{"id":29110,"date":"2024-06-17T14:53:11","date_gmt":"2024-06-17T12:53:11","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/totems-dun-monde-nouveau-2\/"},"modified":"2024-08-29T18:10:11","modified_gmt":"2024-08-29T16:10:11","slug":"totems-dun-monde-nouveau-2","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/totems-dun-monde-nouveau-2\/","title":{"rendered":"Totems d’un monde nouveau"},"content":{"rendered":"\n

Romain Causel – L\u00e9o Huet – Jo\u00eblle Majdalani – Apolline Muller – R\u00e4f & Cl\u00f6 – Sophistications<\/h2>\n\n
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PRACTICAL INFORMATION<\/h5>\n\n\n\n

From Nov. 9 to Dec. 14, 2024<\/strong><\/b> \n \nOpening Fri. Nov. 8: 6pm – 10pm<\/strong><\/b> \nand Sat. Nov. 9: 2-10pm<\/strong><\/b> \n \nWed. to Sun. 3pm to 7pm.<\/strong><\/b> \n \nGuided tours Wed. to Sat. 11am to 6pm.<\/p>\n\n\n\n

Venel Chapel \nAix-en-Provence \nFree price<\/p>\n<\/div>\n\n\n\n

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The Totems of a New World exhibition looks at the influence of technology and social networks on our experiences of pleasure. Our identity is shaped by a constant dialogue between the material and digital worlds. Recommendation algorithms, by feeding our desires with an infinite stream of personalized stimuli, shape the reality of our desires.<\/p>\n\n\n\n

The emerging artists supported by the halone association explore the repercussions of technology on our daily lives, through visual and digital artworks. In so doing, they aim to shed light on the way in which our physical being integrates with our digital alter ego, while raising our awareness of the issues at stake in our hyper-connected society.<\/p>\n<\/div>\n<\/div>\n\n

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Artists<\/h4>\n
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C\u00e9cile Babiole<\/h2>\n
https:\/\/babiole.net\/projects<\/a><\/div>\n\n \n \n

C\u00e9cile 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 \u201cLe sans titre\u201d.<\/p>\n

She is also an exhibition curator. Her latest exhibition: Hadaly et Sowana, cyborgs et sorci\u00e8res<\/i> at L’Espace Gantner, Bourogne (2019-2020). Her work has been exhibited internationally: Centre Pompidou, Ga\u00eet\u00e9 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 M\u00e9dicis hors les murs, Transmediale Berlin, Stuttgart Expanded Media Festival…<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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France Jobin<\/h2>\n
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France Jobin, a Montreal-based audio artist and film composer, is distinguished by her minimalist audio art, described as \u201csound sculpture\u201d. 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.
\nJobin 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 \u201cEntanglement AV\u201d with Markus Heckmann at Mutek \u00c9dition 22. In 2022, she created \u201cEntanglement XR\u201d, and in 2023, \u201cEntanglement d\u00f4me\u201d at SAT. Influenced by quantum physics, Pandemic deepened its exploration of this scientific universe.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Emilija \u0160karnulyt\u0117<\/h2>\n
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Emilija \u0160karnulyt\u0117<\/strong> (b. Vilnius, Lithuania 1987) is an artist and filmmaker.<\/p>\n

Working between documentary and the imaginary, \u0160karnulyt\u0117 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.<\/p>\n

Winner of the 2019 Future Generation Art Prize, \u0160karnulyt\u0117 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, \u0160karnulyt\u0117 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 Troms\u00f8 Academy of Contemporary Art.<\/p>\n

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 Troms\u00f8, Norway and is a member of artist duo New Mineral Collective, recently commissioned for a new work by the First Toronto Biennial.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Anne-Sophie Turion<\/h2>\n
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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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Hypnoscope<\/h2>\n
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La Tisseuse d’Histoires is a project by the artist-researchers in the digital and visual arts of the Hypnoscope collective.<\/p>\n

R\u00e9mi Sagot-Duvauroux Editor, virtual reality experience designer and researcher
\nR\u00e9mi has worked mainly on animated feature films and documentaries such as Michael Dudok de Wit’s La Tortue Rouge and Rapha\u00ebl Meyssan’s Les Damn\u00e9s de la Commune. He is also a doctoral student in the Spatial Media group at EnsadLab, the \u00c9cole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs 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 D\u00e9coratifs, ENSTA Paris and the Universit\u00e9 Sorbonne Nouvelle Paris.<\/p>\n

