rooted in gymnastics, contemporary dance, and experimental film, her work explores the tension between personal memory and official narratives, digital presence, and the invisible hierarchies that shape culture and a sense of belonging. He graduated with honors from Le Fresnoy – National Studio of Contemporary Arts (2024), where he developed *Hybrid Memory*.

Amir, an Egyptian artist and filmmaker, divides his time between Paris and Alexandria. A graduate of the University of Alexandria (painting, 2015), the Aix-en-Provence School of Art (Master’s degree), and Le Fresnoy – National Studio for Contemporary Arts, he is committed to fighting social inequalities in education and culture, which influences both his art and his teaching.

His works critique colonial history, explore the absurdity of war and postcolonial narratives, and poetically reinterpret religious themes. His research on visual culture and media archaeology examines movement and narrative (sculpture, installation, film, video). This has led to “Kinemania,” his term for society’s fascination with visual movement, as expressed through kinetic objects.

Born in 1991, the Franco-Moroccan artist Mounir Ayache invites us to take a fresh look at the political and social realities of the Arab world through his technological creations. He graduated from the École des Beaux-Arts in Paris in 2017 and was a resident at the Villa Medici (2022–2023 session).

By drawing on the conventions of science fiction—which he blends with family histories and an imaginative reappropriation of Arab experiences and identities— he is part of the unofficial movement known as Arabfuturism, influenced by 1990s Afrofuturism, which draws on fiction to propose alternative narratives. Mounir Ayache parodies Western fiction’s portrayals of the Other and the Foreigner, and uses new technologies to create and convey his ideas, thereby blurring the lines between contemporary art and entertainment.

Her year-long residency at the Villa Medici provided an opportunity to conduct research for a fictional project centered on the character Léon l’Africain, author of *Description of Africa from the 16th to the 26th Century*, which takes the form of writing, sculpture, and installation art.

Saïd Afifi is a contemporary artist whose painting practice is rooted in a reflection on landscape, viewed as a space for mental projection as much as a physical reality. For more than fifteen years, he has been developing work focused on the transformation of territories and how they are perceived in the age of digital technology.
His work explores the relationships between observation, memory, and reconstruction. Through his paintings, he explores how contemporary tools—particularly mapping and satellite imaging technologies—influence the way we view the world. His compositions, often structured in layers and fragments, evoke unstable aerial views, where geographical landmarks dissolve in favor of a sensory and subjective interpretation.
In his work, the landscape is never fixed: it appears as a territory in flux, shaped by dynamics similar to those described by the concept of the Anthropocene. His paintings thus reflect the tensions between technological precision and perceptual uncertainty, between a legible surface and material depth.
Saïd Afifi has presented his work in various exhibitions and is part of an artistic movement that questions both the conditions of representation and contemporary issues related to the image and the environment. Her project *Lithosphère* represents a significant milestone in this research, combining a reflection on digital cartography with a sensitive approach to painting as both material and memory.

Valentina Berthelon is a Chilean multimedia artist based in Berlin. Her work, which encompasses video, sound, animation, and immersive technologies, explores the intersections between art, technology, perception, and collective memory. Through poetic, multisensory installations and performances, she explores the invisible forces—material, emotional, and symbolic—that shape our experience of reality.

Helena Nikonole is a new media artist, independent curator, researcher, and educator based in Berlin. Her areas of interest include artificial intelligence, hacktivism, hybrid art, and biosemiotics. Describing herself as a fluid and playful entity, she navigates between utopian scenarios of a posthuman future, militant counter-technologies, art as innovation, and a critical approach to technology—refusing to confine herself to any one of these positions. She is currently pursuing a Ph.D. on language models (LLMs) and political ideologies at the University of Applied Arts Vienna.

Born in 1984 in Kaohsiung. An artist and software developer, he creates works of art, software, and experimental bioelectronic devices that incorporate electronic components. Through his works, which explore human behavior, emotions, software, and the relationships between machines, he expresses his unique vision of society and the environment with humor. He won first prize at the Taipei Digital Art Award in 2014, first prize in the Digital Arts category at the Kaohsiung Art Award in 2017, the Tung Chung Art Award in 2019, the Visual Arts Prize at the 19th Taishin Arts Award in 2021, and received a nomination and an honorable mention in the S+T+ARTS category at ARS Electronica in 2023. His solo and group exhibitions are held primarily in Taiwan, Asia, and Europe.
Recently, he participated in ARS Electronica 2023, Sónar 2025 in Barcelona, as well as other exhibitions in the Netherlands, Slovenia, Norway, Italy, Germany, France, Austria, and South Korea.

Jeroen van Loon is a Dutch artist who explores and visualizes contemporary digital culture through the lens of the ephemeral and the permanent. His work ranges from VR to video, including installations and performances.

Her work has been exhibited internationally at venues such as the Centre Pompidou, Transmediale, IDFA Doclab, Aksioma, NFF, Media Majlis Museum, Long March Space, Centraal Museum, HMKV | Dortmunder U, the IMPAKT Festival, the SPRING Performing Arts Festival, the Nemo Biennial, V2_, the KIKK Festival, and MU Artspace. His work has been acquired by the Verbeke Foundation and the Helmond Museum.

He received the K.F. Hein Art Scholarship, the European Youth Prize, was nominated for the New Technological Art Award (NTAA) in 2022 and 2025, was selected for the NFF’s Gouden Kalf for Digital Culture, and is part of the Brave New World Speaking Agency as a speaker on art and technology.

An artist of Colombian origin who has been based in Chicoutimi (Quebec, Canada) since 2011, Paolo Almario has developed a transdisciplinary practice in which digital technologies, robotic systems, and social critique explore the spatiality of being: the dynamic relationship between the individual and the spaces they inhabit, whether physical or metaphorical. A graduate of the Faculty of Architecture and Design at the Universidad de los Andes (Bogotá, Colombia), he refined his approach through a Master of Arts degree (2014) at the Université du Québec à Chicoutimi (UQAC), where he now teaches in the Department of Arts, Letters, and Language.

Simon Weckert, a true digital wizard and mischievous tinker, takes great delight in sharing his thoughts on everything from generative design to physical computing—just imagine a bit of technological magic spiced with a touch of social critique. His playground? The digital world, where code and circuits aren’t just tools, but also ironic statements. Forget the practical value of technology; Simon is primarily interested in what future generations will think of us, who spend our time pressing buttons and refreshing apps. His creations are at once technology, art, and irreverent social commentary, aiming to unravel complex issues in a way that makes you laugh, think, or perhaps simply scratch your head. His works and performances have been presented at the V&A Dundee, Ars Electronica Linz, CCBT Tokyo, chi K11 artspace Shanghai, Löwenbräukunst Zurich, the Vitra Design Museum, the EDF Foundation in Paris, Transmedial Berlin, and the Bauhaus Museum in Weimar.

Born in May 1968 in France, Martin Le Chevallier is a visual artist, author, and teacher. Rooted in humor and satire, his works readily engage with the public sphere—whether urban, economic, or political. He had a consulting firm conduct an audit, installed a tourist telescope above a hypermarket, and for the past few years has been proposing projects just so they can be rejected. In 2024, he published *The Directory of Subversions*, a compendium of tactics employed by artists, activists, resistance fighters, and eccentrics. Since then, he has been working to put this research into practice, at the intersection of art and activism.

Olivier Bémer was born in Paris in 1989, where he lives and works. Through films, installations, objects, and prints, her work explores our relationship with technology as a means of representation and depicts a distorted reality in which archetypes simulate but fail to represent. Form is thus diverted from its function, and so is the learning machine. Olivier Bémer is a graduate of ECAL, the Beaux-Arts de Paris, and the Fresnoy National Studio. His work has been featured in numerous group exhibitions—including at the Emerige Foundation, the Fiminco Foundation, the CWB Paris, and the Pernod Ricard Foundation—as well as in solo exhibitions, notably at the Weiss Endowment Fund in Paris. His work has also been screened at film festivals, including the Annecy International Animation Film Festival.

As a hacktivist and artist, Paolo Cirio investigates the data and systems of power structures, which he seeks to subvert. The evidence he uncovers forms the basis of his creative work in support of better regulation. He has received numerous legal threats for his art, which employs practices such as computer hacking, piracy, data leaks, identity theft, and cyberattacks.

Cirio is known for exposing more than 200,000 offshore companies in the Cayman Islands; for hacking Facebook and publishing the data of one million users on a dating site; for stealing 60,000 financial news articles and e-books from Amazon; for defrauding Google; for hiding 15 million U.S. criminal records; and for revealing more than 20,000 technology patents enabling social manipulation. Recently, he hacked more than 100,000 Sotheby’s auction records and attempted to profile 4,000 French police officers using facial recognition. His early work includes cyberattacks against NATO and reports on its military operations since 2001.

Paolo Cirio has won numerous awards, including the Golden Nica First Prize at Ars Electronica in Linz in 2014; second prize at Transmediale in Berlin in 2006; the Eyebeam Fellowship in 2012; and the NEA Fellowship at the ISCP in New York in 2017.

His presentations and research-based artworks take the form of installations, lectures, objects, photographs, videos, and public art, both in person and online. Cirio has exhibited in international museums. His works have been the subject of hundreds of articles in media outlets around the world, and he regularly leads public lectures and workshops at renowned universities.

The collective of artists, researchers, and filmmakers—as well as pseudo-Marxist media guerrillas— Total Refusal (Susanna Flock, Robin Klengel, Leonhard Müllner, Michael Stumpf) appropriates and reinvents contemporary video games, while writing about games and politics. The themes addressed by the collective draw inspiration from critical studies of video games and social theory, with the aim of promoting and popularizing a counter-hegemonic left.

He also draws inspiration from gaming communities to practice “agitainment”—a blend of agitation and entertainment. By infusing post-Marxist analysis into the sanitized world of video games, the collective aims to offer an accessible yet critical examination of mass media and the ideological algorithms underlying it. Her work spans film, video art, live in-game performances, writing, and educational initiatives. They call their films “Machinifestos”—political manifestos expressed through machinima. By bridging the worlds of academia, art, film, and video games, Total Refusal catalyzes a Marxist critique of society through a playful, analytical, and humorous approach, with the aim of radicalizing its audience.

Since its founding in 2018, their work has been recognized with more than 70 awards and honorable mentions, including the European Film Award, the Best Short Film Director Award at the Locarno Film Festival, and Vimeo’s “Staff Pick” Award, among others. Total Refusals’ works have been screened at more than 400 film and art festivals—such as the Berlinale, Doc Fortnight at MoMA in New York, and the Locarno Film Festival—and have been presented in various exhibition spaces, including the 2021 Venice Architecture Biennale, the HEK in Basel, and Ars Electronica in Linz.

Frédérick Maheux (Quebec) is an artist-researcher whose practice combines technological détournement, transgression, and posthumanist theory. He has explored online subcultures in the feature films *Art/Crime* (2011), ANA (2015), and DrugPorn (2018), and has explored the twists and turns of body horror in numerous short films, installations, and music videos that have been screened internationally. Since 2020, he has been exploring the labyrinthine world of experimental video games and AI-powered interactive installations, notably with *Acephalic* (2020) and *Exophilie* (2023). Under the alias Un Regard Froid (URF), he composes corrosive noise music and draws on the tactics of industrial culture through collage and abrasive performances. A doctoral student in communication at the Université du Québec à Montréal (UQAM), Maheux analyzes the role of noise in creative and collaborative processes through video game-based research-creation.

Dhia Dhibi is a Tunisian multidisciplinary visual artist, curator, and researcher. His work takes a critical look at the social and political dimensions of art and technology. After earning a bachelor’s degree in 3D digital art and filmmaking, he broadened his scope by pursuing a research master’s degree in art theory and postgraduate studies in curatorial practices.

Through his participation in several residencies and exhibitions—both with local Tunisian art institutions and international ones—Dhibi’s artistic approach has evolved to explore the materiality of digital display. He studies the underlying technological infrastructure, as well as the deconstruction of algorithms in Tunisia and the broader SWANA region, and the social and political implications of these systems. Through multimedia installations, sculptures, videos, and digital art, he explores how technologies shape perceptions, behaviors, and social structures, focusing on the specific nature of these interactions within the region’s digital landscape. This critical perspective also informs her curatorial and research work.

Cecilie Waagner Falkenstrøm is an award-winning artist who, since 2016, has been a pioneer in the use of artificial intelligence (particularly LLM and GPT models). His works have been exhibited at the Victoria and Albert Museum (V&A), Ars Electronica, the Kennedy Center, the Wellcome Collection, and Copenhagen Contemporary. In particular, she created the very first work of art using AI and blockchain in space, aboard the NASA-managed section of the International Space Station. His contributions to digital art have been praised by major media outlets such as Forbes and The New York Times. Falkenstrøm has received numerous international awards, including the Lumen Prize for Digital Art in 2017 and 2021, an honorable mention at the Prix Ars Electronica in 2023, and the TECHNE Award from the British Arts and Humanities Research Council. She studied fine arts at the University of the Arts London and the Royal College of Art in London.

Bérénice Serra explores the forms of tactical agency employed by civil society in networked environments. At the intersection of tactical media, open-source investigative methods, and post-digital writing, his works examine the power dynamics at play in the circulation of images and information within digital infrastructures.

After spending a year on the Erasmus program at Central Saint Martins in London, Anna Solal earned her Master’s degree in Visual Arts from the École Nationale Supérieure de La Cambre in Brussels in 2014. She then moved to Paris to attend La Cité Internationale des Arts and participate in other residencies, and began exhibiting her work in various venues across Europe. She has exhibited at the following venues, among others: CAC Passerelle de Brest (Brest), Musée des Abattoirs de Toulouse (Toulouse), Interstate Projects (New York), Levy Delval (Brussels), Art-O-rama (Marseille), 9800 S Sepulveda (Los Angeles), Rijksakademie (Amsterdam), Belle Air (Essen), Lodos at Museo Experimental El Eco (Mexico City), Olso10 (Basel), and the group exhibition *Futur, ancien, fugitif* at the Palais de Tokyo. In 2022–2023, she is a resident at the Villa Medici.

Composer and sound artist Clément Edouard explores how sound disrupts our states of consciousness and alters our relationship to places, time, and those around us. He creates immersive sound installations that connect matter, humanity, and the sensory realm in a moment of encounter and transformation. In 2022, the work *SEUIL* invites us to explore a space between two worlds, where vibrating platforms, luminous breath, hexaphony, and a vocal ensemble guide us toward a hypnagogic state. SEUIL received composition grants from the SACD Beaumarchais and the Ministry of Culture. In 2024, the project continued this exploration with the creation of HYPERTEMPS, an installation and sound performance project exploring the concepts of time, rhythm, and cycle. In 2025, born from a proposal by the Maison de la Musique Contemporaine and Paris Musées, INVU is an in situ creative project that weaves a unique and sensitive connection with a place, its history, its territory, and its architecture.

Straddling the line between myth and fiction, Kaïs Dhifi develops a sculptural and immersive practice rooted in the remnants of an imagined, forgotten, or yet-to-come territory. Her work combines sculpture, installation, and narrative devices to explore the transformation of perceptions within speculative environments.

Influenced by archaeology, vernacular techniques, and magical realism, he creates structures and artifacts that function as fragments of an ever-expanding narrative. These are part of Metalia, a fictional, cartographic universe where the narrative unfolds through objects, spaces, and interactions.

By transforming material into an interface, his works explore experiences situated at the intersection of Mediterranean traditions and a techno-global imagination, offering a speculative mythology of contemporary worlds in flux.

France Jobin, a Montreal-based audio artist and film composer, is distinguished by her minimalist audio art, described as “sound sculpture”. She creates complex sound environments combining analog and digital. Her installations integrate musical and visual elements inspired by architecture, and can be experienced in unconventional spaces and international festivals of new technologies.
Jobin has produced numerous albums for renowned labels such as LINE (US), Baskaru (FR), and Editions Mego.Her music explores notions of restraint and limits, skilfully playing with extremes, amplitudes and silences to create complex narratives. In 2021, she presented “Entanglement AV” with Markus Heckmann at Mutek Édition 22. In 2022, she created “Entanglement XR”, and in 2023, “Entanglement dôme” at SAT. Influenced by quantum physics, Pandemic deepened its exploration of this scientific universe.

Emilija Škarnulytė (b. Vilnius, Lithuania 1987) is an artist and filmmaker.

Working between documentary and the imaginary, Škarnulytė makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Her blind grandmother gently touches the weathered statue of a Soviet dictator. Neutrino detectors and particular colliders measure the cosmos with otherworldly architecture. Post-human species swim through submarine tunnels above the Arctic Circle and crawl through tectonic fault lines in the Middle Eastern desert.

Winner of the 2019 Future Generation Art Prize, Škarnulytė represented Lithuania at the XXII Triennale di Milano and was included in the Baltic Pavilion at the 2018 Venice Biennale of Architecture. With solo exhibitions at Tate Modern (2021), Kunsthaus Pasquart (2021), Den Frie (2021), National Gallery of Art in Vilnius (2021), CAC (2015) and Kunstlerhaus Bethanien (2017), she has participated in group shows at Ballroom Marfa, Seoul Museum of Art, Kadist Foundation, and the First Riga Biennial. In 2022, Škarnulytė participated in the group exhibition Penumbra organized by Fondazione In Between Art Film on the occasion of the 59th Venice Biennale. Her numerous prizes include the Kino der Kunst Project Award, Munich (2017); Spare Bank Foundation DNB Artist Award (2017), and the National Lithuanian Art Prize for Young Artists (2016)), and she was nominated as the candidate for the Ars Fennica art award 2023. She received an undergraduate degree from the Brera Academy of Art in Milan and holds a masters from the Tromsø Academy of Contemporary Art.

Her films are in the IFA, Kadist Foundation and Centre Pompidou collections and have been screened at the Serpentine Gallery, UK, Centre Pompidou, France, and the Museum of Modern Art, New York and in numerous film festivals including in Rotterdam, Busan, and Oberhausen. Most recently she concluded her tenures at Art Explora and Cite des Art, which occurred on the heels of another significant residency at the MAK Center for Art and Architecture. She is a founder and currently co-directs Polar Film Lab, a collective for analogue film practice located in Tromsø, Norway and is a member of artist duo New Mineral Collective, recently commissioned for a new work by the First Toronto Biennial.

Anne-Sophie Turion’s interest in the living and the visual takes the form of site-specific interventions, performances and shows. From the black box to the great outdoors, she tackles reality to orchestrate it into fiction. Using the devices of theatre and cinema with a sense of humour, she creates narratives with apparent cogs in the wheel: images and scenarios are constructed on sight, leaving real life to creep in from all sides. An augmented reality cobbled together from everyday materials, exploring the intimate from every angle.

La Tisseuse d’Histoires is a project by the artist-researchers in the digital and visual arts of the Hypnoscope collective.

Rémi Sagot-Duvauroux Editor, virtual reality experience designer and researcher
Rémi has worked mainly on animated feature films and documentaries such as Michael Dudok de Wit’s La Tortue Rouge and Raphaël Meyssan’s Les Damnés de la Commune. He is also a doctoral student in the Spatial Media group at EnsadLab, the École Nationale Supérieure des Arts Décoratifs in Paris, as part of the PSL University’s SACRe programme. Based on the creation of artistic and experimental devices, his research explores the concept of montage as a narrative, discursive and poetic vector in immersive digital experiences. He teaches VR at the Ecole des Arts Décoratifs, ENSTA Paris and the Université Sorbonne Nouvelle Paris.

Lia Mchedlishvili Animated film illustrator and set designer
Lia arrived in France from Kyiv, Ukraine in 2012 to study animation film. Today she works on feature films, animated series, illustrations and short films.
She has designed sets for The Famous Bear Invasion in Sicily by Lorenzo Mattotti, The Boy, the Mole, the Fox and the Horse by Peter Baynton and Charlie Mackesy and worked on the set design for Saules Aveugles, Femme Endormie by Pierre Földes. She also teaches her craft to students at the Créapole school in Paris.

Loup Vuarnesson Interaction design researcher, artist and developer
Loup specialises in designing digital interfaces and creating interactive and immersive experiences. His artistic work focuses on new forms of storytelling, revealing the creative and narrative potential of spatialised media. After completing a thesis on intuitive and improvised movement in immersion at EnsadLab in Paris, Loup now works at the LNCO in Geneva, a neuroscience laboratory, where he studies the mechanisms of consciousness using meditation and virtual reality.

The company Adrien M & Claire B places its work in the field of digital arts since 2004.  Its creations are performances and exhibitions, that associate reality and virtuality. Its specificity is the custom-made development of its computing tools.  Among the artistic and technological stakes, the attention is focused on the human being and its body, by using contemporary tools in the service of a timeless poetry, developing and using a visual language based on game and pleasure as mediums of the imagination. Today, the company counts around 30 collaborators. Its headquarter and production offices are based in Lyon (Rhône, France). Villa Aphéa, its research and creation venue, is located in Crest (Drôme, France). Part of the venue’s equipment was acquired with help from the Auvergne-Rhône-Alpes Region. The company is subsidised and accredited in France by the DRAC Auvergne-Rhône-Alpes and the Auvergne-Rhône-Alpes Region. It is also supported by the City of Lyon.

Line Katcho is a composer and audiovisual artist based in Montreal. Primarily interested in sound and image as representations of movements, forces and gestures, she is also distinguished by an affinity for perceptive games and a talent for evoking affects. With her narrative and cinematic influences, her work is dynamic and provocative, combining the figurative with abstraction, experimentation with tradition. Leaning towards a hybridization of styles, genres and applied methods, his empirical practice seeks to bring to life a sensory and cathartic experience, rooted in expressivity, in search of authenticity. Her work has been presented internationally at events such as MUTEK, Ars Electronica, Annecy, Clermont-Ferrand, Scopitone and Sonar Barcelona. She won first prize in the 2014 JTTP (Jeux de Temps/Times Play)competition and the Award of Distinction in the audiovisual category at the MA / IN 2016 Festival.

Ellis Holman is a visual artist who draws inspiration from the landscapes around her. She uses her passion for film and photography to analyse her surroundings and then works with an iterative process to translate what she finds fascinating into her own visual language. In this process, she keeps searching for the right combination of material, technique, form, and movement that reflect the atmosphere and poetry of a landscape. Characteristic to her practice, Ellis creates works that create space for contemplation, reflection and releasing emotions.

Born in Montbéliard in 1991, June Balthazard lives and works in Paris. A graduate of Geneva’s Haute École d’Art et de Design (HEAD) and Le Fresnoy – Studio National, she is developing an artistic practice that blends film and installation.
Her work combines documentary elements with forms that are further removed from reality (forward-looking narratives, animation, special effects, etc.). Far from betraying reality, these elements highlight and transfigure it. As a result, his films are imbued with a magical realism.
His work has been shown at institutions such as the Centre Pompidou Metz, Luma Arles and the Taipei Fine Arts Museum in Taiwan, as well as at various international festivals.

An idea for the performance Sports Group was born while playing basketball at the gym. Asynchronous sounds of basketballs hitting the floor, shout outs of the team players – upon closer listening all of these sounds started resembling a large unmanaged concert.

The piece that evolved from fragments of experiences found in gyms, sports grounds, blogs, vlogs and advertising addresses the experiences of a modern human being within the world that relies on “laws” of self-exploration, self-creation and continuous self-perfection.

The game of the Sports Group fuses diverse rules and imagery of the sports world. Sultry space saturated with trained bodies, their pulsing veins and temples houses an ensemble of six DIY instruments. Variety of gym equipment for diverse muscle groups sound as unique musical instruments.

Aistė Ambrazevičiūtė is a digital artist and architect based in Lithuania. Operating between sensibilities of environments, surfaces and textures, her work amplifies complex and diverse, but often invisible worlds. Merging digital and natural realities, scales and knowledge her practice stimulates the arts of noticing and visualizing the unimagined curiosities. Currently, she is a PhD candidate at the Vilnius Academy of Arts working on her artistic research titled Lichen Grammar.

Esther Denis (Brussels – 1996), visual artist and set designer.

Her first contact with the arts and the stage took place on the stage of La Monnaie in Brussels. A chorister with the Children’s Choir, for ten years she lived in the world of opera directors during rehearsals and performances.
These experiences fueled her desire to learn more about the scenic and sound arts; she studied at La Cambre in Brussels, then at the Arts Décoratifs in Paris.
Her practice hybridizes the performing and plastic arts, and focuses on optical devices for the representation of the living. She combines current technologies with ancient representational devices such as the diorama, the black mirror and the camera obscura. Her installations have been the subject of several solo and group exhibitions at La Grande Halle de La Villette in Paris (2021), Les Grandes-Serres de Pantin (2022), Teatros del Canal in Madrid (2022), Galerie Sainte Anne in Paris (2022), PhotoBrusselsfestival (2023), Point Commun – espace d’art contemporain in Annecy (2023), Centre Wallonie Bruxelles in Paris (2024).
Parallel to this approach, she has a special relationship with the stage. Today, she works with a number of directors, choreographers, set designers and playwrights, including Emanuelle Nizou, Louise Vanneste, Sophie Warnant, Nicolas Mouzet Tagawa and Frédérique Aït-Touati, researcher and director.

Simona Žemaitytė (Kaunas, 1984) is a Lithuanian artist-filmmaker. Her work was previously awarded at 15th Tallinn Print Triennial and nominated at Sheffield Doc Fest. Her works were exhibited internationally at different venues, including the National Gallery of Art, Vilnius; Loop Barcelona; Oberhausen Film Festival, 13th Kaunas Biennial; CSW Torune, Centrala Birmingham, Kasa Gallery Istanbul; Galata Perform Istanbul; BAFTA, RichMix, London, CAC – Contemporary Art Centre, Vilnius; Galleries Vartai, Malonioji and Kaire-Desine in Vilnius; Riga Cinema Shorts; CreArte traveling exhibition in Pardubice, Linz, Genoa. She holds a practice-based Ph.D. at Vilnius Academy of Arts, where currently teaches at the Sculpture Department.

Jeanne Susplugas’ work plunges us into an engaged, sensitive universe that explores different forms and strategies of confinement. She questions the individual’s relationship to himself and to others, in the face of an obsessive, dysfunctional world.
With distance, she explores a wide range of media – drawing, photography, installation, sculpture, sound, film, virtual reality, glass, ceramics, strands of light. All of these languages enrich each other to create an aesthetic that is seductive on the surface, but quickly becomes grating, even disquieting. The multiple ramifications of her work create a corpus rich in interpretation.
Her work has been widely exhibited in France and abroad. It can be found in numerous public and private collections.

Tabita Rezaire presents a body of work at the crossroads of new technologies and ancestral rituals. Artist, farmer, yoga teacher and doula (a person who accompanies pregnant women), Tabita Rezaire proposes to act as an intercessor between us and other ways of accessing the world. Through her video installations, she reinvents contemporary technologies in the light of ancestral sciences to rethink our relationship with the cosmos, reinvesting body memory, both secular and digital.

In the post-Internet age, she imagines new technologies of connection, invoking the natural elements of water, air and nourishing earth, as well as the healing arts. In her work, she appears as a digital incarnation of a cosmic being, playing with Internet codes and combining digital, corporeal, scientific and spiritual realities with traditional knowledge in a postcolonial context.

halone is an association under the French law of 1901, founded in 2021 by Guillaume Brevet and Léo Huet. Focusing on the digital arts, it has several fields of action.

Firstly, halone offers support to artists, most of whom are students or at the start of their careers. Behind this support lie several propositions: technical assistance and help with promotion and distribution. With the sharing of knowledge and skills always at heart, halone acts as a partner to the artists it supports. In concrete terms, this means hosting artists in residence within partner structures, providing technical support (equipment, skills, etc.) and giving them artistic feedback on their projects. halone is keen to support new creation and offer it opportunities to develop via our production offers.

Next, halone works on programming through events, exhibitions and residencies. Thanks to the partnerships set up since its beginnings in Marseilles, our aim is to increase our distribution capacities to achieve a rich program that contributes to the democratization of culture, by enabling new audiences (students in particular) to take an interest in contemporary creation.

Last but not least, we are keen to extend our skill-sharing through workshops, and to deploy the works we present to a wider audience (young people, disadvantaged neighborhoods), in contexts that encourage the involvement of these audiences (meeting with artists, practical work, etc.). The aim is not only to bring culture to new people, but also to encourage them to get involved, to seize the tools and skills that will enable them in turn to create and develop an artistic practice.

The artists supported for this exhibition are emerging artists, most of whom have been graduating for less than 5 years. Each has a varied practice and explores different themes and techniques. From contemporary surveillance to the feminine stereotypes conveyed on social networks, they often delve into web culture to nourish their inspiration.

Through multi-disciplinary practices, they come together to address their relationship with the digital world and the questions linked to the development of their identity in this new world. From their different perspectives, the works created come together and echo each other in the Totems of a New World exhibition.

halone is a production and distribution structure in the field of contemporary art, particularly digital art. The association supports emerging artists at the start of their careers, offering them technical assistance and/or help with distribution. With the sharing of knowledge and skills always at heart, halone acts as a partner to the artists it supports.

Addie Wagenknecht is a conceptual artist who blends hacking and gestural abstraction. Her work has been featured in prestigious institutions like the Centre Pompidou, Whitechapel Gallery, and The New Museum NYC. Wagenknecht has collaborated with renowned organizations such as CERN, Chanel, and Google’s Art Machine Intelligence Group. Her art has been widely published in publications like TIME, Wall Street Journal, and The New York Times. Wagenknecht holds a Master’s degree from NYU and has held fellowships at prestigious institutions like Eyebeam Art + Technology Center and Carnegie Mellon University.

Jenny Kristina Nilsson is a Swedish artist who works primarily with sculpture, installation and video. Her work seeks to activate the viewer’s body through tactile senses such as touch, smell and movement in a space. She is interested in how we perceive art through our primary senses and how these experiences are stored in our bodies.
She has created immersive sculptures, large abstract forms suspended in the air, which continually change their appearance in space by choreographing the movement of the viewer’s body. Her performative videos stage primitive acts through camouflaged bodies. Recently, she has used biological materials to develop semi-transparent sculptures whose texture resembles burnt plastic and whose hue is reminiscent of skin, encouraging viewers to touch them.

Caroline Delieutraz scrutinizes the circulation of images and the way they transform our imaginations and affect our consciences. Refusing to comment on the future – utopian or dystopian – of the Web, she borrows from its culture of collaboration and DIY. The artist collects visual materials that she manipulates and reworks to create displacements that encourage hybridization and relational meshing. In installations that often combine digital and handmade techniques, she gives materiality to fluid, elusive phenomena. The resulting constructions and deconstructions remind us of the deeply fictional nature of images.
of images.
Caroline Delieutraz’s work has been shown in solo and group exhibitions, including Around Vidoo (Lille), Art Brussels, Centquatre (Paris), La Gaîté Lyrique (Paris), Fondation Vasarely (Aix-en-Provence), Jeu de Paume (Paris), LocaleDue (Bologna), Prix Sciences Po pour l’art contemporain (Paris), Palais de Tokyo (Paris), Maison Populaire (Montreuil), Cité Internationale des Arts (Paris) and Citadelle de Pamplona (Spain).

Born in France in 1995 and based in Brussels, Ethel Lilienfeld’s work examines the growing impact of the virtual body on reality and everyday life. She creates uncanny images that exacerbate the tension between fantasy and madness. Ethel Lilienfeld’s work explores issues of social norms, aesthetic standards and concepts of identity and gender.

The body plays an important role in most of the artist’s proposals. Although she uses photography, video installation and film, her works are nonetheless related to sculpture, and the relationship with space is crucial in her oeuvre. In her videos, Ethel Lilienfeld works with actors, sets and objects, sometimes drawing on fiction, sometimes on reality.

After completing a master’s degree in visual arts at La Cambre (Brussels) in 2020, Ethel Lilienfeld obtained a post-graduate degree at Le Fresnoy – Studio national des arts contemporains in 2023. She has won a number of awards including the Villa Albertine Grant / Étant Donnés Contemporary Art (2023).
Ethel’s work has been presented at such venues as the FotoFest Biennial (Houston, US); MEET – Digital Culture Centre (Milan, IT); Alan Kadıköy _ Noise Media Art (Istanbul, TR); IMAL Centre for digital cultures and technology (Brussels, BE); Opéra de Lille (Lil- le, FR); Les Safra’Numériques (Amiens, FR); Le Cube (Garges, FR); etc.

Belgian artist Dries Depoorter, based in Ghent, combines technology and art to create pieces that highlight modern concerns like privacy, artificial intelligence, surveillance, and social media. With a strong background in electronics, Dries has become a notable figure in the digital art world.
His diverse portfolio includes innovative apps, interactive installations, websites, and games.
In his recent project, “The Follower,” Dries Depoorter employs open cameras and AI to unveil videos showing how Instagram photos was captured.
A standout project of his, “Die With Me,” is a unique chat app that’s only accessible when a user’s phone battery is below 5%. Another intriguing project,
“The Flemish Scrollers,” uses AI to automatically tag Belgian politicians when they use their phones during daily livestreams.
Along with his other works, have gained international attention, solidifying Dries’ position in the global art scene.
He has showcased his work at prestigious venues like the Barbican in London, Art Basel, Mutek Festival in Montreal, and Ars Electronica. Additionally, Dries has given talks for organisations such as TEDx, MoMA, and SXSW.

Rachel M. Cholz, born in 1991 in France, is mainly an author. She studied visual arts while working as a lighting designer.
No ou le pactole, a poetic narrative, was published by Éditions La Lettre volée. A novel called Pipeline, developing a collaboration around a diesel traffic, was published in April 2024 by Éditions du Seuil.
Rachel M. Cholz likes to work on language paradoxes and contextual shifts. In addition to her writing, she has directed her text Trois pour cent sauvages, and since 2021 has been developing the Viens Valeur project.

Born in 1993, Félix Côte lives and is based in Lille. Initially a multimedia engineering student, he graduated with a master’s degree in Arts, Science, and Technology in 2017. His work revolves around a critical use of digital technology tinged with absurdity. He explores what machines do little, do poorly, or cannot do. By diverting them, he creates installations that confront the public with their own contemporary practices. He joined the 2023-2025 class of Le Fresnoy, studio national des arts contemporains.

Willem Popelier (1982) is a visual artist working with photography, based in Utrecht, the Netherlands. His focus is on the mechanisms and politics of representation. He researches the generally accepted ways in which photos are used, and how identity is represented and perceived through photography. Thus his focus is mostly on popular culture, the ubiquitous image and its effects on society.
His work is exhibited and published worldwide and awarded with several prizes including a C/O Berlin Talent, a Bronze Medal for Best Book Design from all over the World, and nominated for the ICP Infinity Award and the Prix Pictet, among others. His work is included in the Gallery of Honour of Dutch Photography.
Willem Popelier is tutor and co-course leader Photography at the Willem de Kooning Academy in Rotterdam and regularly gives lectures and workshops addressing the ubiquitous image, selfies, implementation of artistic research, and more.

Robbie Cooper (b. 1969) is a UK based artist who’s practice deals with issues around presence and identity in a technological landscape. He works in various media, employing photography, video and video game modifications. He has exhibited widely, including at CCC Strozzina in Florence, Museum der Moderne in Salzburg, Kunstlerhaus Vienna, The Science and Media Museum in the UK and Multimedia Art Museum Moscow.
Robbie is a self-taught programmer, 3D artist and sculptor and has worked on commercial projects for the R&D departments of tech corporations, AAA video games, Virtual Production for broadcast TV, as well as experimental marketing projects for major brands. Currently he is creating an experimental VR game, using the breath as an input device.
From 2008 – 2014 Cooper worked on the Immersion project, in which he recorded the expressions of people watching TV, playing video games and using the internet. “Cooper’s work creates a dual feedback: the players react intensely to the images they see on the screen, whereas we – the observers – react with our own feelings to their powerfully emotional facial expressions that to us, in turn, are just another image on a screen”. The project captured people of all ages immersed in digital
media. Media used in the Immersion project included video games, pornography, children’s cartoons, comedy, atrocity videos, sports, horror and music videos.
The technique used by Robbie Cooper for Immersion is inspired by a method developed by documentary filmmaker Errol Morris. Known as the Interrotron method, Morris used the process to interview people directly through the camera lens. A modified autocue, the Interrotron uses a one-way mirror to reflect an image towards the viewer whilst they gaze into the camera. Morris connected a live video feed of himself into the Interrotron so he could ask questions and the interviewee could retain direct eye contact with him, whilst expressing themselves straight to the camera and the audience. Cooper adapted this approach, plugging video games consoles and computers into the autocue, as well as creating a studio environment which he has described as an “anti-shoot”, in which the attention of subjects is diverted away from the purpose of the activity.

Simona Žemaitytė (Kaunas, 1984) is a Lithuanian artist-filmmaker. Her work was previously awarded at 15th Tallinn Print Triennial and nominated at Sheffield Doc Fest. Her works were exhibited internationally at different venues, including the National Gallery of Art, Vilnius; Loop Barcelona; Oberhausen Film Festival, 13th Kaunas Biennial; CSW Torune, Centrala Birmingham, Kasa Gallery Istanbul; Galata Perform Istanbul; BAFTA, RichMix, London, CAC – Contemporary Art Centre, Vilnius; Galleries Vartai, Malonioji and Kaire-Desine in Vilnius; Riga Cinema Shorts; CreArte traveling exhibition in Pardubice, Linz, Genoa. She holds a practice-based Ph.D. at Vilnius Academy of Arts, where currently teaches at the Sculpture Department.

Gabriel Lester Amsterdam (1972), is an inventor. His works consist of installations, sculptures, performances and films. Other activities include commissioned art in public space, physical structures and design.
Lester’s creations originate from a desire to tell stories and establish contexts and settings that support these stories or propose their own narrative interpretation. His vocabulary is characterized as cinematographic, without necessarily employing film or video as a medium. However, like moviemaking, Lester’s practice has come to embrace and utilize all imaginable media and talent. Open ended, unresolved, seeking to keep mysteries alive and without explicit messages or singular ideas, his works proposes ways to relate to the world, how it is (re-) presented and what mechanisms constitute our perception and understanding of it. With emphasis on human existence and experience, Lester’s projects aim to sharpen and flex the mind.

Yosra Mojtahedi was born in Teheran in 1986 and graduated from Le Fresnoy-Studio national des arts contemporains in 2020. Her work explores the intersection between art, science and technology, with a focus on “soft robotics”. Her sculptural installations in the form of “machine-humans” or “body-fountains” are sensual works that challenge and question taboos associated with the female body. Black” occupies a central place in her creations, symbolizing the absolute and the depth of the void, transcending the limits of time. There’s a strongly assumed feminism at work here: she creates universes where nature and gender merge, revealing a political and unitary message to transcend fragile boundaries.
Winner of the ADAGP’s Prix Révélation d’art numérique et d’art vidéo in 2020, her work has been exhibited internationally, notably in France, Belgium, Iran, Italy, Germany, Dubai and Turkey.

 BIO

Maximilian Oprishka is an award winning multidisciplinary artist working in the fields of sound, visual language and new media. 

With an expressed interest in science, futurism and the dilemmas of forward thinking technologies, Maximilian explores these narratives through cinematic sound scores and photo-surrealist visual media. 

 With works spanning across a multitude of mediums like multiple full length albums, numerous live performances, installations, scores for film and theatre plus visual works for world renowned clients like Google, Netflix, Lessloss or History Channel, with each new project Maximilian continues to merge and melt various genres to explore and narrate the “tomorrow”.

Interest in design, arts and sound phenomena became second nature in Maximilian’s youth (the Meinheld alias, first double vinyl album in 2012) through a mixture of various music and fine art schools, although, after a chain of curious events Maximilian landed in the department of philosophy for his studies. Not postponing the interest in arts, but while studying the likes of Hegel, Maximilian grew a fascination with the modern tradition of psychoanalyst/societal connoisseurs like Lacan and Foucault – all of whom added to the fuelling interest of society’s dilemmas, but transported to a future-technology realm. 

Whilst the early bird Fume alias experiments began in 2013, not long after graduating the studies of philosophy, in 2015 Maximilian became the co-founder of an interdisciplinary design studio OPDN. 

Valentina Peri is an independent curator, artist and author.
Her research explores the impact of technology on contemporary culture, with a focus on intimacy and love in the digital age.
Her touring exhibition Data Dating was presented in Paris, Tel Aviv, London, Brussels, Geneva and Brescia between 2018 and 2022. In the context of this exhibition, she co-edited the book Data Dating. Love, Technology, Desire (Intellect, 2021).
In 2022, she began her research into the phenomenon of online romance scams in West Africa, publishing the books The New Romance Scammer’s Instructor (2022) and Le Brouteur Galant (Editions UV 2024), collections of original love messages from Ghanaian and Ivorian romance scammers.
In 2022, she received a Fluxus Art Projects curatorial grant for her research into the history of dating The Museum of Dating, presented in an exhibition at Watermans London in 2023.

Since it was founded by Andrée Duchaine in 2001, Molior has presented a large number of innovative projects both in Canada and internationally: in China, Brazil, Peru, Slovakia, the Czech Republic, Hungary, Switzerland, Portugal and France, presenting the work of over 170 local and international artists and curators.

Distribution partners include national museums, triennials, festivals and major art events, all of which recognize Molior’s expertise in media and digital art and the quality of its exhibitions, which attract large audiences.

Molior also conducts a number of activities outside established networks to encourage audience development and promote access to first-rate achievements.

In Latin, Molior means to set in motion, to undertake, to build, to realize.

Visit the Molior website

Curated by Nathalie Bachand

An independent curator, Nathalie Bachand is interested in digital issues and the conditions of their emergence in contemporary art. Among her curatorial projects, her exhibition The Dead Web – La fin, initially presented at Eastern Bloc (2017), has been co-curated by Molior in Europe: Mirage Festival in Lyon (2019), Mapping Festival in Geneva (2019) and Ludwig Museum in Budapest (2020), co-curated with Béla Tamás Kónya. She was guest curator for Art souterrain 2021 – Chronométrie. Her exhibition DataffectS was presented at Galerie de l’UQAM (2022), and she also co-curated, with Sarah Ève Tousignant, the festival SIGHT+SOUND 2022 – Danser en attendant (la fin du monde), organized by Eastern Bloc (2022).
Nathalie Bachand is a member of the International Association of Art Critics (AICA) and sits on the board of Avatar in Quebec City. Previously head of development for ELEKTRA-BIAN (2006-2016), she is currently co-artistic director and project manager for Sporobole. She lives and works in Montreal.

Ugo Arsac is a French artist and documentarian. He studied at the Beaux-Arts de Paris and the École des Arts Décoratifs de Paris, where he displayed his videographic approach by producing his first films: Neuf Cordes (Nine Strings), filmed between Italy and Ukraine, a mix of performance and spoken poetry; and Jouons à la Guerre (Let’s Play War), filmed in the ranks of a re-enactment society in Taiwan, a documentary imbued with derision towards the global and local conflicts the island has faced. He later won the La Scam Emerging Artist Prize before joining the Le Fresnoy National Studio of the Contemporary Arts. There, he produced En Contrebas (Underneath), a documentary portrayal of and a Dantean journey through the entrails of Paris, and In Urbe, an interactive installation allowing the audience to conduct their own subterranean journey.

He has completed several residencies, at Centquatre, Ardenôme and the Fruitière Numérique, and has featured in numerous exhibitions (100% l’Expo, Orpheo, Panorama22, Mulhouse021, Tout s’éclaire, the Institut Français in Ukraine’s Digital November). He is conducting new XR projects thanks to support from CHRONIQUES and C2L3play, an Interreg programme promoting artistic innovation. He also works with the Galerie Robert Dantec, where his drawings and serigraphs have been shown at exhibitions such as Points of View and DDessin.

Vincent Dupont

Initially an actor, Vincent Dupont worked with Thierry Thieû Niang and Georges Appaix, and later with Boris Charmatz. In 2001, he signed his first choreography, Jachères improvisations, and since then, while continuing to participate in the work of other artists, has led a body of work that shifts the expected definitions of choreographic art. Associate artist from 2015 to 2019 at ICI-Centre chorégraphique national de Montpellier, Vincent Dupont has been associated with the Centre des Arts d’Enghien-les-Bains since September 2019, and until 2023.