Lia Mchedlishvili Animated film illustrator and set designer
\nLia arrived in France from Kyiv, Ukraine in 2012 to study animation film. Today she works on feature films, animated series, illustrations and short films.
\nShe 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 F\u00f6ldes. She also teaches her craft to students at the Cr\u00e9apole school in Paris.<\/p>\n

Loup Vuarnesson Interaction design researcher, artist and developer
\nLoup 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Adrien M & Claire B<\/h2>\n
https:\/\/www.am-cb.net\/projets\/enam<\/a><\/div>\n\n \n \n

The company Adrien M & Claire B places its work in the field of digital arts since 2004.\u00a0 Its creations are performances and exhibitions, that associate reality and virtuality.\u00a0Its specificity is the custom-made development of its computing tools.\u00a0 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 (Rh\u00f4ne, France). Villa Aph\u00e9a, its research and creation venue, is located in Crest (Dr\u00f4me, France). Part of the venue’s equipment was acquired with help from the Auvergne-Rh\u00f4ne-Alpes Region. The company is subsidised and accredited in France by the DRAC Auvergne-Rh\u00f4ne-Alpes and the Auvergne-Rh\u00f4ne-Alpes Region. It is also supported by the City of Lyon.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Line Katcho<\/h2>\n
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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 <\/i>and Sonar Barcelona<\/i>. She won first prize in the 2014 JTTP<\/i> (Jeux de Temps\/Times Play)<\/i>competition and the Award of Distinction in the audiovisual category at the MA \/ IN 2016 Festival<\/i>.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Ellis Holman<\/h2>\n
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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. <\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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June Balthazard<\/h2>\n
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Born in Montb\u00e9liard in 1991, June Balthazard lives and works in Paris. A graduate of Geneva’s Haute \u00c9cole d’Art et de Design (HEAD) and Le Fresnoy – Studio National, she is developing an artistic practice that blends film and installation.
\nHer 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.
\nHis 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Sports Group<\/h2>\n
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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 \u2013 upon closer listening all of these sounds started resembling a large unmanaged concert.<\/span><\/p>\n

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 \u201claws\u201d of self-exploration, self-creation and continuous self-perfection.<\/p>\n

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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Aist\u0117 Ambrazevi\u010di\u016bt\u0117<\/h2>\n
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Aist\u0117 Ambrazevi\u010di\u016bt\u0117 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Esther Denis<\/h2>\n
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Esther Denis (Brussels – 1996), visual artist and set designer.<\/p>\n

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.
\nThese experiences fueled her desire to learn more about the scenic and sound arts; she studied at La Cambre in Brussels, then at the Arts D\u00e9coratifs in Paris.
\nHer 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).
\nParallel 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 Fr\u00e9d\u00e9rique A\u00eft-Touati, researcher and director.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Simona \u017demaityt\u0117<\/h2>\n
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Simona \u017demaityt\u0117 (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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Jeanne Susplugas<\/h2>\n
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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.
\nWith 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.
\nHer work has been widely exhibited in France and abroad. It can be found in numerous public and private collections.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Tabita Rezaire<\/h2>\n
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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.<\/span><\/p>\n

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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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halone<\/h2>\n
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halone<\/em> is an association under the French law of 1901, founded in 2021 by Guillaume Brevet and L\u00e9o Huet. Focusing on the digital arts, it has several fields of action.<\/p>\n

Firstly, halone<\/em> 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<\/em> is keen to support new creation and offer it opportunities to develop via our production offers.<\/p>\n