Charles Ayats

Charles Ayats is an author, director and designer of interactive and immersive experiences. Winner of the Haiku Interactif Arte/ ONF call for projects with Phi, he is interested in innovative and committed mediation projects, both in the form of web-documentaries (Check-in, Pas si bêtes les Animaux, Tati Express…), and videogames, such as Type:Rider, a playful triptych on the history of typography, co-produced in 2013. Always on the lookout for new ways to tell stories, he takes part in hackathons to enrich his feedback and training (Cifap, Gobelins, Dixit, INA). Fascinated by virtual reality, he adapted Marc-Antoine Mathieu’s graphic novel SENS (2016). He then co-wrote 7 Lives , an interactive VR tale directed by Jan Kounen (2019), and Le Cri (2019), an interpretation of Edvard Munch’s painting. Following the creation of the augmented reality short film M.O.A (2020), adapted from Alain Damasio’s futuristic novel Les Furtifs, he continues his reflections between narration, body and spatiality with proposals close to live performance such as Colonie.s and No reality now.

Eric Arnal-Burtschy studied history, philosophy and geopolitics before turning to dance and the visual arts. He creates immersive experiences in the form of performances, stage projects and installations. His work, driven by research into the physics of the Universe and a questioning of the human being, is presented in theaters, festivals and museums such as the Louvre Lens, Kanal Centre Pompidou, Hong Kong Arts Center, SPAF in South Korea, ImPulsTanz in Austria, La Bâtie in Switzerland, the Royal Flemish Theatre in Brussels, La Gaîté lyrique, scènes nationales and CDCN or the Philharmonie de Paris. His creations are considered ‘a fascinating, spectacular, immersive and experimental form’ (Sylvia Botella, L’Echo), ‘close to a new art form’ (Aude Lavigne, France Culture) and generating artistic, scientific and technological innovation (Timour Sanli, L’Echo). To this end, he collaborates with numerous creative centers, universities, research centers and major industrial and technological companies. His collaboration with Safran Aero Boosters and John Cockerill has led to the filing of several industrial patents, and he has been an associate researcher at the CNRS (Centre national de la recherche scientifique) with the Institut d’études avancées de Marseille and the Institut de recherche sur les phénomènes hors équilibre for the Genèse project.
He is regularly invited to give lectures and take part in symposia on research related to his work. Always interested in geopolitical and strategic issues, he is also a reserve officer in the French army.
He is Associate Artist at 9-9 bis Le Métaphone (2023-2025); Companion Artist at Théâtre de Liège (2024-2028); Artist in Residence at Théâtre de L’L (Brussels) and at WorkSpaceBrussels.

Delgado Fuchs is a Swiss collective formed in 2002 by choreographers and dancers Nadine Fuchs and Marco Delgado. Situated outside the usual categorizations, the creations of the duo are half serious and half trivial, playing on ambiguity with a distinct and fundamental taste for the transformation and the transgressions more broadly. They probe with casualness and an apparent naivety various modalities around the body: its hyper-awareness, territory populated with humor and its troubled plasticity.
Sidelong glances, plural perspectives, collaborations with artists from different disciplines and uninhibited exploration of forms lead the two artists to move beyond the borders between spectacle, performance, installation and exhibition. They have created more than 20 pieces showing in theatres, festivals, museums, art centers from all around the world : le Centquatre (FR), Aichi Triennale Nagoya (JP), Festival de la Bâtie Genève (CH), ImPulsTanz Vienne (AU),
Scène nationale La Filature Mulhouse (FR), Centre culturel Suisse Paris (FR), Scène nationale Le Merlan Marseille (FR), Arsenic Lausanne (CH), BIAN Montréal (CA), Collection Lambert Avignon (FR), Maison de la Danse Lyon (FR), Dance House Melbourne (AU), Zodiak Helsinki (FI), Festival Noorderzoon (NL), Moussonturm (DE), Sundace Film festival Park City (USA), …

Jasmine Morand completed her classical training in Geneva and at the Princesse Grâce Academy in Monaco, after winning first prize at the Swiss National Ballet Competition in Soleure, first prize in modern dance in Nyon and the Migros Cultural Percentage study prize. She began her career as a dancer with the Ballet National de Nancy et Lorraine, before joining the Zurich Opera and the Slovenian National Ballet. In 2000, she began training in contemporary dance at Codarts, Rotterdam, where she began to develop her choreographic writing.
On her return to Switzerland, she founded the Prototype Status company and is currently permanent resident and artistic director of Dansomètre – espace de création et recherche chorégraphique in Vevey. Awarded the Prix Danse de la Fondation Vaudoise pour la Culture (2013), Jasmine Morand tours with Prototype Status in Europe, the United States and South America. The company’s repertoire includes over fifteen works, including the highly acclaimed creation MIRE (2016), a work for twelve dancers, selected at Swiss Dance Days 2017 and presented over fifty times, including at the Holland Dance Festival, on French national stages and at tanzhaus NRW Düsseldorf. The creation LUMEN (2020) won the Label + Romand – arts de la scène competition and was awarded the Prix Suisse des Arts de la scène as best dance creation 2020 by the Office Fédéral de la Culture.
In January 2023, LUMEN was presented at the Théâtre de la Ville in Paris. On the strength of her experience, she is now invited to create contemporary works for institutions such as the Tanztheater Lucerne, which opened the Steps 2020 Festival, or for professional training courses such as the BA dance program at Zurich University, or the CFC dance program in Geneva.

Mark IJzerman is an interdisciplinary artist exploring planetary processes such as eroding biodiversity and warming waters from more-than-human perspectives. Working on the intersection of ecology and media art, IJzerman uses digital technologies to create processes that have their agency to make works creating intimacy between us and the other-than-human. His work is always informed by field research and working with other professionals. He was the 2022 recipient of the S+T+ARTS4Water ‘Biodiversity in the Rotterdam Port’ residency hosted by V2_. He has performed his A/V works at various media art festivals around Europe (Rewire Festival, Meakusma, Transmediale/CTM Vorspiel, Le Guess Who?, FIBER Festival, Mapping Festival) and has most recently exhibited works at MU in Eindhoven, Art Center Nabi in Seoul, V2_ in Rotterdam, De Lakenhal in Leiden and on the International Space Station. IJzerman is a tutor at Ecology Futures MA at the Master Institute of Visual Cultures in Den Bosch, where together with his students he looks at how sensory technologies can be used to address climate emergency through experiential projects. He is a part of the new media collective Zesbaans and runs the sound art blog Everyday Listening.

Sébastien Robert (1993. Nantes, FR) is an interdisciplinary artist and researcher who develops a practice at the intersection of visual and sound art, technology, science and ethnography. Most of his projects revolve around a research cycle, You’re no Bird of Paradise, through which he explores disappearing Indigenous sonic rituals and cosmologies. Beyond simple documentation, yet not an ambitious ethnographic archiving project, he aims to translate these immaterial resources into long-lasting tangible works of art made of materials that echo the traditions of the communities encountered and the geo-specificities of the territories explored. Through his work and research, Sébastien searches for possibilities to create an engaged and expanding artistic dialogue between non-Western perspectives and new technology while questioning our perception of our environment and highlighting the epistemological diversity of our world. Sébastien has recently exhibited his work at Scopitone (Nantes, FR), Light Art Museum (Budapest, HU) and FIBER (Amsterdam, FR) and has performed at various internationally recognised festivals such as Rewire (The Hague, NL), Organik (Hualien, TW) and Mirage (Lyon, FR). Sébastien graduated with honours from the ArtScience Master between the KABK – Royal Academy of Art and KC – Royal Conservatory of The Hague in 2020, where he now lives and works.

Studio Martyr is a multidisciplinary structure created in 2020 by Adriane Breznay and Julien Ticot-Guillet, to produce projects in the fields of theater, performance, film and music.

The duo’s baroque aesthetic explores the boundary between the real and virtual worlds, in forms where celebration always merges with tragedy. The young artists probe the impact of the internet and social networks on the construction of our identities, and work to create fiction from the streams of images and language that abound online, to understand how this new playground shapes our intimate and political lives.

Julien Ticot-Guillet

Julien Ticot-Guillet is a film director, author, performer and stage director. In 2020, he co-created Studio Martyr with Adriane Breznay, with whom they will join the first Artagon Marseille class in 2021.

During his research course at the École Normale Supérieure de Lyon, he investigated the use of techno and the presence of the party on contemporary stages, and simultaneously began working for (LA)HORDE, which he accompanied for three years as artistic assistant at the Ballet National. A self-taught director of photography, he shot Julien Chauzit’s first feature film, La Colline, which had its world premiere at the FID in Marseille in 2021.

His work, at the crossroads of all these influences, seeks to give shape to the phantasmagorical mental landscape of his generation, the first to have grown up both offline and online, and explores the different forms of heritage that have forged his queer, mixed-race West Indian identity.

Adriane Breznay

Adriane Breznay is a director, playwright and researcher. Through all these approaches, her work explores the place of altered states of consciousness in art, in forms that constantly re-interrogate the question of mourning and funeral ceremonies.

A graduate of the Ecole Normale Supérieure de Lyon in the “dramaturgies” section, in 2020 she founded Studio Martyr alongside Julien Ticot-Guillet, where she developed her artistic activities, notably as part of Artagon Marseille’s class of 2021. At the same time, she was awarded a doctoral scholarship at Lyon 2 University; her thesis focused on the links between hypnosis and acting. She regularly collaborates on the creation of shows as a dramaturge for theater (Cie Urdin – CDN de Poitier) and opera (Ensemble Pygmalion – Raphael Pichon).

Architecture Social Club is an award-winning, multi-disciplinary design studio, operating in the overlapping domains of art, architecture, music and technology. Endlessly curious, we design and build tools to create experiences and tell stories that aim to stimulate and empower participants towards deeper, more meaningful connections between people, phenomena and their environment. 

1024 operates at the crossroads of art and architecture, combining spatial practices, digital technologies and visual creation. Merging disciplines and media, the studio considers architecture and inhabited spaces as evolving structures. Audiovisual installations become perennial devices, architecture is dismantled as temporary structures, scenography emerges as artworks, and multimedia performances are transformed into immersive real-time experiences. From one-night projects to permanent installations, 1024 architecture creates original works that resonate with their environment.

Félicie d’Estienne d’Orves’ work combines light, sculpture and new technologies. Her research focuses on vision, its processes and conditioning. Her immersive installations use a phenomenological approach to reality, emphasizing the perception of time as a continuum. Since 2014, the artist’s research has focused on space in relation to astrophysics and the study of natural light cycles.
A visual artist whose material is light, Félicie d’Estienne d’Orves’ installations and performances call on a phenomenological knowledge of reality and question the conditioning of our gaze. In her work, light is both tool and subject.

Jean-Philippe Lambert studied science and music, and was trained in live performance techniques. Since 2001, he has been working on a number of projects at Ircam, with the Analyse-Synthèse, Temps-Réel, Interactions Son Musique Mouvement and Espaces Acoustiques et Cognitifs teams. He is currently collaborating on the Soundworks framework, used by Astérismes, which enables distributed interactions on telephones (concerts, installations and experiments).
Alongside his research at Ircam – Centre Pompidou, he creates lights, music, interactions, instruments, software and videos for performances, concerts, films and installations, presented in various venues in Europe and Japan. He has taken part in numerous international artistic events as creator, technical director or performer.
His varied interests crystallize in his work on multimodal interaction systems.

Composer Aki Ito studied composition and orchestration at the CNSM in Paris. Parallel to her instrumental creations, her sensitivity and interest have directed her from the start of her career towards electronic music and new technologies.
Pursuing her concept of slowness, since 2016 she has focused on the study of a temporal system inspired by astronomy. The slowness she defines is a temporal space that changes slowly and perpetually, where several different periods coexist and influence each other.
In this sense, time is relative and interactive for her, changing from one point of view to another. For the Astérismes project, her role is to conceive sounds and processes that are both spectacular and inspiring and that suit the different forms, developing her temporal and compositional system.

Júlia Lema Barros, multimedia artist, unveils her artistic universe through an immersive exploration of sound and the strangeness of fiction. Born in Lisbon in 1997, she currently lives and works between Lisbon, Aix-en-Provence (France) and Bavaria (Germany). Her artistic practice revolves around sound and video projections, immersing viewers in sensory experiences of space and its memories. Her creations unfold in spaces inhabited by the tension between reality and fiction, capturing the very essence of the uncanny.
She was recently awarded top Portuguese Emerging Art and is a Resident in the international 7thex program. In addition to exhibitions and artist residencies, her professional experience includes creating workshops and taking part in courses and conferences on the importance of new media, such as Artissima, Turin 2018, CIVIS Europe at Sapienza University, Rome 2022 and Drawing Room, Lisbon, among others.

After studying economics and music, Josep Poblet began his career as a designer when he decided to quit his office job and return to manual labor, as he had done in his youth. Influenced by his family’s crafts – the land, the machines, the workshop – he often draws on these origins for the perception and meaning of his designs. From the outset, he has also shown a particular interest in light: its materiality and capacity for movement, contrast, the definition of space and emptiness, among other things. He currently combines teaching at design schools and collaborating with other studios with the activities of his own studio, which he set up in Barcelona and moved to his hometown of Vila-seca in 2022.

Clara Rigaud works on projects involving computer science, interaction, design and the humanities.

She recently defended her doctoral thesis in the field of human-computer interaction, exploring the design of knowledge-sharing tools in the context of manufacturing and Do-It-Yourself communities.

Alongside her university studies, ten years ago she co-founded the Random Pixel Order collective, which works on projects at the intersection of digital art, DIY and micro-publishing, exploring and promoting virtual and physical creative techniques.

Today, she continues to work on projects involving technology, humans and non-humans. She is committed to giving humans the freedom to empower themselves in relation to technology, as well as exploring how and whether technology can be part of the future of our world.

S8jfou («Suis-je fou», french «for Am I crazy ?») is a self-taught artist and musician. In 2017, he bought a plot of land in the mountains to escape big cities and civilization, and built an 8m2 cabin for 8 months. From there, he creates most of his music. Fascinated by synthesizers and computer hardware, S8jfou made his second album solely with hardware. After finishing his cabin, he decided to cut plastic out of his life, especially the plastic of his musical instruments. He sold almost everything except the synths he needed to play live. He wanted to make digital music free and openly accessible, to share with the world. Building new tools without spending money or producing plastic or rare metal waste, and sharing them with the world for free, makes him happy.

Simon Lazarus 84 was forged in the Paris graffiti scene in the early 2000’s. He is now exploring new plastic territories through the use of technology (hi & low). Hacker in the broadest sense of the term – which here means hijacking/ explorimentation/parasiting – he wanders the landscapes of maker culture, gleaning tools and know-how to create drawings, sculptures, animated frescoes and audio-visual installations. His visual grammar, which gravitates between symbolism and abstraction, is embodied in processes that place virtual imagery and physical materiality in tension. His work has been presented in contemporary art spaces (Palais de Tokyo, Kommet, Aponia, Lieu Unique), digital art festivals (Scopitone, Maintenant, Astropolis, Constellation de Metz, UHfest) and video-mapping events in France and abroad: Fête des lumières de Lyon, Sharjah Light Festival (United Arab Emirates), Shining Shanghai (China), MappMontreal (Canada) and the Vidéo-mapping festival in Lille in 2023, where he was awarded the Grand Prize of the Jury.

Stephanie Lüning is an acclaimed contemporary artist renowned for her innovative approach to painting, sculpture and interactive installation art. Born and raised in Mecklenburg in Germany, Lüning studied at the academy of fine arts in Dresden but experimented with various mediums such as colored ice, wax and what she is most known for: foam. Her artistic journey has led her to exhibit her work not only in galleries and museums around the world. Her installations at famous places like the Centre of Pompidou earned her recognition and acclaim from both critics and audiences alike.

Drawing inspiration from nature, science, and the human experience, Lüning’s work often explores themes of transformation, impermanence, and interconnectedness. Her actions and performances are often characterized by their fluid forms and site specific choices,  challenging viewers to reconsider their relationship with the world around them.

Thomas Laigle is a sound and visual artist. His research lies at the crossroads of sound, visual and digital arts. In the context of current technological advances, where virtuality and immateriality are intensifying, he proposes sensory experiences in a low-tech approach through a variety of media (performance, installations, sound composition). In his artistic practice, light and sound are interconnected to the point of forming a single medium.

His concert-performances are presented in France and Europe (Festival d’Avignon, Stéréolux, Maintenant festival, Interstices festival, Ménagerie de Verre, Montévidéo-Marseille, Liège Electronique BE, Experimance DE, Spektrum-Berlin DE, Art Quarter Budapest HU…). Since 2020, he has been creating installations combining technology and living beings. Recently, in Berlin, he co-organized Soft Incident, a series of performances focusing on body and sound practices.

SMACK is the award-winning trio of digital artists Ton Meijdam, Thom Snels and Béla Zsigmond.
Based in Breda, Holland, the three studied together at the School of Fine Arts and Design (AKV) St. Joost and founded Studio Smack in 2005. Working with computer generated imagery and 3D animation, they produce films and video pieces inspired by contemporary culture. Their works explore consumerism, surveillance, the pervasiveness of branding, and personal identity in the information age.

Originally from Montreal, Claudie Gagnon is a self-taught multidisciplinary artist who has been active for over thirty years, and who now lives and works in Quebec City.

Her practice takes many forms: installation, living painting, sculpture, video, photography, food art, creations for young audiences, collage and art integrated into architecture. Her work is not only presented in art venues – artist-run centers, galleries, museums, theaters – but also in places chosen for their potential to stimulate the creation of in situ works (barns, gardens, factories, disused churches, apartments earmarked for demolition, etc.).

She recycles everyday objects as well as concepts and more or less notorious works from the history of art, in addition to taking an interest in the visual and sonic markers that make up our high and popular cultures. Her creations are imbued with playfulness and poetry, at once enchanting and disquieting, provoking delight and unease, vacillating between the ordinary and the extraordinary. Perishable elements, such as food and plants, express the life cycles and the effects of time on all things.

Her work has been shown in artist-run centers, galleries, museums and festivals in North America, Asia and Europe. Her pieces are part of the collections of the MNBAQ, MACM, MBAM, Musée d’art de Joliette and several private collections. She has held creative residencies in the Paris and Mexico City studios of the Conseil des arts et des lettres du Québec.

Chloé Rutzerveld is a designer and futurist based in the Netherlands. Driven by her fascination and curiosity for nature and science, she conducts artistic research that results in thought-provoking questions, design probes and possible future scenarios. Based on factual research, with a layer of speculation. With as central themes future of food and digestive systems.

Organism Studios is an interactive media lab specializing in transforming fiction into reality through 3D animation, simulation and design. With two decades of experience, brothers Rik and Adriaan van Veldhuizen have adapted to digital evolution by mixing art and code to create interactive stories with meticulous attention to detail. The studio is always looking for new technologies to visualize future themes and topics to make them discussable

Culinair Cellulair, is the second interactive installation that the two studios developed together. In 2019 they developed an interactive installation ‘Future Food Formula’ about high tech indoor growing systems and the influence of growth recipes on plant growth.

Marit Westerhuis (b. 1992, The Netherlands) is an Amsterdam-based artist with an MFA from the University of Applied Science in Groningen and a residency at the Rijksakademie van Beeldende Kunsten. She creates kinetic installations that blend organic elements like moss and water with industrial materials such as steel and PVC. Incorporating robotics, her installations simulate natural movements, creating immersive environments where nature and technology converge in a discordant and sometimes unsettling way. Her work reflects a fascination with humanity’s relentless pursuit of technological progress and the sacrifices made for it, often contributing to ecological crises. By integrating historical references, mythological themes, and contemporary discourse, Westerhuis constructs alternative narratives that prompt reflection on humanity’s relationship with technology and nature. Recent exhibitions include showcases at the Hermitage in Amsterdam (2023), Nieuw Dakota in Amsterdam (2023), and her debut solo exhibition at the Groninger Museum in Groningen (2022).

With a degree in Performing Arts and Journalism, she studied the hijacking of television through performance art in the dissertation “Don’t hate the Media, Be the media”, interned at ARTE and approached experimental cinema while getting involved in multiple cross-disciplinary projects. In 2013, she joined the Formation supérieure pour la création en espace public (FAI AR / Marseille), where she developed her interest in architecture, territories, notions of space and inhabitants. Since 2015, she has been imagining various projects while cultivating a valuable relationship with research and writing. She regularly collaborates with different groups and artists while pursuing her own work at the crossroads of video and spatial arts, performance and documentary, questioning a plastic writing rooted in reality. And vice versa. Since 2023, she has been accompanied and supported by Parallèle, Pratiques artistiques émergentes internationales (Marseille).

Severi Aaltonen was born in 1992 in Finland. He is a contemporary artist, photographer and an enthusiastic explorer of second hand markets, dumpsters and empty houses. He works and lives in The Netherlands. His focus is to be an urban storyteller, narrating discreet regular people dimmed by power and fame. He ponders upon the influence of corporations in daily life, which motivates his artistic choices. His studio time is spent on harvesting archives and databases. Most of his works are composed of industrial material and mass production; his favourite canvas is a 244 x 122 cm chipwood board and a childhood era composite TV.

Telemagic is an art+technology collective consisting of the spiritual surfers Ymer Marinus (they/them), Roos Groothuizen (she/her) and Cyanne van den Houten (they/she). They make sense of the mysteries that revolve around the human connection to digital technology and believe that invisible technology is not something to be feared. In their work, the machine is always in control. As an open media-lab, Telemagic experiments with the future of media by creating manifestations, tools and interventions through (interdisciplinary) collaboration and hacking.

Filip Custic (Santa Cruz de Tenerife, Spain 1993) works across photography, performance, sculpture and video to address themes around identity, body and our relationship with technology. Mirrors and screens are a recurring features, a reference to our age of image-obsession and selfies, and Custic also uses symbols, references to science, and art-historical borrowings in his art. The artist focuses his work on the crossover between technology and the body, talking about identity and how technological objects can help us celebrate the diversity of identities of human beings. Custic’s unique style has opened doors to prestigious collaborations in the fashion world with brands like Kenzo, Chloé, Louboutin, Palomo Spain, Camper, as well as magazines such as Vogue and GQ.
Additionally, he has worked with internationally renowned artists like the Spanish pop star Rosalía and the American rapper Lil Nas X. His art is exhibited worldwide, including at La Térmica (Spain), the Museum of Fine Arts in Leipzig (Germany), the Museum of Contemporary Art in Zagreb (Croatia), Art Basel Miami (United States), and recently at the Parco Museum Tokyo (Japan) for his first solo exhibition.

In his early career Teun Vonk focused on photography and video. Group dynamics and how a group affects an individual were his main topics, as well as the interaction between the visual director, himself, and the subject. Vonk used the camera as a means of exercising power, used it to create a situation and register the spontaneous reactions of the participants.
Currently, Vonk has a radically different direction in his approach to this subject: he creates art installations that focus on individual physical experience. Following a personal experience during a residency in Shanghai, his own body and that of the viewer/participant are his focus point. This has also shaped Vonks daily practice: instead of working primarily from behind a desk, Vonk focuses on the process of making and uses his studio as playground, test site and production area.
Teun Vonk has shown his work at Ars Electronica, FILE Brazil, STRP Biennial Eindhoven, Art Rotterdam, Chronus Art Center Shanghai, EYE Amsterdam and CTM Festival Berlin.

Donatien Aubert is an artist, researcher and author. After graduating with honors from the École Nationale Supérieure d’Arts de Paris-Cergy, he carried out post-master’s research at the Laboratoire de l’École Nationale Supérieure des Arts Décoratifs (EnsadLab). He was part of the Spatial Media program, specializing in the creation of virtual reality experiences and shared 3D environments. He also holds a doctorate in comparative literature from Sorbonne University’s Faculty of Letters. His thesis, written as part of Labex OBVIL, deals with the re-actualization of the arts of memory (ancient techniques for spatializing knowledge) in the field of human-machine interaction.
Donatien Aubert creates hybrid works: videos, interactive installations, virtual reality experiences, sculptures created by computer-aided design and manufacture. In the service of an epistemological and historical perspective, they balance forms that owe as much to the classical culture of curiosity (scientific and literate) as to that of contemporary technoscience.
Digital technologies have transformed the production, access and circulation of knowledge, opinions and aesthetic experiences: for several years now, Donatien Aubert has been analyzing this epistemological, political and sensitive transition. He is particularly interested in the role played by cybernetics in the development of digital cultures. He has contextualized its influence on the transformation of conflict resolution (during the Cold War and in contemporary times); he has questioned the representation it has proposed of humankind and its potential obsolescence; and he has endeavored to demonstrate its importance in the reshaping of scientific ecology.
Donatien Aubert’s plastic research is based on treatments that have been reinforced by digital technologies (generativity, interactivity, immersion), mobilizing a visual grammar capable of putting into tension a baroque and romantic aesthetic with more minimal and industrial influences.
His work has been exhibited at several biennales (Némo, Chroniques, Elektra) and internationally (Taipei, Kyoto, Moscow, Esch-Belval, Basel, Montreal, Goa). He is the winner of the CNAP “Image 3.0” photographic commission in 2020. His work was the subject of a solo exhibition at Galerie Odile Ouizeman, Paris, in 2021.

Anne Fehres (The Netherlands) and Luke Conroy (Australia) are an interdisciplinary artist duo based in The Netherlands. Their practice engages with socio-cultural topics in meaningful yet playful ways, using humour and irony as essential tools for critical reflection and expression. The outcome of their work utilises a multimedia practice spanning photography, performance, digital-art, video, sound, VR and installation.

Their interest in socio-cultural topics is informed by Anne’s background in documentary film and audio-visual design (Royal Academy of Fine Arts, Ghent, Belgium, 2013) and Luke’s background in sociology, visual-art and education (University of Tasmania, Australia, 2013). In their work they are especially interested to engage with projects where broader socio-cultural events, processes and systems at a macro level can shape and be shaped by personal experiences at a micro level. This focus has led them to undertake embedded projects in over 15 countries, with exhibition outcomes across Europe, Asia and Australia.

Belgian artist Dries Depoorter, based in Ghent, combines technology and art to create pieces that highlight modern concerns like privacy, artificial intelligence, surveillance, and social media. With a strong background in electronics, Dries has become a notable figure in the digital art world. 

His diverse portfolio includes innovative apps, interactive installations, websites, and games.

In his recent project, “The Follower,” Dries Depoorter employs open cameras and AI to unveil videos showing how Instagram photos was captured.

A standout project of his, “Die With Me,” is a unique chat app that’s only accessible when a user’s phone battery is below 5%. Another intriguing project, 

“The Flemish Scrollers,” uses AI to automatically tag Belgian politicians when they use their phones during daily livestreams. 

Along with his other works, have gained international attention, solidifying Dries’ position in the global art scene.

He has showcased his work at prestigious venues like the Barbican in London, Art Basel, Mutek Festival in Montreal, and Ars Electronica. Additionally, Dries has given talks for organisations such as TEDx, MoMA, and SXSW.

For over fifteen years, Martin Messier has been creating works that combine sound art, light, robotics and video. In the form of performances and installations, his creations bring the presence of the body to the fore.

After studying composition at the Université de Montréal, he turned to an experimental sound practice that integrates the video image. He soon began creating performative audiovisual devices that call into question everyday objects and the sound potential of materials.

His productions have been presented in some fifty countries and have earned him numerous awards and nominations, including the World OMOSIROI Award in Japan in 2018 and, in 2021, 2nd prize at the Athens Digital Arts Festival.

deletere is a transmedia research space dedicated to the study of artistic issues generated by new technologies. The association supports, produces and distributes multimedia works and performances by artists who question the public’s relationship with machines. deletere is now a shared workspace, an open production workshop and an artists’ residency. Throughout the year, the association offers introductory workshops, concerts and artistic encounters based on transmedia practices.

Nicolas Montgermont is a sound and radio artist who explores the physicality of waves in its various forms.

For more than 15 years, he has been designing artistic devices that explore the poetic essence of waves: resonance in a volume, vibration of materials, richness of invisible radio landscapes, musicality of interferences, antenna sculpture, listening and transmitting territory… and is currently developing a work on the links between radio art and politics.

He produces sound performances, installations, records and compositions, alone or in collaboration (chdh, Art of Failure, Cécile Beau, RYBN, Pali Meursault …) and participates in several sound and radio creation collectives (∏node, Yi King Operators, les Sons Fédérés, Jef Klak, l’Acentrale). His projects are shown in numerous art centers, museums, concert halls and self-managed venues in Europe and elsewhere.

He teaches sound and multimedia creation at the ENS Louis Lumière and at the University of Paris 8.

Thomas Garnier is a contemporary artist who originally trained as an architect and graduated from Le Fresnoy, Studio National des Arts Contemporains. His work has since been presented in exhibitions, festivals and international biennials.

His practice is that of an artist but also of a researcher or heterotopologist, as defined by Foucault in his text «les espaces autres». This search for and construction of meaning in the «liminal» or «in-between» leads him to produce automated and collapsing sculptures. The critical nature of the works is developed through wandering, and the observation of real spaces. In Thomas Garnier’s work, we seem to be witnessing the archaeology of a drifting and derived world, caught up in the congregation of multiple temporalities and techniques, derived from a primitive futurism, from multi-brutalism, from supra-romanticism or any anachronistic accumulation you could conjure up.

Pierre Coric’s body of work is a weaving of different technical and technological practices. Navigation, computer programming and the making of textile objects are the components of ephemeral installations and performances which, by revealing an offbeat kind of normal, make us rethink our perceptions of the world.

Karina Smigla-Bobinski is an Open-Media artist and works with analogue and digital media on the field of propioceptive art. Her themes move between science, intuition, expression and cognition. She creates and collaborates on projects ranging from painting, kinetic sculptures, interactive installations, art interventions, mixed reality objects, multimedia physical theatre performances and online projects. Her works contain the method of their making, they are direct art, which foregrounds the material, movement through time and impact on results. 

Her artistic research also includes interworking with science, as well as theoretical work on the interplay between society, technology and the resulting cultural techniques. As Visiting Research Fellow and Artist in Residence at ZiF Center for Interdisciplinary Research Bielefeld University’s Institute for Advanced Study, she worked with two research groups of scientists, philosophers, art historians and legal scholars on the topics of the Ethics Of Copying and Genetic And Social Causes Of Life Chances. 

Her works have been shown in 49 countries on 5 continents at festivals, galleries and museums internationally, including Ming Contemporary Art Museum in Shanghai (China), Mattress Factory – Museum of Contemporary Art / Pittsburgh (USA), Grande Halle de la Villette in Paris (France), Ithra – King Abdulaziz Center for World Culture / Dhahran (Saudi Arabia), Science Gallery in Dublin (Ireland), IPARK Museum of Art in Suwon (Korea), GARAGE Center for Contemporary Culture in Moscow (Russia), ZERO1 Biennial in Silicon Valley (US), FILE Electronic Language International Festival in São Paulo and Rio de Janeiro (Brazil), FACT Foundation for Art and Creative Technology in Liverpool (UK), Busan Biennale (South Korea), Muffathalle in Munich (Germany), Bangkok University Gallery (Thailand). 

Her collaborative performances have been shown at the Festival Montpellier (France), Grand Théâtre (Luxembourg), Festival in Kabul (Afghanistan), GoDown Art Center Nairobi (Kenya), National School of Drama in Delhi (India), Festival Caracas (Venezuela), Fadjr-Festival in Tehran (Iran), Art Festival (South Korea), Haus der Kunst in Munich (Germany), Berliner Festspiele (Germany) and Biennale di Venezia – Arsenale, Venice (Italy).

Luke Jerram’s multidisciplinary practice involves the creation of sculptures, installations and live arts projects. Living in the UK but working internationally since 1997, Jerram has created a number of extraordinary art projects which have excited and inspired people around the world. With over 25 years experience in creating successful artworks, in 2021 alone he had 104 exhibitions in 17 different countries.

As well as touring his installations, his artworks are in over 50 permanent collections around the world including the Metropolitan Museum of Art in New York and the Wellcome Collection in London.

In 2020 was given an Honorary Doctorate from the University of Bristol, made an Honorary Academician of the RWA and Fellow of  The Royal Astronomical Society.

In 2019 he set up and funded both the Dreamtime Fellowship to support recent graduates in his home city of Bristol and the Bristol Schools Arts Fund to support secondary schools in Bristol impacted by austerity.

Dan Acher is an international artivist based in Geneva. He imagines art installations and participatory situations that shake up our routines and create the extra-ordinary in our urban imaginations.

At the center of his work is art as a generator of social change; his installations transform our vision of the city and of living together.

Founded in 2009 by Fabio di Salvo and Bernardo Vercelli Quiet Ensemble, generates audiovisual performances and installations by capturing the essence of various objects and creatures ranging from goldfish to pineapples to clouds. The research of Quiet Ensemble goes through the observation of balance between chaos and control nature and technology creating subjects that merge those elements that take form from the relation between organic and artificial subjects focusing on insignificant and wonderful elements like the movement of a “y or the sound of trees. 

Celebrating the “invisible concerts” around us every day, Quiet Ensemble strives to reveal hidden or often overlooked aspects of the environment around us.

Mary Ocher has been persistently creating passionate, uncompromising work, raw, thought provoking, socially and creatively pushing against the current, dealing with subjects of authority, identity and conflict. Her work is as enchanting as it is polarizing, ranging from traditional folk to raw 60s garage, ambient with ethereal vocals and abstract synths, to experimental pop with African and South American rhythms when performing with her drummers (Your Government). «The West Against The People» was released on H.J. Irmler’s label Klangbad (of Krautrock pioneers Faust). It includes solo tracks, as well as tracks with his two
drummers Your Government, and the elusive legends Die Tödliche Doris and Felix Kubin.

Noemi Castella was born in 1997 in Lausanne, Switzerland. Her work investigates socio-political issues through fiction and storytelling using different mediums such as video, sound, animation and crafts. She graduated from the Bachelor of Fine Arts at the Haute Ecole d’Art et de Design de Genève (HEAD) in 2018 and from the Master of Space and Communication at the Haute
Ecole d’Art et de Design de Genève (HEAD) in 2021. She obtained her Master’s degree with the mention “Excellent” and the award “Prix d’Excellence de la HES-SO du domaine Design” for her research work on Swiss folkloric monsters.

Sophie Whettnall Born in 1973, lives and works in Brussels (Belgium). Sophie Whettnall is a multidisciplinary artist using video, performance, drawing and painting. Her works oscillate between elegance, sensuality and energy. Since the nineties, the work of Sophie Whettnall offers a reflection on the forces that define our relationship to the world around us, by materializing and documenting them. Sophie Whettnall focuses on light and analyses its presence and zones of absence and passage. The aesthetic pieces of the artist prove simultaneously sensitive and powerful, resting on a dialectic tension and attempt to instigate a relation between contradicting concepts and perceptions: between softness and sensuousness, yin and yang, women and men. Her work also contributes to a form of autobiographical project. Sophie Whettnall won the Young Belgian Painting prize in 1999. Her works has been exhibited at the 52th Venise Biennal (Italy) ; Utah Museum of Fine Arts (Salt Lake City) ; MAC’S, Site du Grand Hornu (Hornu) ; DOT. Project (London) ; Leal Rios Foundation (Barcelona) ; Centrale for Contemporary Art (Brussels) ; BOZAR (Brussels) ; Museu de Arte Moderna Aloisio Magalhães (Recife) ; CGAC (Santiago de Compostella) ; COAC (Barcelona) ; Vera Cortes Art Agency (Lisbon) ; Krinzinger Projekte (Vienna) ; L’Orangerie – Espace d’art contemporain (Bastogne) ; Fresnoy – Studio national des arts contemporains (Tourcoing).

The artistic practice of Amelie Bouvier builds from historical research in the field of astronomy to question issues related to cultural memory and collective heritage. Astronomers in particular, and scientists in general, don’t only explain the world, they also represent it through the construction of diagrams, illustrations, photographs or equations. For Bouvier, scientific imagery is an extension of knowledge that reveals ideological and ethical frameworks, which risk cloaking aspects of the reality they aim to represent. She is particularly interested in the sky and stars as a landscape that expose current socio-political contradictions and knowledge gaps. While her work is based on historical facts, data and visuals, she consistently mixes this with speculative imagery, adapting tools and techniques to present alternative potentialities.

Pierre Pauze is a French video artist, filmmaker and visual artist. Born in 1990, he lives and works in Paris.

A graduate of Le Fresnoy and the Beaux-Arts de Paris, Pierre Pauze was revealed to the public in 2016 on the occasion of the 2nd edition of the international exhibition of art school students presented by Artagon in Paris. Since then, his work has been the subject of numerous exhibitions in France and around the world, such as at La Villette, the Es Baluard Museum in Palma, Mallorca, or the K Museum of Contemporary Art in Seoul, or at the Beijing Biennale.

Pierre Pauze’s films have been shown in numerous festivals and on television, in France and abroad. He has received several awards, such as the Agnès b. Prize in 2016 and the ADAGP Digital Art and Video Art Revelation Prize in 2019. In 2020, he is resident at the Cité internationale des arts in Paris as well as POUSH Manifesto. He participated in the 12th Taipei Biennale with MASS, a film and installation project made in collaboration with young artist and filmmaker June Balthazard. The work has already been shown at Luma Arles during a screening/talk with Hans Ulrich Obrist. It is currently presented at the Centre Pompidou Metz and at the Chengdu Biennale in China.

Born in 1973 in Berlin/Bremen (DE), lives and works in Brussels (BE) since 2002.

David Helbich is a composer, sound-, installation- and performance artist, as well as a photographer and teacher, who creates a diverse range of experimental and conceptual works for the stage, paper and online media and in public space. His trajectory moves between representational and interactive works, pieces and interventions, between conceptual work and actions. Many of his works address concrete physical and social experiences. A recurrent interest is the direct work with a self-performing audience.

Noemi Castella est née en 1997 à Lausanne, en Suisse. Son travail enquête sur des questions sociopolitiques à travers la fiction et la narration en utilisant différents médiums tels que la vidéo, le son, l’animation, la confection d’objets artisanaux et le dessin. Diplômée du Bachelor en Arts Visuels de la Haute école d’art et de design de Genève (HEAD) en 2018 et du Master Espace et Communication de la Haute école d’art et de design de Genève (HEAD) en 2021. Elle obtient son diplôme de Master avec mention Excellent ainsi que le Prix d’Excellence de la HES-SO dans le domaine Design pour son travail de recherche sur les monstres folkloriques suisses.

Stéphane Thidet, born in 1974, lives and works in Paris and Aubervilliers. A graduate of the Ecole nationale supérieure des Beaux-arts de Paris and the Ecole supérieure des Beaux-arts de Rouen, he is represented by the Aline Vidal galleries in Paris and Laurence Bernard in Geneva.

His works suggest another, a fiction not accessible but perceptible, which confronts the viewer with a new “state of things”. Stéphane Thidet creates universes where there are shifts, side steps. His works depict his vision of reality imbued with fiction and poetry. He likes to place himself in this in-between and play with the limits of these fictional and real spaces. Based on everyday life situations, he describes the notion of instability in the face of the erosion of time and the action that leads to their disappearance

Claire Malrieux graduated from Ensba in 2000. She co-founded Mix Editions with the other members of the collective with whom she worked from 2000 to 2006. Her collective practice has led her to experiment with the conditions of circulation of the narrative through hybrid forms where editions, history and fictions are mixed. In 2014, she benefited from a research residency at the Musée des Arts Décoratifs in Paris where she laid the foundations for her current work and exhibited a first online algorithmic graphic work. Since then, she has been developing the Hyperdrawing project in which she alternates research phases, technical experiments and productions of generative graphic works. Her latest works engage the enunciative power of drawing in a reflection on the narrative and speculative perspectives of algorithmic thinking. Her work is regularly shown in France and abroad and is the subject of acquisitions in various private collections. She exhibited Climat Général, a generative graphic work, at the Venice Biennale and at the Collège des Bernardins in 2017 and became a “Contemporary Talents” laureate of the François Schneider Foundation in 2018.

After a bachelor’s degree in photo-video at the Institut Supérieur des Arts de St Luc in Tournai (2010) and a master’s degree in visual arts at the Luca School of Arts in Brussels (2012), Marc Buchy (1988, Fr, lives and works in Brussels) completed his studies with a post-graduate degree from the IHEAP in New York (2015). His protean work, between performative actions, protocols and constructed situations, is a reflection on the cognitive capitalism characterizing our time. He has participated in group exhibitions in Belgium (Société, Centrale for Contemporary Art, Centre de la Gravure de la Louvière, ISELP… ) and internationally (Friche Belle de Mai (Marseille), In Extenso (Clermont-Ferrand), CAN (Neuchâtel) Material (Zürich), The Others Art Fair (Turin), Galeriji SC (Zagreb), Antena (Chicago)…) and has also been the subject of monographic exhibitions (BPS22 (Charleroi), Nei Liicht (Luxembourg), among others).

Dasha Ilina is a Russian techno-critical artist based in Paris, France. Through the employment of low tech and DIY approaches her work highlights the nebulous relationship between our desire to incorporate modern technologies into our daily lives and proposed social imperatives for care of oneself and others. Her practice engages the public in order to facilitate a space for the development of critical thought regarding our modern day relationships, privacy in the digital age, and the reflexive contemporary desire to turn to technology for answers. She is the founder of the Center for Technological Pain, a project that proposes DIY solutions to health problems caused by digital technologies for which she has received an Honorary Mention at Ars Electronica. She is also the co-director of NØ SCHOOL, a summer school that focuses on critical research around the social and environmental impacts of information and communication technologies.

Born in 1989 in China. Lives and works in Paris (FR). Yuyan Wang’s work oscillates between film and installation, often taking an immersive perspective. Her works focus on the mutation of elementary materials and examine the industrial production chain of images with its endless development towards an abstraction of reality.

Born in Kaufbeuren near the Bavarian Alps, Ulrich Vogl lives and works – interrupted by longer stays abroad – in Berlin. Vogl studied fine arts at the School of Visual Arts in New York, the Berlin University of the Arts UDK and the Academy of Arts Munich. His work has been shown worldwide and in over 30 solo exhibitions throughout Europe. He has received numerous scholarships and awards and his work can be found in private and public collections in Germany, Italy, Poland, Greece, Ireland and Spain.

Vogl’s primary means of expression are installations, sculptures, and wall works. Some of them are movable, some work with shadows and projections, often they are cinematic or time-based, low-tech, a few produce sounds. Some are nothing more than a slightly altered version of the original object. They can be tiny or large, inward-looking or expansive. When the works succeed, Vogl refers to them as “cognitive catalysts.”

Considered one of the leaders of digital creation, Maurice Benayoun (aka MoBen or 莫奔), is a prolific artist, a driving force of his time. Her work far exceeds technological practices, ranging from photography to video, installation to performance, fiction to art theory, virtual reality, urban installation and augmented reality. It plays a major role in the field of new media and computer-generated imagery, notably through H2H (Human to Human Lab), an organization it created for research on emerging media and their aesthetic and social implications.

Maurice Benayoun’s work has been widely rewarded in international events and exhibited in major international museums.

Marjolijn Dikjman’s work focuses on the residues of Enlightenment ideology, the manifestations of collective memory, and the blind spots of representation. It problematizes our dependence on institutionalized systems in order to assert the politics of presumed knowledge. The works propose alternative systems of knowledge through their entanglement of different temporalities and geographies.

Dijkman’s labor-intensive process involves activating conductive material with high-voltage electricity and photographing it through conductive glass similar to that used in smartphones and other devices. The resulting blue and violet halos and irregular linear rays.

Kasia Molga is a Polish-English design fusionist: artist, coder, environmentalist, storyteller and tinkerer. She questions the impact of technology on the natural environment and its role in our relationship with “non-human actors.” She crosses disciplines to communicate complex ideas through tangible, multi-sensory and hybrid installations. Her work has been exhibited worldwide, including at the Centre Pompidou in Paris, the V&A Museum in London, MIS in São Paulo, Ars Electronica in Linz and Dutch Design Week.