Next, halone<\/em> 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.<\/p>\n

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.<\/p>\n

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.<\/p>\n

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<\/i> exhibition.<\/p>\n

halone <\/i>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 <\/i>acts as a partner to the artists it supports.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Addie Wagenknecht<\/h2>\n
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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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Jenny Kristina Nilsson<\/h2>\n
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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.
\nShe 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Caroline Delieutraz<\/h2>\n
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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.
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\nCaroline Delieutraz’s work has been shown in solo and group exhibitions, including Around Vidoo (Lille), Art Brussels, Centquatre (Paris), La Ga\u00eet\u00e9 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), Cit\u00e9 Internationale des Arts (Paris) and Citadelle de Pamplona (Spain).<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Ethel Lilienfied<\/h2>\n
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Born in France in 1995 and based in Brussels, Ethel Lilienfeld\u2019s 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\u2019s work explores issues of social norms, aesthetic standards and concepts of identity and gender.<\/span>
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\n<\/span>The body plays an important role in most of the artist\u2019s 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.<\/span>
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\n<\/span>After completing a master\u2019s degree in visual arts at La Cambre (<\/span>Brussels<\/span>) in 2020, Ethel Lilienfeld obtained a <\/span>post-graduate<\/span> degree at Le Fresnoy <\/span>\u2013 Studio<\/span> national des arts contemporains in 2023. She has won a number of awards including the Villa Albertine Grant \/ E\u0301tant Donne\u0301s Contemporary Art (2023).<\/span>
\n<\/span>Ethel\u2019s work has been presented at such venues as the FotoFest Biennial (Houston, US); MEET \u2013 Digital Culture Centre (Milan, IT); Alan Kad\u0131ko\u0308y _ Noise Media Art (Istanbul, TR); IMAL Centre for digital cultures and technology (Brussels, BE); Ope\u0301ra de Lille (Lil- le, FR); Les Safra\u2019Nume\u0301riques (Amiens, FR); Le Cube (Garges, FR); etc.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Dries Deporter<\/h2>\n
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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.
\n<\/span>His diverse portfolio includes innovative apps, interactive installations, websites, and games.
\n<\/span>In his recent project, “The Follower,” Dries Depoorter employs open cameras and AI to unveil videos showing how Instagram photos was captured.
\n<\/span>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,
\n<\/span>“The Flemish Scrollers,” uses AI to automatically tag Belgian politicians when they use their phones during daily livestreams.
\n<\/span>Along with his other works, have gained international attention, solidifying Dries’ position in the global art scene.
\n<\/span>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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Rachel M.Cholz<\/h2>\n
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Rachel M. Cholz, born in 1991 in France, is mainly an author. She studied visual arts while working as a lighting designer.
\nNo ou le pactole<\/em>, a poetic narrative, was published by \u00c9ditions La Lettre vol\u00e9e. A novel called Pipeline<\/em>, developing a collaboration around a diesel traffic, was published in April 2024 by \u00c9ditions du Seuil.
\nRachel 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<\/em>, and since 2021 has been developing the Viens Valeur<\/em> project.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Felix C\u00f4te<\/h2>\n
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Born in 1993, F\u00e9lix C\u00f4te 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Willem Popelier<\/h2>\n
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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.
\nHis 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.
\nWillem 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Robbie Cooper<\/h2>\n
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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.
\nRobbie 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.
\nFrom 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
\nmedia. Media used in the Immersion project included video games, pornography, children’s cartoons, comedy, atrocity videos, sports, horror and music videos.
\nThe 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Simona \u017demait\u0117<\/h2>\n
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Simona \u017demaityt\u0117 (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.<\/span><\/p>\n

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Gabriel Lester<\/h2>\n
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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.
\n<\/span>Lester\u2019s 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\u2019s 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Yosra Mojtahedi<\/h2>\n
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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 \u201csoft robotics\u201d. Her sculptural installations in the form of \u201cmachine-humans\u201d or \u201cbody-fountains\u201d are sensual works that challenge and question taboos associated with the female body. Black\u201d 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.
\nWinner of the ADAGP’s Prix R\u00e9v\u00e9lation d’art num\u00e9rique et d’art vid\u00e9o in 2020, her work has been exhibited internationally, notably in France, Belgium, Iran, Italy, Germany, Dubai and Turkey.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Maximilian Oprishka<\/h2>\n
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\u00a0BIO<\/span><\/p>\n

Maximilian Oprishka is an award winning multidisciplinary artist working in the fields of sound, visual language and new media.\u00a0<\/span><\/p>\n

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.\u00a0<\/span><\/p>\n

\u00a0<\/span>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 \u201ctomorrow\u201d.<\/span><\/p>\n

Interest in design, arts and sound phenomena became second nature in Maximilian\u2019s 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\u2019s dilemmas, but transported to a future-technology realm.\u00a0<\/span><\/p>\n

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.\u00a0<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Valentina Peri<\/h2>\n
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Valentina Peri is an independent curator, artist and author.
\nHer research explores the impact of technology on contemporary culture, with a focus on intimacy and love in the digital age.
\nHer 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).
\nIn 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.
\nIn 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Molior<\/h2>\n
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Since it was founded by Andr\u00e9e 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.<\/p>\n