Stéphanie Roland is a belgian / micronesian visual artist and filmmaker.

Working between documentary and the imaginary, Roland makes films and installations exploring invisible structures, hyperobjects and deep time; from ecological and political to the geologic and cosmic.

After graduating from La Cambre and following Hito Steyerl’s class in UDK Berlin, she completed post-graduates studies at Fresnoy – Studio National. Her work is regularly shown at international level, her projects have been included in exhibitions from major institutions among these Louvre Museum, Benaki Museum, Botanique, Kampala International Art Biennale, Bozar and Wiels. Breda Photo, Belfast Photo festival, Manifesto, Encontros da Imagem, BIP Liège, MOPLA and Unseen are amongst the festivals dedicated to photography in which she took part.

In 2017, she was selected in the group exhibition of the Antarctica Pavilion for the 57th Venice Biennale.

Her films have been screened in international festivals such as Visions du Réel, FID Marseille, ZINEBI, FEST New Directors / New Films, Rencontres Internationales Paris / Berlin, among others. Her second short film, Podesta Island, had its world premiere at FID Marseille, where it wons the Alice Guy Prize. The empty sphere won the TËNK Award at Visions du Réel 2022.

Filmography

– Deception Island, 2017

– Podesta Island, 2021

– The empty sphere, 2022

:mentalKLINIK is a Brussels-based artist duo from Istanbul, composed of Yasemin Baydar & Birol Demir who began their collaboration practice in 1998.
:mentalKLINIK strides with undisguised dexterity the invisible political strategies and the social dynamics by ultra-contemporary devices of an apparent lightness. Like a discoball, :mentalKLINIK shows are a selection of their multifaceted approach on their universe. Resisting to the limitations of a single vocabulary or style, their world is a playful one full of hedonistic appeal which can be experienced as festive and glamourous but also surprising as one approaches to discover with a closer view an underlying violence suggestive of a bad trip after party or a creepy beginning of the end. Their works shift between emotional and robotic attitudes. Artist duo reclaim the sparkling and authoritative visual language of the media and night spheres in a climate of sensory hyperstimulation engendered by multiple neons, slogans, light beams, mirror balls and confetti while playing with our unanimous attraction to objects glittering and seductive. It is all the work of encryption to which they summon us, between the true and the false, the artificial and the superficial, as if everything were a case of falsification.

:mentalKLINIK has an open laboratory approach to process, production, roles, conception and presentation. Their works are a mix of oxymora and paradoxes, darkly humorous, self-contained range from immersive time based installations to sculptures and objects that thwart categorisation.

Created in 2007, Chevalvert is a visual design studio based in Paris. The singularity of the studio is characterized by its objet-oriented, systemic relationship to the image, where the process counts as much as the result. The studio’s productions range from graphic design, interaction, publishing, video and spatial and interactive installations. Awarded several times in Europe, their installations also travel in many countries.

Kris Verdonck (born 1974) studied visual arts (HISK), architecture and theatre (RITCS) and this training is evident in his work. His creations are positioned in the transit zone between visual arts and theatre, between installation and performance, between dance and architecture. As a theatre maker and visual artist, he can look back over a wide variety of projects over the past twenty years. The artistic practice of Kris Verdonck has developed and expanded in a very fruitful way over the last few years. His projects have been presented on stages as well as in museums in Belgium and abroad. This growth can only be consolidated if a small flexible organisation can follow up and structure the work on a permanent basis.

Theatre is never made alone: it is no longer the work of one dog, but about the practice of several dogs that play together. That’s why Kris Verdonck has chosen a name inspired by Friedrich Torberg’s poem, ‘Spleen’: A Two Dogs Company.

Squidsoup is a UK-based international group of artists, researchers, technologists and designers working with digital and interactive media experiences. Our work combines physical and dynamic digital spaces with novel and intuitive forms of interaction to produce immersive, responsive and beguiling experiences.

Caitlind r.c. Brown & Wayne Garrett are Calgary-based collaborators exploring the interspace between light + dark, nature + culture, DIY + institutional, individual + collective. The duo centres their practice in relational space, creating projects that beckon viewers with novel materials and participatory contexts, inviting strangers to share in collaborative viewership.

They have exhibited work extensively, most notably at Weisman Art Museum (USA), Pera Museum (Turkey), Japan Alps Art Festival (Japan), the National Arts Centre (Canada), and Garage Museum of Contemporary Art (Russia). Their site-specific public artworks include CARBON COPY, Delta Garden + The City Unseen, Yesterday, Today, Tomorrow, AFTER IMAGE, LIGHT KEEPER, and The Wandering Island. Caitlind & Wayne maintain an experimental art practice through The Hibernation Project and WRECK CITY. Whether exhibiting in formal galleries, pre-demolition buildings, public spaces, or their own backyard, Caitlind & Wayne believe in art’s potential to transform the everyday through a critical shift in perspective.

Andrea Santicchia alias SETA explores the contrasts between anthropic and technological, synthetic and organic, natural and artificial, seeking one’s respective potential in the other.
Through decodification, it advances a reverse inquiry that from the object leads to the process. Perceptive phenomena become cognitive processes. The elements are fragmented into data and weaved into patterns. Using hybrid technology, SETA tends to depart from traditional schemes, combining elements from apparently incompatible fields. Generating chromatic polyphonies and geometries where the intangible becomes sculptural matter.

SETA has embarked on a new sonic and visual research project with italian artist Quayola.
Transient – Impermanent Paintings, their first collaboration, has been presented in prestigious international settings such as RomaEuropa Festival 2020 at Teatro Argentina, Rome; Expo 2020 Dubai; Node Festival 2021 at Teatro Storchi, Modena; and as an immersive performance at Ars Electronica Festival 2021, Deep Space 8K, Linz and ARTECHOUSE, Washington DC.

Andrea Santicchia has taught Interaction Design at IUAV in San Marino/Venice, Digital Art at IED in Rome and collaborates with DARLAB, Digital Architecture and Robotics Lab at South Bank University in London. He has collaborated on exhibitions and installations in prestigious international venues such as HowArt Museum, Shanghai; Paradise Art Space, Seoul; ARTISTS & ROBOTS (curated by Grand Palais, Paris), Expo 2017 Astana; SKP, Beijing; Château de Chaumont-sur-Loire Museum; STRP Festival, Eindhoven.

Born in 1984 in Paris, Ulysse Lefort oriented himself during his studies towards animation, 3D, work around interactivity and between image and sound. This led him to learn tools such as Pure Data and VVVV at first, then during its rise as an environment of creation and and experimentation around the imagery, Deep Learning. In parallel to this research, which leads him to work on scenographic projects within the collective Quart Avant Poing with the collective Souk Machine, Pedro Winter or today Tryphème, he co-directs short animation films.

Tom & Lien Dekyvere explore the deepest layers of reality and the mind. Like the alchemists of old, they probe for unexpected connections, looking for the boundaries between nature and technology, between man and robot, between dead and living matter.

A multi-instrumentalist producer, singer, MC and DJ, GOLDIE B is the type of multidisciplinary artist whose energy enchants and captivates. After several years spent working on different jazz and/or electro projects, she left the Paris scene to set up shop in Marseille in 2017. There, she launched a solo career in the realm of nu-soul and electro under the pseudonym MBKONG, and more frequently appears behind the decks under the alias GOLDIE B (Un Autre Air / Le Bon Air Festival, Nomadisco Festival, Les Jardins Electroniques, Tropisme, Rinse, FRAP, and so on). She has a broad, percussive repertoire influenced mainly by the UK bass, jungle, nu jazz and breakbeat scene. A member of the Wicked Girls female collective since summer 2019, she also co-founded, alongside DJ and produce Kumanope, the young Marseille label Omakase, on which she brought out her first EP.

Ghassan Salameh is an artist, designer and curator. He lives in Keserouan, north of Beirut, where he mainly works. Since 2016, he has initiated the organisation of two design festivals in Beirut and Dubai. In parallel, Ghassan is involved with local civic associations and mobilizes citizen initiatives.

András László Nagy was born in Budapest. He studied visual arts and classical music hoping to find the best possible way to combine the two.
He made several audio-visual installations and performances, and was invited to jurying and represent TouchDesigner in the Moscow Art Vision festival 2018.
The main focus point in his work is to find innovative visual language in the field of generative and interactive media. His unique style is well recognizable from its abstract minimalistic elements.

Gaspar Battha was born in Budapest (Hungary) and partly grew up in Bergen (Norway). He later moved to Vienna (Austria) and Berlin (Germany) to follow new media studies and graduated with a master’s degree in art and media at the University of Arts in Berlin.

Ever since he’s been working as a freelance art director, motion designer and media artist. With his network of freelancers and companies, he has produced art projects and has worked on the development of multimedia museums, exhibitions and product launch events around the world.

Since 2014 he is also a guest lecturer at the University of Arts in Berlin.

Like his Voyageurs who travel the world, Cédric Le Borgne invites everyone to take a fresh look at everyday reality, to rise up, to dream. Abolishing borders, his work of exploration of spaces is sensitive, his poetry subtly interferes in all places. Free of any formal constraint, he moves from wire mesh sculpture to photography or video, from permanent installation to instantaneous performance, from street art to web art.

Grégory Lasserre and Anaïs met den Ancxt, known as Scenocosme, are a couple of artists. They live and work together together in Lyon. Their artistic creations consist of interactive sound and visual installations for which they develop software and technologies. Their work is characterised by the introduction of natural elements in their technological works.

Born in Athens in 1979, Félicie d’Estienne d’Orves lives and works in Paris. By blending light, sculpture and new technology, her work examines the process of sight and how gaze is conditioned. Her installations make use of a phenomenological understanding of reality and underscore a perception of time in constant motion.

Born in 1932, Eliane Radigue is a composer and pioneer of electroacoustic music and a standout figure in the current experimental music landscape. She focuses the bulk of her work on the sonic possibilities early synthesisers provide. Her music is an influence that a whole new generation of composers and musicians cannot fail to draw on, in France and elsewhere.

Through different techniques, Rajwa Tohmé strives to create “non-reproducible” images or images that can only be produced once.  She records the invisible snapshot of migrants’ experiences in her cartographies of wandering in Calais (Lignes de fuite), she produces unique artist’s books, she creates animated flms by drawing on water. Her work integrates and reveals the accidents inherent in a spontaneous creative process.

Clement Valla lives and works in Brooklyn. He holds a BA in Architecture from Columbia University and an MFA from the Rhode Island School of Design, where he is currently an associate professor in graphic design.

Zilvinas Kempinas was born in Lithuania in 1969 and is an artist living and working in New York. He is interested in kinetic arts and explores what can be made of movements within works of art.

This Berlin collective is made up of Julian Götz and Sebastian Neitsch and formerly Jan Bernstein (until 2016). Graduates from the Burg Giebichenstein University of Art and Design in Halle, Germany, the three of them all share a common interest in robotics, machinery, light and space. As Quadrature, they produce art at the intersection of the physical and digital worlds where art and science meet.

Pavitra Wickramasinghe is an artist living and working in Montreal. She works with different mediums and is interested in the conventions of gaze and in new ways of perceiving the moving image. Her current work explores travel, the fluidity of places, and memory. She uses light and shadow as extensions of the projected image to create installations whereby the beholder occupies a cinematographic space within the work, rather than looking at it from the outside.

Nicolas Maigret exposes the inner functioning of the media by exploring their dysfunctions, borderlines, and breaking points. He carries out this exploration using critical, ambiguous and immersive experiences. He launched the working group disnovation.org with which he has carried out a body of research into the “propaganda of innovation”. He teaches at Parsons (Paris) and co-founded the collective Art of Failure in 2006.

French photographer and video performance artist Moussa Sarr inserts himself into his own art pieces to tackle the themes of difference and sociocultural stereotypes, and to take them down using wit and self-deprecation. This is to draw reactions from the audience and to lead them to reflect upon profound subjects tackled in a light-hearted and ironic way.

Born in Melun in 1981, Jean-Benoît Lallemant now lives and works in Paris, after a childhood spent in the Amazonian rainforest in Brazil. By applying cartographic technology and military imaging devices in a critical way, and by striving to rework symbols of power, Jean-Benoît Lallemant’s works put governance strategies under the microscope.

Richard Louvet was born in 1979 and lives and works in Rennes. His work as an artist mainly involves photography, which he sees as a domain of artistic exchange and social experiences.

Born in Melun in 1981, Jean-Benoît Lallemant now lives and works in Paris, after a childhood spent in the Amazonian rainforest in Brazil. By applying cartographic technology and military imaging devices in a critical way, and by striving to rework symbols of power, Jean-Benoît Lallemant’s works put governance strategies under the microscope.

This collective, active since 2006, focuses on dystopic worlds. They explore the likely breakdowns of future civilisations by looking into the technological and cultural developments, positive and negative, that these civilisations themselves will instigate. IOCOSE think that in the long term, future technological societies will disappoint and subside to underwhelming realities. This collective draws inspiration therefore from how the world of today talks about the future.

Gino de Dominicis (1947-1998) was one of Italy’s most revered and mysterious post-war artists. His main themes included space, immortality, and the hidden nature of objects and of matter, while his work remained unwaveringly enigmatic. Though associated with the Arte Povera and Transavanguardia movements, he preferred to reject them to remain a solitary and stoutly independent artist.

David Spriggs is currently based in Vancouver, Canada. He works a lot on the interaction between 2D and 3D. Through his work, he explores the representation and strategies of power, the symbolic meanings of colours, and the thresholds of form and perception. Spriggs uses a technique he refined in 1999 by layering multiple painted images in space to created unique, ephemeral large-scale works of 3D art.

Cinzia C. is an artist living and working in Montreal, whose work is tied to the art of new media and immersive art installations. She places an emphasis on the creation of audiovisual environments, particularly involving the use of projected light.

In 2013, Lucie Antunes was propelled to the forefront of pop music with Moodoïd, and then went on to play drums for other projects: Aquaserge, Yuksek, Susheela Raman… 

This involvement in other people’s music gave rise to her desire to devote herself to her own music. Since 2015, she has been creating electro-acoustic pieces to illustrate the shows she directs: Bascules in 2018, Moi, comme une autre in 2016, Mémoires de femmes in 2014. Since then, Lucie has multiplied her collaborations with choreographers, performers and musicians as a necessity.

The work and career of Ief Spincemaille span different disciplines: visual art, design, performance, and different genres of work. The artist enjoys exploring the borders between these different fields. He plays with form and pre-existing frameworks, not just for the fun of it but indeed out of a need to produce new forms which better satisfy his imagination.

Émilie Brout and Maxime Marion live and work in Paris. Having started working together at ENSAD Lab in Paris in 2009, the French duo in essence work with and on the internet. By reinventing modern filmic language, they largely redeploy and make use of online content.

A multidisciplinary artist based in Montreal, Maxime Damecour calls himself an “audiovisual supermedia artist”. He is passionate about open source and tinkering with technology, promotes the use of free software, and is the co-founder of a hackerspace. After studying cyberarts at Concordia University, he became a member of the Perte de Signal (Loss of Signal) artist centre and works on numerous projects, blending sound, movement, mechanics, plastics and light. 

Born in Bogotá in 1981, Daniel Iregui lives and produces his work in Montreal. Iregui’s work employs technology as a vehicle for a new visual language. He works with the infinite, random combinations that digital systems can produce when manipulated by the public. He is the founder of Iregular, a studio focused on interactive content, founded in 2010. Iregular is a Montreal-based digital art studio that creates audiovisual installations, large-scale sculptures, architectural projections and scenographies, with a focus on interactive and immersive experiences.
At the crossroads of art and technology, these works experiment with geometry, light, sound, typography, mathematics, algorithms, communication protocols, AI and machine learning. Iregular also develops its own proprietary technologies.
The studio works with the infinite, random combinations produced by interactive systems that the audience ends up influencing and transforming. Interaction is at the heart of everything. Only the relationship between the public and the installation finalizes the work and gives it meaning. Iregular has a catalog of over 50 artworks that have toured in nearly 30 countries, and has received a long list of awards and prizes for the design, technology and creativity of its productions.

Roger Semsroth, aka Sleeparchive, has been making electronic music for over 20 years, first under the name Skanfrom, then as Sleeparchive from 2004. His techno is precise, uncompromising, but always dancefloor oriented. After numerous releases on his eponymous label, Sleeparchive has since made excursions to Tresor Records and MORD Records.

Few artists today can boast a portfolio as rich and varied as that of Randomer. In just a few years, the Londoner has made his mark on the modern techno landscape with releases on the Hemlock (including the hit Bring), Hessle Audio, Numbers, Clone, L.I.E.S and Dekmantel labels. Behind the decks, he will shake up the Cabaret Aléatoire with a subtle mix of English bass music and techno.

Italian sculptor, art scientist (Art and Science MA) and performer Michela Pelusio, focuses her work on immersive installations using space, light, matter and sound, producing experiences of being present in an environment that is magic and non-recordable. Her research involves the exploration of human perception and the crossover between art, science and technology. Michela completed a Master in Art and Science at the Interfaculty of ArtScience (KABK, KONCON) in The Hague, where she subsequently also taught the courses Synesthetics and Genius Loci. She studied Sculpture at the Academy of Fine Art of Carrara, in Italy.

Robert Henke is a composer, installation artist and software developer, born 1969 in Munich, Germany. He is mainly known for his contributions to contemporary electronic music and for his laser works. Coming from a strong engineering background, Henke is fascinated by the beauty of technical objects. Developing his own instruments and algorithms is an integral part of his creative process. He utilises mathematical rules, controlled random operations and complex feedback loops to build the machines driving his art. Many of his installations change slowly and over long periods, and are specifically conceived or adapted for unique locations and their individual properties. Robert Henke’s musical work has a particular focus on rhythm, timbre and colour, and he is recognised as a pioneering explorer of surround sound and wave field synthesis.

A DJ with a nostalgic affection for the techno of the 90s, and a passion for an era that saw the birth of a raw, pure and incisive form of techno, Birth of Frequency aims, through his music, to express certain of his abstract thoughts and feelings. Above all (and always) a DJ, mixing live is for him the best way of ‘transitorily’ giving a definite form to his vision of techno. He asks questions of himself on a daily basis to deliver more and more personal and refined performances and productions. His music, simple and innocent, is a reflection of his personality. Polegroup, Construct Re-Form, Enemy or even Granulart Ltd.—so many renowned labels have opened their doors to him for him to express himself and evolve his music. Every cut is closely linked to the others. Each one of them conveys part of the story Birth of Frequency wants to tell.

The Belgian Peter Van Hoesen is thought of as one techno’s pioneers, though he has never been a typical techno DJ. Peter is someone who sculpts sounds for several different environments – the club, the home, the gallery, or even the museum – and he does so with true meticulousness. He releases layered compositions on his own label Time to Express and, alongside Yves de Mey, makes music to great acclaim as Sendai.

In performance terms, Peter plays dark and arresting techno sets as well as captivating and narrative live musical journeys. As such, he is renowned the world over for his great skill, creativity and flow, consistently translating his personality into his music.

Anarchy Dance Theatre was founded in 2010 as a performance company centred on modern dance, the creative process of which serves as a focal point for contemplating how we connect and relate to one another as humans. Anarchy also actively incorporates cutting edge technology in its creative works, serving as a reflection on the potentials and limits of our use of technology. Working upon observations of the physical body in motion, the company builds its norm-breaking productions that explore time, space, objects, and the relationship between humans and their society. With its blend of conventional theatre, dance technology and art installation, Anarchy has in recent years been a frequent guest at international dance festivals, and was named as one of 2016’s dance companies of the year by the German dance magazine Tanz. Their 2019 work The Eternal Straight Line was nominated for the 18th annual Taishin Arts Award.

After training in audiovisual production, Javiera Tejerina-Risso began developing work which fused the plasticity of matter with the passage of time. Her research led her to use materials produced by scientific research laboratories, and then to co-fabricate materials which relate to the notion of flow. She is completing her first year of research doctorate, “Research and Practice of Artistic Creation” at the University of Aix-Marseille, on the creation of immersive work and on global scientific data: how to represent the world using the rhythm of the oceans. “378 Days Recording Water” is part of this twofold approach.

Diego Ortiz is a Franco-Colombian artist born in Cali, Colombia in 1980. His work questions the relationship between reality and fiction, through the creation of interactive devices and audiovisual experiences which mainly use mobile technology. Antoine Gonot is a signal processing engineer, he currently runs the master’s course “Music for Image” of the SATIS department and splits his research work between the CNRS Mechanics and Acoustics Laboratory and the ASTRAM team at the University of Aix-Marseille.

The music of texture Droite is dense; it takes its audience on a journey, with synthesizers pushed to their limits and rythms composed in part of concrete sounds. This mix of ambient and techno evokes the worlds of Jon Hopkins and Rival Consoles.

Félicie d’Estienne d’Orves’ work combines light, sculpture and contemporary technology. Her research focuses on vision, its processes and its conditioning. Her immersive installations are rooted in a phenomenological approach to reality, with emphasis on the perception of time as a continuum. Since 2014, the artist’s research has focused on space in relation to astrophysics and on the study of natural light cycles.

Nicolas Clauss’ approach, as a visual artist, never eases to question, through a kind of visual and choreographic anthropology, the human figure and human reality by inventing other ways of exploring the moving image.

Fabien Fabre’s music, also known as Texture Droite, is dense; it takes its audience on a journey, with synthesizers pushed to their limits and rhythms composed in part of concrete sounds.

Nicolas Clauss put down the brush in 2000 to focus on using video and programming. His installations and paintings are of a new genre; they are evolving works, not fixed, in constant “rewriting”. The video artist’s approach never ceases to question, through a kind of visual and choreographic anthropology, the human figure and human reality by inventing other ways of exploring the moving image.

French visual artist. Lives and works in Grand Paris. Olivier Ratsi (b.1972) creates site-specific art and immersive installations using light and mapping video projections. In his work he explores 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 their own interpretation of what is real.