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.<\/p>\n

Molior also conducts a number of activities outside established networks to encourage audience development and promote access to first-rate achievements.<\/p>\n

In Latin, Molior means to set in motion, to undertake, to build, to realize.<\/p>\n

Visit the Molior website<\/a><\/p>\n

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Curated by Nathalie Bachand<\/strong><\/b><\/p>\n

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<\/em>, 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 B\u00e9la Tam\u00e1s K\u00f3nya. She was guest curator for Art souterrain 2021 – Chronom\u00e9trie<\/em>. Her exhibition DataffectS<\/em> was presented at Galerie de l’UQAM (2022), and she also co-curated, with Sarah \u00c8ve Tousignant, the festival SIGHT+SOUND 2022 – Danser en attendant (la fin du monde)<\/em>, organized by Eastern Bloc (2022).
\nNathalie 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Pilar Rosado & Joan Foncuberta<\/h2>\n
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Ugo Arsac<\/h2>\n
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Ugo Arsac is a French artist and documentarian. He studied at the Beaux-Arts de Paris and the \u00c9cole des Arts D\u00e9coratifs 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 \u00e0 la Guerre (Let\u2019s 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.<\/span><\/p>\n

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He has completed several residencies, at Centquatre, Arden\u00f4me and the Fruiti\u00e8re Num\u00e9rique, and has featured in numerous exhibitions (100% l\u2019Expo, Orpheo, Panorama22, Mulhouse021, Tout s\u2019\u00e9claire, the Institut Fran\u00e7ais in Ukraine\u2019s 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Matteo Marangoni<\/h2>\n
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Vincent Dupont & Charles Ayats<\/h2>\n
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Vincent Dupont<\/h5>\n

Initially an actor, Vincent Dupont worked with Thierry Thie\u00fb Niang and Georges Appaix, and later with Boris Charmatz. In 2001, he signed his first choreography, Jach\u00e8res improvisations<\/em>, 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 chor\u00e9graphique national de Montpellier, Vincent Dupont has been associated with the Centre des Arts d’Enghien-les-Bains since September 2019, and until 2023.<\/p>\n

Charles Ayats<\/h5>\n

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 b\u00eates 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<\/em> (2016). He then co-wrote 7 Lives <\/em>, an interactive VR tale directed by Jan Kounen (2019), and Le Cri<\/em> (2019), an interpretation of Edvard Munch’s painting. Following the creation of the augmented reality short film M.O.A <\/em>(2020), adapted from Alain Damasio’s futuristic novel Les Furtifs<\/em>, he continues his reflections between narration, body and spatiality with proposals close to live performance such as Colonie.s <\/em>and No reality now.<\/em><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Eric Arnal Burtschy<\/h2>\n
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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 B\u00e2tie in Switzerland, the Royal Flemish Theatre in Brussels, La Ga\u00eet\u00e9 lyrique, sc\u00e8nes 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’\u00e9tudes avanc\u00e9es de Marseille and the Institut de recherche sur les ph\u00e9nom\u00e8nes hors \u00e9quilibre for the Gen\u00e8se project.
\nHe 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.
\nHe is Associate Artist at 9-9 bis Le M\u00e9taphone (2023-2025); Companion Artist at Th\u00e9\u00e2tre de Li\u00e8ge (2024-2028); Artist in Residence at Th\u00e9\u00e2tre de L’L (Brussels) and at WorkSpaceBrussels.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Delgado-Fuchs<\/h2>\n
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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.
\nSidelong 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 B\u00e2tie Gen\u00e8ve (CH), ImPulsTanz Vienne (AU),
\nSc\u00e8ne nationale La Filature Mulhouse (FR), Centre culturel Suisse Paris (FR), Sc\u00e8ne nationale Le Merlan Marseille (FR), Arsenic Lausanne (CH), BIAN Montr\u00e9al (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), …<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Jasmine Morand<\/h2>\n
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Jasmine Morand completed her classical training in Geneva and at the Princesse Gr\u00e2ce 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.
\nOn her return to Switzerland, she founded the Prototype Status company and is currently permanent resident and artistic director of Dansom\u00e8tre – espace de cr\u00e9ation et recherche chor\u00e9graphique 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 D\u00fcsseldorf. The creation LUMEN (2020) won the Label + Romand – arts de la sc\u00e8ne competition and was awarded the Prix Suisse des Arts de la sc\u00e8ne as best dance creation 2020 by the Office F\u00e9d\u00e9ral de la Culture.
\nIn January 2023, LUMEN was presented at the Th\u00e9\u00e2tre 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Mark IJzerman<\/h2>\n
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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 \u2018Biodiversity in the Rotterdam Port\u2019 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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S\u00e9bastien Robert<\/h2>\n
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Se\u0301bastien 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\u2019re 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, Se\u0301bastien 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. Se\u0301bastien 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). Se\u0301bastien 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Studio Martyr<\/h2>\n
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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.<\/p>\n