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 part of his process, Ratsi creates systems that deconstruct spatio-temporal reference points. Fascinated with the vanishing point and the role of optical perspective in the history of art, from his meticulous studies of spatial representation, combined with technical and scientific knowledge, Ratsi is able to understand and distort the perception of space: “I override perspective conventions in order to break with the ‘normality’ in front of us — that which seems obvious at first glance. Challenging perspective allows me to ask questions on many different levels about our own perceptions.”

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.

A graduate of the School of Fine Arts in Cali, Colombia, Hernan Zambrano is an artist-researcher in the arts and sciences of light. He explores new forms of production of eco-responsible art and committed to the preservation of the balance of natural systems.

Romain Tardy has been working in the field of contemporary visual creation since 2008. His work, developed as a series of poetic experiences using light, video mapping, objects and sound, can often be found in numerous countries around the world. The matter of our relationship with technology as well as the bearing it has on our society are at the heart of his work. That said, Romain Tardy refutes the “digital art” tag—his first goal is to create tangible artworks and physical offline experiences in which the screen is never the limit.

A composer and audio artist, Clément Édouard focuses on the nature of sound, his field of vibration and his perception, and his relationship with natural places and materials to create listening experiences that are simultaneously imaginary, physical, internal… He fosters a unique relationship with the vocal and the subtle, and delves particularly into notions of lightness and intensity, of the presence/absence of natural/composed echoes. His approach looks like an exploration, which he indulges by discerning zones of shadow, identifying mysteries, and by mapping it out.

Naïvely, Lucien Bitaux is looking for other ways of capturing and showing reality. This experimental and visual approach is based on the manufacture of his own instruments. His working protocol is similar to that of a scientific laboratory: he makes visualization devices, then produces images with these cobbled-together tools, then exhibits these results in special installation devices.

Born in Avignon in 1983 and living and working in Paris, Dimitri Mallet situates his research on the borderlines between various physical aspects of cognition and of social construction. Frequently referencing minimalism and conceptual heritage, he enters into continual mental dialogue with his audience. In this dialogue, the artist is the one shining a light on paradoxes and inversing the syntaxes of common perception and of the awareness of the self as part of the whole.

His work has notably been exhibited at the Val-de-Marne Contemporary Art Museum, at the Villeurbanne Contemporary Art Institute in collaboration with the Association for the International Diffusion of French Art, at the Théâtre de Privas Gallery and Contemporary Art Space in tune with the Lyon Biennale of Contemporary Art, at the Atelier Calder, at Art Cologne, and so on. Mallet often collaborates with the Atelier Arcay in Paris and in 2020, he took part in the Manifesta 13 European biennale, Parallels of the South, in Marseille and Nice.

In April 2022, he and architect Sergio Carvalho inaugurated a project in the Ellergronn nature reserve in Luxembourg as part of Esch 2022: European Capital of Culture.

Ugo Arsac is a French artist and documentarian. He studied at the Beaux-Arts de Paris and the École des Arts Décoratifs de Paris, where he displayed his videographic approach by producing his first films: Neuf Cordes (Nine Strings), filmed between Italy and Ukraine, a mix of performance and spoken poetry; and Jouons à la Guerre (Let’s Play War), filmed in the ranks of a re-enactment society in Taiwan, a documentary imbued with derision towards the global and local conflicts the island has faced. He later won the La Scam Emerging Artist Prize before joining the Le Fresnoy National Studio of the Contemporary Arts. There, he produced En Contrebas (Underneath), a documentary portrayal of and a Dantean journey through the entrails of Paris, and In Urbe, an interactive installation allowing the audience to conduct their own subterranean journey.

He has completed several residencies, at Centquatre, Ardenôme and the Fruitière Numérique, and has featured in numerous exhibitions (100% l’Expo, Orpheo, Panorama22, Mulhouse021, Tout s’éclaire, the Institut Français in Ukraine’s Digital November). He is conducting new XR projects thanks to support from CHRONIQUES and C2L3play, an Interreg programme promoting artistic innovation. He also works with the Galerie Robert Dantec, where his drawings and serigraphs have been shown at exhibitions such as Points of View and DDessin.

La Pulpe is a research and audio creation sisterhood run by Aurélia Nardini, Crys Aslanian, Ludmila Postel and Lola Dubus. It focuses on a modular approach to collective work by blending improvisation and musical composition with entertainment systems such as actual play and virtual worlds. By creating workspaces through research, media and performance, La Pulpe transpose approaches to listening similar to those in Pauline Oliveros’ Sonic Meditations, at the heart of the technical and sensitive space Roy Ascott names the Telematic Embrace.

Michaël Cros is a transdisciplinary artist who brings bodies into play by combining the arts of puppetry, contemporary dance and the digital arts. In 2003, he founded the Méta-Carpe in Marseille, a structure composed of video artists, scenographers, contemporary dancers and visual artists. As an artist associated with CHRONIQUES (digital arts and cultures), he continues his exploration of choreographic and digital arts while affirming the art-science dimension of his creations by associating researchers in the human sciences, anthropologists, ethnologists, philosophers, etc.

The Fheel Concepts company was founded by Corinne Linder, circus artist and artistic director, in October 2016. The works of Fheel Concepts explore the boundaries between the real and the imaginary. They invent dreamlike stories by combining different artistic languages. The company develops a form of multidisciplinary theatre-circus in search of new spaces of representation and new actor-spectator relationships.

He grew up in a small village in the Jura. The rest passed very quickly. For some years now, with his accomplices, he has been implementing a programme of uninterrupted creation, consisting of defusing time, called: Tentatives d’approches d’un point de suspension. His life is dedicated to living art. Since 2016, he co-directs the CCN2 – Centre chorégraphique national de Grenoble with Rachid Ouramdane.

After a bachelor’s degree in philosophy and art history, as well as a master’s degree in culture and communications in France, it is in 2015 that Camille gets acquainted with the digital art world by getting involved with Le Fresnoy (Tourcoing, FR) and ELEKTRA. In 2016, she joins perte de signal as the Head of Communications and Mediation. She is also in charge of the KidZlab program and activities with young audiences set up by the artist-run center. She addresses digital mediation through an intuitive and artistic approach that involves audiences in a concrete way.

Litote is a collective exploring innovative organizational approaches. Consisting of Marie et Pierre Chaumont, they have joined their expertise in 2020 to further their research on visitor’s participation and presentation techniques. Marie Chaumont is the founder of SpeakArt, which focuses on offering free or fully paid residencies for artists, and is the director of SpeakAIR, a funded web residency highlighting artistic process. Pierre Chaumont is an award-winning conceptual artist who has exhibited in biennales and festivals around the world.

Through her practice, Charline Dally proposes reflections on the perception of reality – especially on the redefinition of boundaries between bodies and landscapes. Using the qualities of video, she aims to soften the gaze to make it evolve beyond the surface that holds it. Her work has been presented at MOCA (Toronto), festival MUTEK, Place des Arts (Montréal), Noviembre Electrónico (Buenos Aires), Les Abattoirs – Frac Occitanie (Toulouse).

Chloé Jarry is the co-founder of the immersive and interactive productions company, Lucid Realities. Previously, she has been New Media Producer at Camera Lucida, where she has been working on major interactive projects for over 8 years. Jarry is the Executive Producer of The Enemy, a Virtual and Augmented Reality project directed by Karim Ben Khelifa, that has been premiered at the Arabic World Institute in Paris, in May 2017, and has been presented at the MIT Museum in Cambridge (Ms) during three months at fall 2017. She is also the Executive Producer of Replay Memories, a web-VR project by Gordon and Andres Jarach. Lucid Realities has recently launched several new VR projects, as 1, 2, 3 Bruegel, Condemned to play or Claude Monet – The Waterlily obsession, showcased at the Musée de l’Orangerie and more than 10 different museums around the world. Lucid Realities is also the line producer of Endodrome, an art VR piece by the French artist Dominique Gonzalez-Foerster, showcased at the Venezia Art Biennale 2019, and sponsored by Vive Arts.

Danieo Chen is a producer at Redbit Pictures, a creative film company founded in 2011 in Taipei that produces creative short and feature films as well as VR projects. He belongs to a generation of emerging Taiwanese directors and producers who hope to create different films with their unique world view.

Yi Jung CHEN is a creator of movies and visual arts. In 2012, she became an independent film director and has been focusing on her drama creation. In 2015, she founded Hana Studio de Création Audiovisuelle Indépendant in Taiwan, together with some passionate image professionals who are committed to all types of videos such as documentaries, experimental, commercial and drama films, using state-of-the-art techniques. In 2019, for Taiwan Public Television Service, she produced an experimental documentary Outside the Path and began to use the VR 360 technique in the sports experimental documentary film shooting. She would like Dora to be her first VR drama short film. Danieo Chen is a producer at Redbit Pictures, a creative film company founded in 2011 in Taipei that produces creative short and feature films as well as VR projects. He belongs to a generation of emerging Taiwanese directors and producers who hope to create different films with their unique world view.

Hosting VR FILM LAB project at Kaohsiung Film Archive, award-winning producer Grace has been working in XR field since 2018. Including coproducing VR content internationally, programming XR section for Kaohsiung Film Festival, she has maintained connections with international film festivals including Venice, Tribeca, Newimages and many XR related institution. 

Curator and artistic director in the fields of digital art, electronic music and sound art, Alain Thibault is the founder of two major events in Montreal, ELEKTRA and the International Digital Art Biennial. Also, as an electronic music composer, his work has been disseminated in Quebec (Canada) and internationally.

Graduated in administration and cultural economics in Paris and Buenos Aires, Ludivine first worked for the production of the Philharmonie de Paris’ touring exhibitions, then as Administrative and Financial manager at the Fondation Cartier pour l’art contemporain, before joining the Centquatre-Paris team to handle the production and administration of Nemo Biennial of Digital Arts. She also teaches exhibition administration in the Master’s degree in Cultural and Digital Economics  at the University Paris 1 Panthéon-Sorbonne. 

Attracted by artistic creation for many years and driven by the desire to share it, Samuel Arnoux committed himself very early on to promote encounters between artists and audiences. After contributing to the creation of the Pont Supérieur (a higher education organization for artists in Bretagne and Pays de la Loire), he continued his professional career in the Scènes de Musiques Actuelles (SMAC) network where he contributed to the development of the MAPL association in the Lorient region before taking over the management of the Cordonnerie in Romans-sur-Isère. In 2020, Samuel Arnoux joined the Electroni[k] team, organizer of the festival Maintenant, with the desire to extend and strengthen the work committed to contemporary creation at the crossroads of arts, music and technology.

As a former dancer and documentary producer, Rémi always tried to understand the specific language of every art before committing to immersion. He created in 2017 Tamanoir Immersive Studio, based at Le CentQuatre (Paris, France), which produces storytelling experiences combining the living arts and new technologies for cultural institutions like the National Opera of Paris, CentQuatre-Paris, France TV…

Nicolas Dupont is a french author and transmedia director working in Marseille with Tabasco Video, an organisation producing participatory video projects. He has specialized in interactive storytelling, and lead Tabasco Video towards thoses new kinds of narrative design, still having in mind the best ways to tell a territory by involving its inhabitants. A few interactive and geolocalized projets have been made with “FRIGG”, a free and sel-produced online solution.

Actress and stage directress, Clara Chabalier works in particular with Ivana Müller, Dieudonné Niangouna,Roméo Castellucci, Jean-François Peyret, Laurent Chétouane, César Vayssié… With Compagnie Pétrole, she creates transdiciplinary projects that combine theater, visual arts and music around authors such as P.P. Pasolini, E. Jelinek, or mythical texts like « Alexandra » by Lycophron or « Kalila wa Dimna ». She conducts a research about living arts and new technologies. 

Ela Orleans is an electronic sound and visual artist, performer, academic and cinematic composer based in Glasgow. Her work fuses elegant, noir-ish laments, lush and atmospheric fractured narratives with influences ranging from the BBC Radiophonic Workshop to the Éthiopiques series and Bernard Herrmann film scores. Since her solo debut Low Sun/High Moon in 2008, Orleans has received international critical acclaim for her growing catalogue of work. Subsequently, Orleans has toured across the UK, Europe, USA and Canada, performing work at MoMA PS1, New York; MoCA, Massachusetts; The Venice Biennale and TATE Britain. She has worked on several albums, film soundtracks plus theatre and opera works.

Cathie Boyd (Irish) has worked in the arts for 30+ years having spent 20 years as a stage director for opera, visual music and film with work in 25+ countries including Peak Performances, Montclair, USA; Singapore Arts Festival; Latvian National Opera; Muziekgebouw, Amsterdam & South Bank Centre, London. Boyd set up Cryptic in 1994 to create innovative performances that would ‘ravish the senses’ & has successfully transformed the company into a producing art house, presenting the next generation of Scottish & international talent.  She created the  Sonica Glasgow  Festival in 2012 presenting ‘sonic arts for the visually minded’.

Artistic director of Anarchy Dance Theatre. Hsieh’s works are composed of a special texture derived from his background in architecture, possessing strong structural characteristics—a creative perspective combining time, space and energy. Notable choreographic works include The Eternal Straight Line (2019), Second Body (2015) and Seventh Sense (2011), all of which feature a strong element of interactive dance performance. In addition to receiving great public acclaim, his works have also been featured at numerous prominent international festivals, including Ars Electronica, TodaysArt Festival, and George Town Festival. The dance-installation series You Choreograph and Exercise done in collaboration with fellow choreographer I-Fen Tung and Ko-Yang Chang, further pushes the boundaries of expression in dance beyond conventional “performance”.

Diego Ortiz is a Franco-Colombian artist born in Cali, Colombia in 1980. He lives and works in Marseille. His work questions the relationship between reality and fiction, through the creation of interactive dispositif and projects that offer singular relational contexts. 

Since 2012, Holly Herndon has been establishing herself as the high priestess of avant-garde and electronic pop, while simultaneously preparing her doctorate in machine learning and music research at Stanford University.

Her album Platform (2015) pointed out the drifts and personal implications as well as the politics of dominant social networks. Proto is a true exploration of the opportunities and limits of artificial intelligence.

With a background in artistic direction, Juliette has a taste for simple and stripped down aesthetics.
Since 2009, she has been applying her skills to the digital art scene, creating connections and opportunities between artists, festivals and cultural actors.

As an artist’s producer, she collaborates on a wide range of projects : digital art festivals, installations, sculpture, commissions for private events, …
She represented several international artists for their existing projects as well as new creations.
She is now the head of Studio Joanie Lemercier.

Since 2016, she has been working as an independent curator for several festivals and cultural institutions, since 2019, as international curator for STRP festival in Eindhoven.
In 2020 she is curating a new light parcours for the city of Leuven in Belgium.

Based in Belgium since 2013, she has been an active member of The Federation Wallonia-Brussels’ digital arts scene.
In 2019 she co-founded SALOON Brussels, an international network for women working in the art scenes.

Born in 1987 in Lannemezan, France, Boris Labbé is an artist and animation film director working between France and Spain. His art comes through several forms: short films, audiovisual concerts and video installations. He collaborates with Sacrebleu Productions since 2013. His short film The Fall is selected in special screenings at the 57th Semaine de la Critique.

KompleX KapharnaüM explores humans and landscapes in search of their unique beauty. We travel through stories, we use places as our canvass, we believe in everyday poetry and aim to transcend it. We collect documentary materials (sound, video, archives, testimonies, etc.) that we put together during spectacular performances. In France or abroad, each project adapts to the context in which it is presented or created.

We are KompleX KapharnaüM, a team formed of talented video makers, musicians, technicians, writers, performers, visual artists and makers… all of them bringing valuable skills to the creation of our performances. Depending on the projects, our team is made up of 10 to 50. Our creations are fixed or ambulatory, intimate or monumental, shows or installations. They are anchored in the city and explore contemporary issues linked to a community, a social space. Like investigative journalism, they rely on times of immersion.

Since 1996, we have played in more than 50 cities and 15 different countries.

Quayola employs technology as a lens to explore the tensions and equilibriums between seemingly opposing forces: real and artificial, figurative and abstract, old and new.

Constructing immersive installations, often at historically significant architectural sites, he engages with and re-imagines canonical imagery through contemporary technology. Hellenistic sculpture, Old Master painting, and Baroque architecture are some of the historical aesthetics that serve as a point of departure for Quayola’s abstract compositions. His varied practice, all deriving from custom computer software, also includes audiovisual performance, video, sculpture, and works on paper.

Past exhibitions of his work include V&A Museum, London; Park Avenue Armory, New York; Bozar, Brussels; National Art Center, Tokyo; UCCA, Beijing; How Art Museum, Shanghai; SeMA, Seoul; Bienal, São Paulo; Triennale, Milan; Palais de Tokyo, Paris; Museu Nacional d’Art de Catalunya, Barcelona; British Film Institute, London; Cité de la Musique, Paris; Grand Theatre, Bordeaux; Ars Electronica, Linz; Elektra Festival, Montreal; Sonar Festival, Barcelona and Sundance Film Festival.

Also a frequent collaborator on musical projects, Quayola has worked with composers, orchestras and musicians including London Contemporary Orchestra, National Orchestra of Bordeaux, Ensemble Intercontemporain, Vanessa Wagner, Jamie XX, Mira Calix, Plaid and Tale Of Us. In 2013, Quayola was awarded the Golden Nica at Ars Electronica.

Hexalab is a center of creativity based in the Vasarely foundation and open to all your projects. They are particularly specialized in multi-touch technologies, immersive devices and video mapping.

Nohlab is an international interdisciplinary creation studio for art, design and technology. Based in Turkey, it brings together specific skills from all around the world to create its projects.

Its creations have been presented in numerous international festivals and events such as ISEA, Signal, OFFF, TedX, Vivid, Sonar Istanbul and World Government Summit, and have received awards from Culturespaces, ARS Electronica and Japan Media Arts Festival. The studio has also worked with many brands and organizations including Chanel, Pink Floyd, Target, Audi, Nike, the Scriabin Museum, Atelier des Lumières and EA Theatre.

One of the specificities of Nohlab’s creations, in addition to the relationship between art, technology and design through increasingly spectacular sensory experiences, is their attempt to bring organic life and the virtual world closer together.

Each of their creations is seen as a new challenge, combining high standards and technological challenges, whilst remaining simple and accessible, aiming to attract the general public.

Trained at the Ecole Nationale Supérieure des Arts Décoratifs in Paris, Central Saint Martins College in London, and the Tokyo National University of Fine Arts in Tokyo, Elise Morin is born in 1978. She lives and works in Paris.

She develops an interdisciplinary practice rooted in ecological thinking that questions our relationship to the visible and to types of coexistence. The design and production processes generate collaborations with scientists, local communities, engineers, musicians and philosophers. The choice of specific places and environments are intrinsic components of her work. They enable reflection on the relationship of creation to the common good, on the role of esthetics in understanding other perceptions of a damaged world.

Her commitment to creation has been rewarded by the award of the Solomon R. Guggenheim Prize |USA| the Best of Lab art and sustainability 2012. Elise Morin has notably exhibited in France at the Centquatre, the Jeu de Paume, the Grand Palais, the Museum of Contemporary Art of the city of Bucharest, Moscow and the city of Tokyo.

Immediately after graduating from ENSCI in Paris in 2009, Goliath Dyèvre set up his own design studio. His work questions the relationship that man has with objects regarding both materiality and reflection. Among other things, he questions this link through the perception of function working on the notion of an open object. Like a game played between the object and man, as if use could define function. He goes back to design basics, in particular with a reflection on the prehension of objects or the myth of the Cyclostyle, a historical and narrative reflection on the origin of the confusion between design and decoration.

After starting his research on The Silence of Objects in 2014, he began to work with the artist Grégory Chatonsky.

His work has been exhibited in France and abroad, for example at the Vitra Design Museum and at the Power Station of Art in Shanghai. The objects he designs are produced by Cinna, Petite Friture and Tectona. He regularly collaborates with large companies such as Hermès, EDF R&D and the Ecole Syndicale de la Haute Couture on specific projects.

In addition to his work as an artist, Goliath has taught at the Ecole des Beaux-arts in Lyon and since 2018 has been leading an experimental design workshop entitled “Design in dystopia” at L’ENSCI-Les Ateliers. He is regularly on the jury at Boulle school, ENSCI-Les Ateliers and St-Etienne School of Fine Arts.

After studying philosophy at the Sorbonne and multimedia at the Beaux-Arts in Paris, Grégory Chatonsky has been involved in work on the web since the mid-1990s, including the creation of Incident.net, the first Netart platform in France. He questions the new identities and narratives that emerge on the internet. The relationship between physical and virtual realities is a running theme in all his award-winning artistic work and his numerous publications, from a reflection on network practices to questioning resurrection in the age of artificial intelligence.

During a period of residency in Europe and abroad, he began a long series on dislocation, aesthetics, ruins and extinction as a man-made and natural phenomenon. In 2014, he met Goliath Dyèvre, a meeting which gave rise to work on augmented reality considered as an ontological vacuity.

After 10 years in Montreal and residencies in New Zealand, the Arab Emirates and the Amazon, Grégory returned to France in 2018 as an artist-researcher associated with the ENS and continued his research work, imagining a world dreamed up by machines, particularly in “I will look like what you were” (2019) at the Tanneries and in “Second Earth” (2019) at the Palais de Tokyo, which presents a world created by machines after the extinction of human beings.

Since 2017, the artist has also been leading a research seminar on artificial imagination and post-digital aesthetics at the Ecole Normale Supérieure.

Éliane Radigue has been composing electronic music since the 1960s. She is considered to be one of the major pioneers of this musical genre, as well as of minimal music. Her music is a slow flow of dense sonorities undergoing imperceptible mutations. A timeless architecture made of bass vibrations, addressing the entire body rather than just the intellect or eardrums.

At the end of the fifties, she studied concrete music in Paris with Pierre Schaeffer and Pierre Henry, whose assistant she became, in particular for the making of “The Apocalypse of John”. During the sixties she started composing with primitive electronic means (feedback and asynchronous looped magnetic tapes), but found little recognition for her research in France. It was in New York that she found understanding and emulation in the early seventies, exploring the paths of nascent minimalism alongside James Tenney, Charlemagne Palestine, Philip Glass, Jon Gibson and Steve Reich.

She has since composed on the best synthesizers that have ever existed: Buchla, Moog, and Serge modular system, until Arp came to be her favorite instrument. She collaborated in the seventies with Robert Ashley, who lent her his voice for the songs of Milarepa. She has composed around twenty works so far. Since 2006 she has devoted her energy to composing for solo acoustic instruments, of which naldjorlak I, II, III, is the major culmination.

Nicolas André, a government licensed architect and teacher at ENSAPB architecture school in Paris, has worked freelance since 2005 and been a member of the 108ter architects collective since 2015. His structure is enriched by various collaborations in the fields of design, scenography and plastic arts.

The realization of projects ranging from furniture to small buildings has given him a solid experience of constructive detail which he approaches with a triple concern as he strives for optimization, economy and creativity.

Emilie Faïf is a plastic scenographer. Born in 1976, she graduated in Applied Arts and Decorative Arts in Paris. She experiments with space in various fields of intervention, mixing the dynamism of cities with that of fashion, textiles and art. Her collaborations with designers from the world of fashion – Isabel Marant, Tsumori Chisato, Hermès, Kenzo, Manuel Canovas, and of design and theater, further enrich her multifaceted artistic activity.

Joanie Lemercier (b. 1982) is a French visual artist and environmental activist whose work explores human perception through the manipulation of light in space. Working primarily with light projection and computer programming, Lemercier transforms the appearance of everyday objects and forms, bending reality to his imagination.In recent years, Lemercier has become increasingly concerned with climate change and environmental degradation, lending his projection skills and artistry to activist causes and groups such as Extinction Rebellion as well as developing a new body of work, The Hambach forest and the Technological Sublime which looks at the devastating effects of coal mining on one of Europe’s oldest forests.

He has been working with projected light since 2006 and co-founded the acclaimed visual label AntiVJ in 2008. Represented by a New York based gallery since 2010, Joanie founded his creative studio in Brussels in 2013.
Lemercier has focused his practice on installations and gallery work and has since been exhibited at the China Museum of Digital Art in Beijing, Art Basel Miami, Sundance Film Festival, Espacio Fundación Telefónica in Madrid and collaborated with several sound artists: Murcof, Flying Lotus and JayZ.

Anarchy Dance Theatre was founded in 2010 as a performance company centered on modern dance, the creative process of which serves as a focal point for contemplating how we connect and relate to one another as humans. Anarchy also actively incorporates cutting edge technology in its creative works, serving as a reflection on the potentials and limits of our use of technology. Working upon observations of the physical body in motion, the company builds its norm-breaking productions that explore time, space, objects, and the relationship between humans and their society.

With its blend of conventional theater, dance technology and art installation, Anarchy has in recent years been a frequent guest at international dance festivals, and was named as one of 2016’s dance companies of the year by the German dance magazine Tanz. Their 2019 work The Eternal Straight Line was nominated for the 18th annual Taishin Arts Award.

Paul Gong (b. 1988, Lincoln, Nebraska, USA) is a speculative designer, artist, and curator. He is currently Assistant Professor Rank Specialist of the Department of Industrial Design at Shih Chien University in Taipei.

He holds a BA in Industrial Design from Chang Gung University in Taipei, and an MA in Design Interactions from the Royal College of Art in London. He was awarded the Next Art Tainan Awards in 2018. He sees design is a research method and thinking tool to explore different possibilities, to criticise the past and the present, and to speculate the future. Design should stimulate debate, imagination, and reflection for people. It is also interesting for him to explore the aesthetics of the representation for possible futures. He attempts to use installation, text and image, conceptual objects, performance, and exhibition to create a kind of scenarii for people to imagine and explore.

His work has been exhibited at MAS, Museum aan de Stroom, Antwerp, Museum für Kunst und Gewerbe Hamburg, Taiwan Design Museum, Yiri Arts, Taipei Digital Art Center, and Taiwan Contemporary Culture Lab in Taipei, USC 5D Institute in Los Angeles, Future Gallery in Palo Alto, Asian Culture Center in Gwangju, London, and Guangzhou.

Su Hui-Yu obtained an MFA from Taipei National University of the Arts in 2003, and has remained active in the contemporary art scene ever since. Su is fascinated by the intricate tapestry interwoven by images, media, history, and daily life. In his videos, he explores both mass media’s impact on viewers, and the projection of viewers’ thoughts and desires onto media. Recently, Su’s interest in old books, from which he re-reads, revises, and appropriates texts for his work, has led him to a new understanding of physicality, existence, and history. His work has been exhibited at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, MOCA Taipei, Double Square Gallery, Tina Keng Gallery, Kaohsiung Museum of Fine Arts, San Jose Museum of Art in California, Herbert F. Johnson Museum at Cornell University, Kunstmuseum Bonn, Casino Luxembourg and Power Station of Art in Shanghai.

Kuang-Yi Ku was born and raised in Taipei, Taiwan, and has been based in the Netherlands since 2016. He graduated with triple master degrees in social design from Design Academy Eindhoven; in dentistry from National Yang-Ming University; and in Communication Design from Shih Chien University.

Formerly a dentist, Kuang-Yi Ku is a bio-artist and social designer. He founded TW BioArt (a Taiwan bioart community) to stimulate the fields of BioArt and Science + Art in Taiwan. His works often deal with the human body, sexuality, interspecies interactions, and medical technology, and aim to investigate the relationships among technology, individuals, and the environment.

Kuang-Yi Ku’s “Tiger Penis Project” was awarded the 2018 Gijs Bakker Award, the annual prize for the best project by a graduating master’s student in Design Academy Eindhoven. He also won First Prize in the Taipei Digital Art Awards in 2015 with “The Fellation Modification Project,” in which body modification, gender studies, queer theory, and dentistry all come together.

Barthélemy Antoine-Lœff is a french visual artist whose creations of optical and digital artworks, sometimes interactive, often immersive, express dreamlike worlds crossed by a contemplative and ecological relationship of nature and elements. The artist creates spaces for sharing his feelings about the “forces” of the world: dreams, energies, materials, technologies. Refusing to place himself in the field of the Kantian sublime, he positions himself at the place of wonder and infantile craze, as if to claim the part of the dream that we develop as a child. In 2016, his work “ljós” is nominated to the International Digital Art Prize, Prix Cube. In 2017, he presents his first solo exhibition “Inlandsis” at the cultural center of Gentilly. Barthélemy Antoine-Lœff lives and works in Paris. His works are exhibited in numerous festivals and venues in France and abroad.

A new media artist, TSAI Yi-Ting looks for a constant state of life in motion in mechanical devices, rationally handling the labor and alienation processes of human existence. With a chill, poetic approach, TSAI Yi-Ting deems the absolute precision of mechanical movement as an abstract language, conveying a living philosophy. Like a physics experiment, she seeks to make assumptions proposed under the non-linear logic self-defined. Further, amidst the macro and micro rumination over humanity in the space-time, the artist explores the medium of light and shadow that is an intangible existence.

Recognized by the NTUA Outstanding New Media Art Award and the Top Prize of the 14th Taoyuan Contemporary Art Award, TSAI Yin-Ting was also invited to NEU NOW of the European League of Institutes of the Arts at Amsterdam. TSAI Yi-Ting harnesses mechanical elements as her creative medium and as a deeper inquisition into the meaning of life. Channeling her creative force of art, the artist instills energy of life into machines via the dynamics produced out of the combination of precise components and repetitive mechanical motions.

Legacy Lab International is an art collective founded in 2013, a collaborative practice consists of multi-disciplinary artists, designers, engineers and scientists. Its works stem from research of natural and social phenomena, integrating new technology and traditional media, lying on the borderline between science and contemporary art. The creation of the group ranges from visual arts, installations to performances.

At Legacy Lab International, an art piece is the manifestation of the philosophy and methodology behind. Each creative process involves a series of research and experimentation to understand and extract the underlying principles. Their works prompt the viewers to re-exam how we live and our relations with the surroundings.

Wan-Jen Chen’s oeuvre has been known and noted for his approach to the symbolized, flattened, and decontextualized body in a digital environment. Through re-presentation and appropriation of existing images with deliberate artificiality, the artist “cuts” and “pastes” the reality to form an endlessly extending time and space in a loop.

He aims at these fragments of daily life, sewing them together for a reproduction. The bodies and experiences of others become at the artist’s own disposal and are thus transformed into indifferent and mechanical moving images dangling between reality and imagination. In Chen’s works, actions taking place in a closed loop serve as a metaphor of social mechanism, where ritualized actions in various forms are suspended in a collective void.

Up to date, Chen has held five solo exhibitions: The Unconscious Voyage (2008), The Extraordinary Ordinary (2011) , To Hell with Your Future (2011) ,The Still Point of the turning world (2017) and Midnight Black(2019).

Born in Taichung, Taiwan in 1986, CHUANG Chih-Wei holds an M.S. in Science in Architecture from National Chiao Tung University and an MFA in New Media Arts from Taipei National University of the Arts. With the training in fine arts and architecture, CHUANG excels in creating interactive installations with light and space, which address the relationship between human beings and the environment. Exploring possibilities in cross-disciplinary methodology with an aesthetics that emphasizes both rationality and sensibility has always been a central feature to his works.

CHUANG was selected for the artist-in-residence program at Tokyo Wonder Site in 2014 and the National Taichung Theater in 2019-2020. He was one of the artists showcased in “Made in Taiwan- Young Artist Discovery” by the Ministry of Culture in 2016. He was awarded an Honorable Mention in Taipei Arts Award and was one of the artists selected to take part at Digital Art Festival Taipei in 2015; in addition, he has also been invited to the PyeongChang Biennale, East-Asian Contemporary Art Exhibition “Botanica” (Busan), Taiwan Biennial(Taichung) and Roppongi Art Night (Tokyo). He is currently a lecturer in the Department of New Media Art of Taipei National University of the Arts.

Sabrina likes to invent fantastic, quirky and always poetic worlds. She has been living in Hollywood for a few years, writing for magazines (POMO Frag, Disneyland Babylon and Animation Blast). She is a prolific writer, her work deals with the role of imagination in our societies, and the resurgence of mystery in our lives. She has been collaborating on the Wakfu project, owned by Ankama studio, and working for Tru Love and Dontnod Eleven as a writer and a narrative designer. Far from preconceived views on video games, Sabrina proves that they are a new extension to litterature, movies and comics. In 2017, she finishes the novel Toxoplasma, an apocalyptical thriller on the basis of B-movies and political science-fiction.

After studying at the Ecole des Arts Décoratifs in Nice, where he directed his first short films. In 1989, he made the short film Gisele Kerosene, crowned Grand Prix in the category of Avoriaz Fantastic Film Festival, Vibroboy and Le Petit Chaperon Rouge. In 1996, he made his first feature film on the eccentric and violent dog breed Dobermann, starring French actor Vincent Cassel. Jan Kounen then traveled across Mexico and Peru, where he immersed in shaman culture and returned in 2004 with the Western Blueberry, an adaptation of the famous comic strip. The same year, he continued his study of shamanism with the documentary Autres Mondes.

After making his film Darshan – L’Etreinte (2005), Kounen staged the Comedy 99 F in 2007, a satire of the world of advertising adapted from the bestseller by Frédéric Beigbeder and produced by Jean Dujardin. He then made a film that captured Coco Chanel & Igor Stravinsky in which he depicts the connection of passion between the famous seamstress with the Russian composer. Starring Anna Mouglalis and Mads Mikkelsen the film closed the 2009 Cannes Festival.

Charles Ayats obtained a Master’s degree in Interactive Digital Experience from the École de l’image Les Gobelins in Paris. As an interactive designer of web documentaries for ARTE, he creates participatory experiences, often enriched with game mechanics to facilitate transmission of knowledge, exemplified by Type: Rider (2013) on the history of typography. Always on the lookout for new formats to tell his stories, he is particularly interested in innovative mediation projects, and regularly takes part in hackathons.

Huang Wei-Hsuan’s works seek to create conversation between audiovisual and projection, aiming to trigger the imagination of audiences. Since 2016 onward, he has started focusing on using digital photography and modeling for the configuration of space that used to exist or only exists in one’s imagination.

The approach allows him to reconstruct the evolving relations between past and present, imagination and reality as well as people and their inhabiting environment. He launched “The Modernological Project of Immersive Elapsing Images” in 2018 to analyze and test the possibility of converting and representing graphic sequences in past motion images as volume and structure. This attempt explores the dialogue between image and space, how routes in past space merge with memory, and physical movement while analyzing the potentiality of representing and re-experiencing the spaces and scenes in various movies.

He was invited to participate in Centquatre Paris, NTMOFA Digital Arts Exhibition, YIRI ARTS Gallery and several other events. His works were presented in National Theater & Concert Hall and featured in various theatre works. He is currently a full-time media creator based in Taipei Taiwan.

Installation artist, Antoine Schmitt creates artworks in the form of objects, installations and live performances to address the processes of movement in all of their modalities. He questions their intrinsic problematic, in terms of plastic, philosophical or social nature. Heir of kinetic art and cybernetic art and nourished by metaphysical science-fiction, he endlessly investigates the dynamic interactions between human nature and the nature of reality.

Originally a programming engineer specialized in human computer interactions and artificial intelligence, he uses computer programming — as contemporary artistic material, unique by its active quality — at the heart of his artwork to reveal and literally manipulate the forces at stake. With a minimal and precise aesthetics, he asks the question of movement, its causes and its shapes.

His work has received several awards in international festivals and has been exhibited among others at the Centre Georges Pompidou (Paris), at Musée des Arts Décoratifs (Paris), at Sonar (Barcelona), at Ars Electronica (Linz), at the CAC of Sienna (Italy), at the Musée d’Art Contemporain de Lyon (France), in Nuits Blanches (Paris, Amiens, Metz, Bruxelles and Madrid).

Pauline Briand is a journalist and a writer interested in the livings. For Billebaude, Usbek and Rica or the National Museum of Natural History, she wrote about myxomatosis, the forests and climate change, the disappearance of insects, bears, the evolution of life, and anthropology beyond the human. She is involved in several research programs at the crossroad between journalism, art and earth policies.

Julien Maudet designs board games as a tool for social interaction. He creates political and satirical entertainment devices based on recent political and social events.

Clémence Seurat is a curator and editor, she investigates the fields of reflection and action related to political ecology. She was a member of the Speap art and politics experimentation program. She co-founded the COYOTE collective and the 369 publishing house. Within the Sciences Po Medialab, she designs programs and edits content for FORCCAST.

Baruch Gottlieb is an artist researcher and curator. He currently teaches Philosophy of Digital Art at the Berlin University of the Arts and Data Epistemology at the Technical University of Brandenburg. He is a member of the artist collectives Telekommunisten and Arts & Economic Group. He is the author of A Political Economy of the Smallest Things (ATROPOS 2016) and Digital Materialism (Emerald 2018).

Born 1981 in Dordrecht, the Netherlands, Anouk Kruithof is a visual artist, who’s multilayered, interdisciplinary approach encompasses photography, sculpture, installation, artist-books, text, performance, video, animation, websites and interventions in the public domain.

Kruithof’s work is an investigation into the online representation of urgent societal themes. Over the past few years she collected circulating images related to issues like privacy, government surveillance, pollution and climate change. Kruithof subjects these to critical scrutiny by extracting existing imagery from the digital sphere, and translating the photo- graphs into her own idiosyncratic three-dimensional visual idiom.

The work of Kruithof is a refreshingly original contribution to contemporary photography. Approaching the medium from a great variety of angles, her works are equally versatile, ranging from photographs, sculptures and installations to videos, animations, publications and performances. A common denominator is her fascination for our complex relationship with the physical environment in the digital age. With her work Anouk Kruithof bridges the gap between the tangible world and the way it manifests itself online.

Born in 1987 in Spain, Rocio Berenguer has been living in France since 2012 and is interested in the major challenges and changes of our contemporary world – including the evolution of spaces of individual freedom within our society, the place of technology in our daily lives, environmental issues… Her creations are forward-looking fictions that explore the possibility of «another tomorrow». They also implicitly refer to our contemporary neuroses.

For each creation, Rocio begins a work of investigation and dialogue with scientists that generates a text that then matches with other materials, preferring to hybridize different mediums – text, dance, videos, digital art – rather than restrict herself to a single practice. The use of new technologies that are very present in her work is not a fascination but a desire to integrate them into poetic writing while questioning how these technologies, omnipresent in our lives, modify our interpersonal relationships.

In the end, it is the body that is the centre and the point of convergence of her work. The body visited by the social codes of behaviour, the body at the centre of identity, representation and desire issues. The body threatened in its freedom and sovereignty by the arrangements of neocapitalism, the body as territory to be reclaimed.

DISNOVATION.ORG is an artist led action-research collective founded in 2012 by Nicolas Maigret and Maria Roszkowska. They develop interdisciplinary inquiries and practices involving artists, anthropologists, philosophers, activists, engineers, architects, designers and hobbyists.

At the crossroads between contemporary art, research and hacking, the collective creates situations of debate, speculation and disturbance, that challenge dominant ideologies such as techno-solutionism and infinite growth, and foster post-growth imaginaries and practices. Their research includes artworks, curation and publications. In 2015, they edited The Pirate Book, an anthology on media piracy. In 2018 they received a Design Trust Grant for research on China’s copycat and grassroots innovation culture (shanzhai). In 2019, they were visiting researchers at the University of California, Irvine for research on post-growth and eco-politics.

Their work has been presented internationally including: Centre Pompidou (Paris), Transmediale (Berlin), the Museum of Art and Design (New York), Palais de Tokyo (Paris), FILE (Sao Paulo), ZKM (Karlsruhe), Strelka Institute (Moscow), ISEA (Hong Kong), Elektra (Montreal), China Museum of Digital Arts (Beijing), and the Chaos Computer Congress (Hamburg)… Their work has been featured in: Forbes, Vice, Wired, Motherboard, Libération, Die Zeit, Arte TV, Next Nature, Hyperallergic, Le Temps, Neural.it, Digicult, Gizmodo, Seattle Weekly, torrentfreak.com, and Filmmaker Magazine among others.

Alain Damasio’s first long fiction was La Zone du Dehors, a futuristic novel dealing with a model of society under control on a democratic model. He was rewarded with the Grand Prize of Imaginary Writing in 2006, with La Horde du Contrevent, quoted as a must-read of French sci-fi books. He co founded the video game company DontNod In 2008. He lends his voice to Bora, a piece of music by Rone. In 2009, he wrote La Rage du Sage a poetic and political essay on our times, for the free single of the group Sliver. He published Les Furtifs in 2020 and collaborated with Yan Péchin in an album called Entrer dans la couleur.

Frederic Deslias founded his company Le Clair obscur in 2001 and worked as a composer and sound creator. He collaborated with David Bobée, Médéric Legros, Eric lacascade and worked for several cinema soundtracks. His work is now progressively moving towards interactive installations and sensitive travels (Décadrages, Exo Territoires, Softlove). He participated as co-author to MOA and made a theatrical adaptation of Les Furtifs in 2020.

Sound designer and composer, Franck Weber designs sound systems for non-linear places and works: video games, connected objects and interactive installations. He is a member of the experimental video game collective One Life Remains and participates as author and sound director in the creation of immersive works (Sens VR, The Scream VR, 7 Lives).

Author and designer, Charles Ayats designs interactive experiences to facilitate the transmission of knowledge, such as Type:Rider, He participated in the design of several web-documentaries for ARTE (Phi, Tati Express, Speedfarming 2050, Check-In, Pas si Bêtes les Animaux). He adapted the comic strip SENS by Marc-Antoine Mathieu and continued his exploration of virtual realities with « The Scream » and 7 Lives, multi award-winning experimental fiction.

Born in Besançon in 1985, Fabien Léaustic has the particularity of being a graduate of both an engineering school and the National School of Decorative Arts in Paris. With the support of the DRAC Bourgogne-Franche-Comté, he exhibits his work in France and abroad, in institutions (Palais de Tokyo, CENTQUATRE Paris, Center des arts Enghien les Bains, Casa de Velazquez Madrid, FRAC Franche-Comté… ) and in independent structures (Vasarely Aix-en-Provence Foundation, Espace Pierre-Cardin Paris, etc.). After two years of residency at the Cité internationale des Arts in Paris, Fabien Léaustic continued his research within the SACRe doctoral program (Sciences, Art, Creation, Research) funded by PSL (Paris Sciences Lettres). Fabien Léaustic lives and works between Paris and Lons-le-Saunier in the Jura.

Scale is the name of an artistic entity with several unique personalities from distinct but complementary professional and artistic backgrounds. Now composed of 10 members based in Paris, Scale is, above all, a group of passionate friends with the common desire to think outside the box by sharing their know-how in their spare time.

Whether it is motion design, mapping, led design, interactivity, robotics or programming, their technological skills offer multiple means of expression for artistic propositions. Over the years of creations for the stage or for museographic environments, they have developed their own language to create works that are sensitive, playful and accessible to the broadest public.

Described by the daily newspaper Le Monde as “the most delightfully singular pianist of her generation”, Vanessa Wagner pursues a career which reflects her personality, both original and committed, mixing classical recitals, contemporary creations, old instruments and chamber music, as well as transversal encounters with video, electronic music, dance and theater.

Renowned for her musical tone colors, the intensity of her playing and the richness of her touch, her sensitive and thoughtful interpretations, and her vast constantly renewed repertoire, mirror her constantly alert personality.

Future Baby Production is an initiative by Shu Lea Cheang and Ewen Chardronnet. In 2016 the echOpen fablab of Hôtel-Dieu hospital in Paris, an open and collaborative project and community fablab with the aim of designing a functional low-cost and open source echo-stethoscope (portable ultrasound device), invited the two artists/authors to collaborate and contribute to the community project through artistic practice and skills. This opportunity led to the UNBORN0X9 project.

Soon a large team of interested artists and cultural facilitators joined the initiative and started working on the various dimensions of the hacking performance project. The Future Baby Production collective name represents the common group effort to raise issues such as the possible impact of low cost echo-stethoscopy on Global Health issues, questions of access to healthcare and motherhood, ectogenesis and the technicization of reproduction, and the back-and-forth between science-fiction imaginary and science in the making at large.

Pantha Du Prince is a producer, composer and conceptual artist hailing from Bad Wildungen, West Germany born in 1975. Since his debut in 2005 he has released four albums and become as well known for his art exhibitions as he is for his pioneering work in minimal techno.