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.<\/p>\n

Julien Ticot-Guillet<\/b><\/p>\n

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.<\/p>\n

During his research course at the \u00c9cole Normale Sup\u00e9rieure 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.<\/p>\n

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.<\/p>\n

Adriane Breznay<\/b><\/p>\n

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.<\/p>\n

A graduate of the Ecole Normale Sup\u00e9rieure de Lyon in the \u201cdramaturgies\u201d 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).<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Architecture Social Club<\/h2>\n
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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.\u00a0<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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1024 Architecture<\/h2>\n
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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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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F\u00e9licie d’Estienne d’Orves<\/h2>\n
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F\u00e9licie 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.
\nA visual artist whose material is light, F\u00e9licie 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Jean-Philippe Lambert<\/h2>\n
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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-Synth\u00e8se, Temps-R\u00e9el, Interactions Son Musique Mouvement and Espaces Acoustiques et Cognitifs teams. He is currently collaborating on the Soundworks framework, used by Ast\u00e9rismes, which enables distributed interactions on telephones (concerts, installations and experiments).
\nAlongside 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.
\nHis varied interests crystallize in his work on multimodal interaction systems.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Aki Ito<\/h2>\n
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Composer Aki Ito <\/b>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.
\nPursuing 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.
\nIn this sense, time is relative and interactive for her, changing from one point of view to another. For the Ast\u00e9rismes 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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J\u00f9lia Lema Barros<\/h2>\n
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J\u00falia 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.
\nShe 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Josep Poblet<\/h2>\n
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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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Clara Rigaud<\/h2>\n
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Clara Rigaud works on projects involving computer science, interaction, design and the humanities.<\/p>\n

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.<\/p>\n

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.<\/p>\n

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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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S8JFOU<\/h2>\n
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S8jfou (\u00abSuis-je fou\u00bb, french \u00abfor Am I crazy ?\u00bb) 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Simon Lazarus 84<\/h2>\n
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Simon Lazarus 84 was forged in the Paris graffiti scene in the early 2000\u2019s. 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: F\u00eate des lumi\u00e8res de Lyon, Sharjah Light Festival (United Arab Emirates), Shining Shanghai (China), MappMontreal (Canada) and the Vid\u00e9o-mapping festival in Lille in 2023, where he was awarded the Grand Prize of the Jury.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Stephanie L\u00fcening<\/h2>\n
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Stephanie L\u00fcning is an acclaimed contemporary artist renowned for her innovative approach to painting, sculpture and interactive installation art. Born and raised in Mecklenburg in Germany, L\u00fcning 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.<\/span><\/p>\n

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Drawing inspiration from nature, science, and the human experience, L\u00fcning’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,\u00a0 challenging viewers to reconsider their relationship with the world around them.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Thomas Laigle<\/h2>\n
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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.<\/p>\n

His concert-performances are presented in France and Europe (Festival d’Avignon, St\u00e9r\u00e9olux, Maintenant festival, Interstices festival, M\u00e9nagerie de Verre, Mont\u00e9vid\u00e9o-Marseille, Li\u00e8ge 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<\/i>, a series of performances focusing on body and sound practices.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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SMACK<\/h2>\n
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SMACK is the award-winning trio of digital artists Ton Meijdam, Thom Snels and B\u00e9la Zsigmond.
\nBased 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Claudie Gagnon<\/h2>\n
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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.<\/span><\/p>\n

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 \u2013 artist-run centers, galleries, museums, theaters \u2013 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.).<\/span><\/p>\n

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.<\/span><\/p>\n

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, Mus\u00e9e d\u2019art 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 Qu\u00e9bec.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Chlo\u00e9 Rutzerveld<\/h2>\n
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Chlo\u00e9 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.<\/p>\n

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<\/p>\n

Culinair Cellulair, is the second interactive installation that the two studios developed together. In 2019 they developed an interactive installation \u2018Future Food Formula\u2019 about high tech indoor growing systems and the influence of growth recipes on plant growth.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Marit Westerhuis<\/h2>\n
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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\u2019s 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).<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Nina Gazaniol V\u00e9rit\u00e9 (FR)<\/h2>\n
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With a degree in Performing Arts and Journalism, she studied the hijacking of television through performance art in the dissertation \u201cDon’t hate the Media, Be the media\u201d, interned at ARTE and approached experimental cinema while getting involved in multiple cross-disciplinary projects. In 2013, she joined the Formation sup\u00e9rieure pour la cr\u00e9ation 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 Parall\u00e8le, Pratiques artistiques \u00e9mergentes internationales (Marseille).<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Severi Aaltonen<\/h2>\n
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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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Telemagic<\/h2>\n
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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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Filip Custic<\/h2>\n
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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, Chlo\u00e9, Louboutin, Palomo Spain, Camper, as well as magazines such as Vogue and GQ.
\nAdditionally, he has worked with internationally renowned artists like the Spanish pop star Rosal\u00eda and the American rapper Lil Nas X. His art is exhibited worldwide, including at La T\u00e9rmica (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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Pilar Rosado & Joan Foncuberta<\/h2>\n
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Teun Vonk<\/h2>\n
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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.
\nCurrently, 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.
\nTeun 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Donatien Aubert<\/h2>\n
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Donatien Aubert is an artist, researcher and author. After graduating with honors from the \u00c9cole Nationale Sup\u00e9rieure d’Arts de Paris-Cergy, he carried out post-master’s research at the Laboratoire de l’\u00c9cole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs (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.
\nDonatien 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.
\nDigital 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.
\nDonatien 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.
\nHis work has been exhibited at several biennales (N\u00e9mo, Chroniques, Elektra) and internationally (Taipei, Kyoto, Moscow, Esch-Belval, Basel, Montreal, Goa). He is the winner of the CNAP \u201cImage 3.0\u201d photographic commission in 2020. His work was the subject of a solo exhibition at Galerie Odile Ouizeman, Paris, in 2021.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Anne Fehres – Luke Conroy<\/h2>\n
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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.<\/span><\/p>\n

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Their interest in socio-cultural topics is informed by Anne\u2019s background in documentary film and audio-visual design (Royal Academy of Fine Arts, Ghent, Belgium, 2013) and Luke\u2019s 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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Dries Depoorter<\/h2>\n
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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.\u00a0<\/span><\/p>\n

His diverse portfolio includes innovative apps, interactive installations, websites, and games.<\/span><\/p>\n

In his recent project, “The Follower,” Dries Depoorter employs open cameras and AI to unveil videos showing how Instagram photos was captured.<\/span><\/p>\n

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,\u00a0<\/span><\/p>\n

“The Flemish Scrollers,” uses AI to automatically tag Belgian politicians when they use their phones during daily livestreams.\u00a0<\/span><\/p>\n

Along with his other works, have gained international attention, solidifying Dries’ position in the global art scene.<\/span><\/p>\n

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.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Martin Messier (QC-CA)<\/h2>\n
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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.<\/p>\n

After studying composition at the Universit\u00e9 de Montr\u00e9al, 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.<\/p>\n

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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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deletere<\/h2>\n
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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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Nicolas Montgermont<\/h2>\n
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Nicolas Montgermont is a sound and radio artist who explores the physicality of waves in its various forms.<\/p>\n

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.<\/p>\n

He produces sound performances, installations, records and compositions, alone or in collaboration (chdh<\/a>,\u00a0Art of Failure<\/a>,\u00a0Ce\u0301cile Beau<\/a>,\u00a0RYBN<\/a>,\u00a0Pali Meursault<\/a> …) and participates in several sound and radio creation collectives (\u220fnode<\/a>,\u00a0Yi King Operators<\/a>,\u00a0les Sons F\u00e9d\u00e9r\u00e9s<\/a>,\u00a0Jef Klak<\/a>,\u00a0l\u2019Acentrale<\/a>). His projects are shown in numerous art centers, museums, concert halls and self-managed venues in Europe and elsewhere.<\/p>\n

He teaches sound and multimedia creation at the ENS Louis Lumi\u00e8re and at the University of Paris 8.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Thomas Garnier<\/h2>\n
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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.<\/span><\/p>\n