His mastery of the avant-garde even extends to the conceptual art exhibitions he’s been featured in since 2004 and he remains an influential name in the world’s techno scene to this day, able to work with the likes of Animal Collective, LCD Soundsystem and !!! on the same album to name but a few. After over a decade in the business, he’s still innovating and inspiring, for that, he comes highly recommended.

Chen conveys his long-term social observation through documentaries and feature dramas. His approach of magical realism highlights the absurdity in reality, and points out the structural problem in the society. In his well constructed fast-paced works, he is capable of delivering subtle emotion and in-depth dynamics in characters.

Throughout time, his works are screened and nominated in Berlin Film Festival, Golden Horse Awards, Busan International Film Festival, Yamagata International Documentary Film Festival, Taipei Film Festival, Kaohsiung Film Festival, and Taiwan International Documentary Festival. Aside from being on set, he also produces scores for theater plays and films. Chen’s ability thus makes his work rich in rhythm and music.

Abdessamad El Montassir was born in 1989. He lives and works in Boujdour, Rabat and Marseille. His research focuses on three main themes: the right to oblivion, fictional and visceral narratives, and the trauma of anticipation.

Reflexive processes are used throughout his work and research, encouraging viewers to rethink history and cartography through collective or fictional narratives and non-material archives. Simultaneously, his projects question trauma and its influence on individuals, their behaviour and socio-political evolutions; while deploying processes where trauma is used as a basis for historicization.

Abdessamad El Montassir approaches these issues by taking into account knowledge of non-human identities – plants and visceral narratives – in order to produce new ways of thinking about our environment.

Stéfane Perraud was born in 1975, he lives and works in Paris. He graduated from Decorative Arts school in Paris, and obtained a post diploma in an interactive research workshop in 2001. He obtained a residency at the College de France within the framework of Open Lab in 2011 and a Pictanovo development grant in 2013 for an art/science project linked to nuclear power.

His field of research, linked to the energy of matter and light, regularly prompts him to collaborate with writers and scientists. His work opens up a dialogue which is sometimes fictitious, with the imperceptible and the infrathin, and which aims to connect the various activities of the human soul with the intimacy of matter. His favorite tools and formats are hybridizations that he obtains and deconstructs using new media and advanced science and techniques.

Since 2003, he has collaborated with several artists in the world of theater, dance and performance (Eli Commins, Trajal Harell, Ali Moini…). He regularly exhibits his work in France and abroad (Musée des Arts Décoratifs, Collège des Bernardins, Musée de la Chasse in Paris, Maison Particulière in Brussels, Manoa Art Center in Hawaii, White Room in Quebec…). He is currently preparing an exhibition on the nuclear landscape which will take place at the Lieu Unique in Nantes in 2021, and another in Malta in 2020, on the physical properties of light, as part of the European Vertigo grant.

Born in Kaohsiung, Taiwan, in 1984. Currently an artist & software developer based in Taipei.

Most of Cheng’s works are electronic installations, software, and experimental bioelectronics devices. His works explore the relationship between human behavior, emotion, software and machine.

He tries to bring out the meaning of life through his works that are filled with his own observation and feelings toward society & environment in a humorous way. Currently, he is focusing on the fields of biology, electronics, software, and making tools for creative industrial applications.

Cheng has been selected by Dutch Young Talent, and won First Prize of Taipei Digital Art Award, Quality Award of New Media of Kaohsiung Art Award, and Tung Chung Art Award.

The works of artist Verena Friedrich take the form of time-based installations combining organic, electronic and sculptural means in which theoretical research and practical experiments are the starting point. She values direct interaction with scientists and is also interested in the practical work of life science laboratories.

Artist-in-residence at SymbioticA – Centre of Excellence in Biological Arts at the University of Western Australia and at the Max Planck Institute for the Biology of Ageing in Cologne, Germany, her projects have been presented internationally at exhibitions, media art festivals and conferences and have been awarded the International Media Award in Science and Art by the ZKM | Centre for Art and Media Technology Karlsruhe in 2005; special mention at VIDA 13. 2 Art and Artificial Life Awards, an honourable mention at the Prix Ars Electronica 2015, a jury mention at the Japan Media Arts Festival 2015 and the Transitio_MX prize in 2017.

In recent years she teaches at the University of Art and Design Offenbach and the Bauhaus University Weiwar, both in Germany. At the same time, she runs the exMedia Lab project with two colleagues at the Academy of Media Arts in Cologne, where she focuses on home-made technologies, ecological art and bio-art.

Quentin Lannes is interested in the issue of traces – digital or analog – that we produce more or less deliberately and that we leave behind. He is attentive to the evolution of the technological apparatus that produce them and to the uses that they induce.

Lannes has made the a portrait of a man developing his own memorial avatar, based on publications he found of him on the internet (The unauthorized portrait of F). He has followed the trail of ghosts inhabiting obsolete digital devices (Racing a Ghost). He has also studied the circulation and identification of images on the web and within second-hand networks (Christiane ou La Maison). With Cassandre Poirier-Simon, he has led a reflection on the use of personal assistants in creative fields (Amorce). These projects are imbued with a form of melancholy that could be labelled as “digital spleen”.

Quentin Lannes was born in 1989 in Évreux, France. He lives and works in Lyon.

Thierry Fournier’s work extends to the frontiers of the living to address questions of otherness, in the broadest sense: installations, objects, networked pieces, websites, videos, prints, performances. He is also an independent curator, editor and teacher. An architect by training (a graduate of the École nationale supérieure d’Architecture de Lyon), he was born in Lyon in 1960. He lives and works in the Paris area.

The artworks of Claire Williams take the form of woven antennas, glass sculptures filled with plasma or devices that sense the invisible.

Data of radio telescopes and scanners materialise themselves in knitted stitches, sound vibrations or through luminous plasma. She sculpts her electronic components to make visible the electromagnetic movements from the cosmos, through our magnetosphere, to radio waves that cross our terrestrial environment or the ones emanating from our bodies.

She is currently working on the exploration of ether, at the cross roads of experimental and occult science practices. In this way she explores our relationship to the world of the invisible and their instruments by reviving abandoned leads of certain scientific and researches of the mid 19th century.

Élisabeth Caravella is a French artist and filmmaker who lives and works in Paris. Self-taught, she interests from her adolescence by video, net art and computer graphics. A graduate of the European School of Image, Arts Décoratifs in Paris and Fresnoy, her work, inspired by cybernetic culture, is boundary between contemporary art and cinema.

In exhibition or in festival (Shanghai Pearl Museum, La Géode, Festival Premiers Plans, Festival Indielisboa, Palais de Tokyo, Liste Art Faire Basel, CENTQUATRE, Gaité Lyrique, etc.), she makes video installations as well as experimental fictions carried by perform reinterpretations of codes and hybridity of genres such as Anonymous phone call (2009) a “photoshop film”, A story without drama (2012) a documentary fiction, Howto (2014) a cinematographic tutorial several rewarded or Krisis (2019), machinima at the mark between FPS and virtual reality.

In 2019, Elisabeth participates in the cyber-feminist exhibition Computer Grrrls and adapted Howto in an immersive installation.

Verena Friedrich is an artist creating time-based installations in which organic, electronic and sculptural media come into play. She was an artist in residence i. a. at “SymbioticA – Centre of Excellence in Biological Arts” at the University of Western Australia and at the Max Planck Institute for Biology of Ageing Cologne in Germany.

Verena Friedrich´s projects have been presented internationally in the context of exhibitions, media art festivals and conferences. She received the International Media Award for Science and Art from ZKM Karlsruhe 2005; a special mention in the VIDA 13.2 Art & Artificial Life Awards; an honorary mention in the Prix Ars Electronica 2015; a jury mention in the Japan Media Arts Festival 2015 and the Transitio_MX award in 2017.

In recent years she has been teaching at the University of Art and Design Offenbach and the Bauhaus University Weimar, both in Germany. Currently she’s an assistant professor and co-heading the ‘exMedia Lab’ at the Academy of Media Arts Cologne, Germany.

Eva Medin is a French artist born in 1988 in Rio de Janeiro. She studied scenography at the Beaux Arts of Monaco, where she developed a style linked to choreographic movement and worked with choreographers such as the Monte-Carlo Ballet and Mathilde Monnier. She then graduated from the Decorative Arts school of Paris where she delved deeper into this legacy of the body using videography.

Eva Medin has developed a multidisciplinary vocabulary, a mix of immersive installations, performances, sculptures and videos. A visual artist and videographer, her working method brings together scenography, film making and anticipatory literature, with one central question: how can fiction enable us to reappropriate our future?

“Felix Luque Sánchez in collaboration with Damien Gernay and Vincent Evrard, explores how humans conceive their relationship with technology and provides spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do”.

Texte by Pau Waelder

Coming from the music scene and trained as a special effects editor alongside the director Bruno Ulmer, then as a cameraman during many collective relational aesthetics projects, in his personal work Cyril Meroni experiments with the spatialization of sound and images.

Ranging from live audiovisuals to the scenography of shows and festivals, including numerous mappings and the production of two films, his creations allow him to explore different types of audiovisual narration. His artistic approach leads him to question the relationship between the precision of technology and the inherent imperfection of human action.

He has worked alongside Rioji Ikeda, Blanca Li, Anti VJ, Hubert Colas, and for the Exit, Fid, Le Festival d’Avignon, Le Bon Air… Co-artistic and technical director of the association Hexalab, he is also an independent trainer in post-production and video broadcasting software.

Emma Terno explores the daily rituals, their ceremonials as well as their modulations through the virtual expansion. The inspiration of new technologies raises other questions on our body heritage and the fabulous mechanism of body mouvements is what drives her researches.

Choreographer, dancer and visual artist, she submits these choreographic routines to acoustic and virtual techniques in order to confront ourselves to our habits and sensations. The body as an experimental laboratory, where ideas and work of people from different fields and cultures meet.

Native from Monaco, she attended the Villa Arson (Nice, France) and then received a Bachelor’s degree in Visual arts from ECAL (Lausanne, CH) and a Master’s degree in Scenic Art Practices from the HKB (Bern, CH). Alongside her studies, she graduated from the Music Academy Rainier III in Monaco in electro-acoustic. Her work has been shared on various platforms in France (Plateforme chorégraphiques 2017, Festival Sobanova en 2016 / Paris) and in Europe (Skilt Festival / Berne, Festival Racconti di Altre Danze / Livorno). During the 2019/2020 season, she took part in the LIPS Laboratory at GRAME (Lyon, France) as part of the Lips Laboratory, as part of the BiME (Biennale des Musiques Exploratoires).

Born in 1989, Abdessamad El Montassir lives and works between Boujdour, Rabat and Marseille. His research focuses on a trilogy: the right to forget, fictional and visceral narratives, and anticipatory trauma.

In all her work and research, the artist sets up reflexive processes that invite to rethink history and cartographies through collective or fictional narratives and non-material archives. At the same time, his projects question traumas and their influences on individuals, their behaviours and their socio-political evolutions, and deploy processes in which these traumas are used for historicisation.

Abdessamad El Montassir addresses these issues by taking into consideration the knowledge of non-human identities – plants and visceral narratives – in order to bring out new ways of thinking about our environments.

Jesús Tamez-Duque is an Interdisciplinary Artist + Tech. Developer based at Aix-Marseille (France) and currently developing installations and projects within the EU, China and México. Exhibiting first in México, his early museum-based installations integrated neuroscience to explore unconscious connections to art pieces, immortalizing and sharing aesthetic responses to pleasing interactions. Pieces quickly thereafter increased in complexity, interactivity and deeper integration of scientific concepts + tools. His work is based on the principles that sciences are types of art, that new technologies are to be treated as evolutions of artistic media, that the century 21.2 calls for art which is lived and not simply witnessed, and that art is ultimately created by the audience or « interacteurs »; the three main points of what he calls « Art du papier ».

Committed, Jeanne Susplugas’ approach takes on all forms and all strategies of confinement. She pursues questioning the relationships between the individual and itself as well as with the others, while facing an obsessive and dysfunctional world. She explores different mediums – drawings, photographs, installations, sculpture, sounds, films – as many languages that enrich one to another to create a singular aesthetic, attractive in appearance, moreover quickly disturbing and creaky. A multifaceted, transversal work, very coherent and precise that places the viewer in front of contradictory sensations – troubled and reassured, worried and serene. Her work has been widely shown in France and abroad.

Annabelle Playe is a multidisciplinary artist. She enjoys exploring voice, sound, video and writing. She studied classical singing and composition with Sergio Ortega in Paris. She is a soprano and she interprets contemporary music. Today, she plays electronic and experimental music in France and abroad.

Her live music is based on a setup made of synthesizers and modulars. Her compositions are oscillating between electronic, drone, noise and electroacoustic music. Her musical research develops on the physicality of sound, on timbre. She wishes to create another temporality through the musical structures in her works.

Alexandra Radulescu is a media artist and designer with a focus on interactive and immersive experiences. Working at the intersection between media art, technology and design, she is driven by a desire to consolidate and extend our relationship to technology through tangible and gesture based interfaces.

She strives to create experiences that are focused, clear and uncluttered, but also playful, evocative and expressing identity. She appeals to the imagination of her audience, to their emotions and their creativity, addressing their attention but also the pleasure of moving their bodies.

Born in Quebec (Canada), Véronique Béland has been living in France since 2010, where she graduated from the Studio national des arts contemporains le Fresnoy (Michael Snow Promotion, 2010-2012). She also holds a masters in visual and media arts from the Université du Québec at Montréal. Her practice, which gravitates between media arts and literature, focuses on elusive phenomena on a human scale, in a constant attempt to explore what seems empty to reveal its content. Through various protocols of transcoding, which convoke both the worlds of art and science, her works seek to create contact between the perceptible and the imperceptible, from which a certain form of narrative emerges.

Born in 1980, Laurent Pernot currently lives and works in Paris.  Having graduated from the University of Paris 8 and the Fresnoy studio national, he has created a polymorphous work that explores memory through the experience of the flux of time, the impermanence of things, appearances and disappearances.  His research often borrows ideas from history, poetry, philosophy and science, in an approach that questions the nature and fragility of living things. His work has been exhibited at the Miro Foundation in Barcelona, ​​the Sketch Gallery in London, the Louis Vuitton Cultural Space in Paris, the Palais de Tokyo, the Maison Rouge, the Grand Palais, the São Paulo Biennale, the Centre Pompidou, the MMOMA in Moscow, the Delacroix museum, the Mac-Val and Voyage à Nantes. His works can be found in museums, foundations and private collections around the world.

Guillaume Marmin designs installations and performances conducive to the exploration of links between light, sound and space. Influenced by filmmakers such as Norman McLaren and Stan Brakhage as well as by kinetic art, he continues to study forms in movement using contemporary tools. Whether exploring scientific questions, nourished by collaborations with researchers, or mysterious symbolism, his creations showcase our relationship to light.

After studying audiovisuals, his first works were presented in 2005 at the Biennale of Contemporary Art in Lyon where he was part of the “young artists” selection. Since then, his projects have led him to work in many countries for group and personal exhibitions as well as accepting commissions for permanent installations in public spaces. Cultivating a strong link with music, Guillaume also designs scenographies and performs alongside artists such as Jeff Mills and the Walter Dean trio.

Musician, electronic music composer and sound artist Owen Chapman uses a combination of digital and analogue technologies for live audio-visual re-mixing. He is committed to the development of open source tools to generate accessible and meaningful interactions between sound, place and movement. Owen Chapman is a Professor of Sound Studies in the Department of Communication at Concordia University (Montreal).

Peter Sinclair is a sound artist and audio art researcher. His work today focuses on real-time data sonification, mobile audio and the artistic development of new auditoriums. He develops this work within the Locus Sonus research unit, of which he is scientific director. This is a laboratory for experimentation in audio art supported by the Ecole Supérieure d’Art d’Aix en Provence and financed by the Ministry of Culture and Communication.

Born in 1972, Michael Cros lives and works in Marseille, France. Transdisciplinary artist, he combines puppet art, contemporary dance and digital art in his work. His creations materialize on stage, on screen or in the form of an exhibition. Graduated from the Fine Arts of Marseille and Lyon, he joined La Méta-Carpe in 2003.

Year after year, he developed technical skills linked to the mediums he uses. He also acquired expertise in directing artistic projects and in implementing collaborative and creative processes, notably with the TJP CDN of Strasbourg-Grand Est and its Rencontres Internationales Corps Objet Image. Influenced by the Ecological Humanities, he affirms the art-science dimension of his creations by inviting anthropologists, ethologists, and philosophers to join his artistic teams. Because sharing knowledge is important to him, he often invites different types of audiences: children, students, disabled people, amateurs of all ages, to contribute in his artistic reflections and actions.

For more than ten years, a figure has regularly returned in his work, made up of hybrid, mechanized, and vegetal bodies: the Dark People. In a more and more worrying environmental context, he questions with these strange creatures our human condition, as well as our links with existing others, whatever their scale. Between threatened species, would there be a common future to invent?

Born in Athens in 1979, Félicie d´Estienne d´Orves lives and works in Paris.

A plastic artist whose chosen material is light, her installations and performances call on a phenomenological knowledge of reality and question the conditioning of our vision.  Light is both the tool and the subject of her work. She is interested in defining the physical and cosmological limits of space, through light and its speed.

Her work has been presented at the Centre Pompidou – Nuit Blanche – Le Centquatre 104 (Paris) – Le Fresnoy Scène Nationale (Tourcoing) – La Friche Belle de Mai (Marseille) – Cheminée EDF (Le Havre) – Abbaye de Maubuisson (Saint-Ouen-l’Aumône) – Watermans Arts Center (London) – New Art Space/Sonic Acts (Amsterdam) – TBA Teatro do Bairro Alto (Lisbon) – Ars Electronica (Linz) – Elektra Festival (Montreal) – Day For Night (Houston) – OCAT (Shanghai) – Aram Art Museum (Goyang/Korea)…

Etienne Rey’s work explores the very notion of space. The challenge is to produce a shift in perception. The question of the place and the environment, of the in situ and the architecture participate in the discovery of spatial structures. The work is perceptual, it is approached without any particular knowledge, in a search for universality. Each of his installations explores a phenomenological experience, and unfolds spaces, sometimes unstable, where everything evolves permanently according to the position of the observer, his point of view, his movements.

Victoire Thierrée’s works enable the audience to uncover a universe which is typically concealed from them. A graduate of the Paris School of Fine Arts in 2014, the artist explores the armed forces and employs raw materials such as technical ceramics and optical apparatus, camouflage fabrics and surfacing unobtainable by civilians.

Mathilde Lavenne was born in France in 1982. After, in 2011, focusing her approach on emerging technologies and digital tools by developing a visual language, she received the 2015 François Schneider Foundation Contemporary Talents Prize. Following archaeology, which borrows as much from earth sciences as from natural and human sciences, Mathilde Lavenne examines journeys through the lens of excavation, matter, and peregrination.

Arash Nassiri, born in Tehran in 1986, is a Franco-Iranian artist living and working in Paris. After a time spent at Paris School of Fine Arts and an exchange in Berlin to study the relationship between art and technology, he graduated from the Paris School of Decorative Arts and completed his studies at the Fresnoy in Tourcoing. In line with land art, Arash Nassiri uses settings as frames of work. Here, he examines Paris’ network of catacombs to map out a journey to the centre of the Earth.

Hiroaki Umeda is a Japanese contemporary dancer, choreographer and visual artist. He founded his dance company in 2000, with which he began developing his own transdisciplinary works.Today,he is one of the leading figures of the avant-garde Japanese scene; his holistic methodology and the strong influence of the digital make his work widely recognized and respected. He considers dance to be not only made up of physical elements but also of optical, sonic, sensory and, above all, spatio-temporal elements. His main interest lies in the work of spatial and temporal dimensions. Beyond choreography, Umeda explores sound and light composition, and scenography.

Christophe Monchalin is a Brussels-based digital artist and motion designer. An engineer, graduating from the Mediterranean Institute for Study and Research in Software Engineering and Robotics in 2004, his use of digital forms tends towards the interactive arts and his artistic research towards the human being and human perception. His artistic method is enriched by diverse experiences: He is also pursuing studies in Chinese Medicine and graduated from the Beijing University of Chinese Medicine with a qualification in Acupuncture.

Born in Nantes in 1968, Alain Josseau lives and works in Toulouse. For around a decade, he has worked on the theme of modern warfare and the imagery thereof, particularly the surveillance and bombardments carried out by drones in conflict zones. His installations are a reflection on modern warfare, its coverage in the media, and what both simulation and simulacrum in this context put at stake.

Born in 1988 in Lyon, Hugo Deverchère is a graduate of ENSAD Paris and the Le Fresnoy Studio National des Arts Contemporains. His work is a collection of experiences which represent so many leads to investigate and assess our relationship with the world. Be it through accounts, collected data, images that have been captured, produced, or simply found, his research has recourse to modelling, transposition or conversion processes which serve as a prism between real and representation.

Florian Schönerstedt was born in Draguignan in 1982 and lives and works in Nice. He works with animation cinema and hijacks its codes and techniques. The artist bases his approach on hauls of objects which become the raw materials for his films and installations. He exhaustively scans or photographs each object in a haul to obtain a sample of it, and his method evokes the classification of real life due to this exhaustivity.

As a plastic artist,his approach includes both a creative di- mension and important theoretical research.For the artist, these two aspects are inseparable and their combination constitutes the dynamic that allows him to deepen his artistic creations.Yoann Ximenes explores the influential relationships between the sound universe and the physi- cal world. The objective of his research is to think about the performative process within artistic creation itself.His approach includes both practical experimentation and theoretical elaboration on questions of correspondence between image and sound; the embodiment of sounds in images and three-dimensional objects.

The artist describes himself as an ‘experimental builder’. HelivesandworksinVendée.GuillaumeCousinconducts artistic research in the performing arts as a stage designer and lighting designer. This field has led him to making scenographic work which is often close to the plastic arts.At the same time,he conducts research work related to quantum physics, which takes the form of post-digital installations questioning our perception of matter and time, amidst the immense chains of action and reaction of which our world is made.