His practice is that of an artist but also of a researcher or heterotopologist, as defined by Foucault in his text \u00ables espaces autres\u00bb. This search for and construction of meaning in the \u00abliminal\u00bb or \u00abin-between\u00bb 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\u2019s 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. <\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Pierre Coric<\/h2>\n
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Pierre Coric\u2019s 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.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Emmanuel Van der Auwera<\/h2>\n
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Emmanuel Van der Auwera (b. 1982, Belgium) lives and works in Brussels, Belgium. Van der Auwera is a 2015 Laureate of the Higher Institute for Fine Arts (HISK) post-academic course in Ghent, a 2015 Langui Award recipient of the Young Belgian Art Prize, and the first winner of the Goldwasserschenking awarded by WIELS and the Belgian Royal Museums of Fine Art. His work has been featured in exhibitions at the Pinakothek der Moderne (Munich, DE), WIELS (Brussels, BE), Centre Pompidou (Paris, FR), Palais de Tokyo (Paris, FR), Centro per l’Arte Contemporanea Luigi Pecci (Prato, IT), the First Jinan International Biennial (Shandong, CN), Casino Luxembourg – Forum d’art Contemporain (Luxembourg City, LU), Mu.ZEE (Ostend, BE), Botanique (Brussels, BE), and the House of Electronic Arts (Basel, CH) amongst others. His work has been acquired by the Dallas Museum of Art (Dallas, TX, US), KANAL – Centre Pompidou (Brussels, BE), Mu.ZEE (Ostend, BE), Fundacio\u0301n Otazu (Pamplona, ES), Collection de la Province de Hainaut – BPS22 (Charleroi, BE), the National Bank of Belgium (Brussels, BE), the Stockholm School of Economics (Stockholm, SE) and the Jordan Schnitzer Museum of Art (Eugene, OR, US).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Karina Smigla-Bobinski<\/h2>\n
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Karina Smigla-Bobinski is an Open-Media artist and works with analogue and digital media on the field of <\/span>propioceptive art<\/span><\/a>. 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.\u00a0<\/span><\/p>\n

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\u2019s 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.\u00a0<\/span><\/p>\n

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 \u2013 Museum of Contemporary Art \/ Pittsburgh (USA), Grande Halle de la Villette in Paris (France), Ithra \u2013 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 S\u00e3o 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).\u00a0<\/span><\/p>\n

Her collaborative performances have been shown at the Festival Montpellier (France), Grand Th\u00e9\u00e2tre (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 \u2013 Arsenale, Venice (Italy).<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Donato Dozzy<\/h2>\n
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Peu de DJ et de producteur\u00b7ices sont aussi largement et universellement acclame\u0301\u00b7es dans les cercles techno que l\u2019Italien Donato Dozzy. Il a une capacite\u0301 rare a\u0300 travailler dans l\u2019esprit des gens, que ce soit dans un cadre contem- porain ou classique. Il ne se laisse jamais influencer par l\u2019air du temps et pre\u0301fe\u0300re cre\u0301er des paysages sonores hypnotiques qui vous font voyager. Aussi e\u0301nigmatique qu\u2019il soit, aussi de\u0301contracte\u0301 qu\u2019il puisse parai\u0302tre, il est un artiste qui de\u0301voile constamment de nouvelles \u0153uvres. Affichant une grande variation en termes de son et de me\u0301thode sur de nombreuses sorties chaque anne\u0301e – dont certaines paraissent sur son label Spazio Disponibile, il re\u0301alise e\u0301galement des installations pour des espaces pu- blics et des muse\u0301es, utilise des instruments de musique obscurs, collabore avec des producteurs partageant les me\u0302mes ide\u0301es, des chanteurs classiques ou des artistes visuels. Donato semble se mettre continuellement au de\u0301fi, quelle que soit la me\u0301thode qu\u2019il utilise, il est tou- jours susceptible d\u2019impre\u0301gner votre cortex ce\u0301re\u0301bral et de le reca\u0302bler de manie\u0300re fascinante et irre\u0301sistible.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Caterina Barbieri<\/h2>\n
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Italian composer Caterina Barbieri explores the psy- cho-physical effects of repetition and pattern-based operations in music, by investigating the polyphonic and polyrhythmic potential of sequencers to draw severe, complex geometries in time and space. Approaching music practice as an integrative cognitive feedback between humans and technology lies at the core of her current sonic research, which focuses on the creative use of computation and complex sequencing techniques to trigger temporal and spatial hallucinations.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div>

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Luke Jerram<\/h2>\n