Catalogue > List by artist

"Around a loud meal, in bed where we were sharing cakes, the talk while you were showering, I was making food and mom just buyed a floral bouquet to put on the piano in the living room. You should've never fucked him, she did so right by sleeping with her. I'll call you tomorrow to talk about it, I have to call my grandmother first. Friendship, love, family, relationships, interactions, death, women, men, food... It all gathers, divides and it's porous."

Julia Palmieri Mattison was born in 1994, she grew up with her family in the suburbs of Paris. It was while moving from a single-gender boarding school to a shared flat that she became immersed in the community and the complexity of the relationships and shared lives. She joined the École de Recherche Graphique (Erg) in Brussels in 2015. The construction of her artistic practice involves various mediums : installation, painting, writing, photography and video. Often all inseparable. In her work she highlights intimacy, mistreated by the community and misled by social medias. Based on her personal history, her work frees itself from the individual narrative by inscribing itself in larger fields : family, society or time calling on a common memory. Julia photographs her loved ones in their daily lives, she captures moments of shared intimacy to capture the most sincere moment. Accompanied by the family archives filmed and offered by her father, she started mixing found pictures and rediscovered ones, going from one to the other, linking them by texts and stolen conversation recordings. It is by relentlessly seeking to extract what makes up an individual, questioning the limits imposed by love, friendship and family relationships that she directs her short film : Play me, I’m yours.

Social Sounds - An Algorithmic Sound Art Installation with Computer Generated Image Based on Theory of Social Behavior and Models of Coupled Nonlinear Oscillators In this installation, the image and sounds metaphors the nature of social interaction between individuals, and also, it explores the concept of entrainment as the basis for creating rhythm-based abstract music and imaging. Theory of social behavior and a mathematical model for coupled nonlinear oscillators are applied in custom software to control the image and the sound. The main inspiration for this work has been the synchronization process that takes place in a group of singing frogs: frogs tend to synchronize their singing to the surrounding frogs. Similarly, fireflies synchronize their illumination to the surrounding fireflies; crickets synchronize their chirping to each other, etc. Also, human social behavior appears to have many similarities to the way frogs synchronize their singing. People?s tendency to adopt their behavior to their surroundings emerges in many situations, and may lead to phenomenon such as the spreading of fashion trends, booms and crashes in the stock market, etc. In Social Sounds, 256 individual sounds are mapped to a unique position in the room. Each sound is controlled to be influenced by its neighboring sounds, adapting its behavior to its surroundings. The image is an illustration of the sounds? behavior, in which each square represents a corresponding sound. Thus, the sound and image in the installation are a metaphor for the way individuals conform to surrounding patterns. The sound and image get a continuously evolving expression as the sounds/squares constantly are influenced by their present surroundings. The social interaction is realized by a mathematical model of coupled nonlinear oscillators, a recent mathematical subgenre, describing the process of how an individual?s internal rhythm adjusts to an external rhythm, and thereby to some extent synchronizes its behavior to the surroundings. The composed sound is distributed in two-dimensional space using multi-channel output, and the evolving image is displayed as a video projection.

Peter Palvén, born in 1973, has a background in computer engineering. He took a Master of Science in Electrical Engineering in 1997, and has since then been working as a technical consultant in a range of countries and fields. His strong interest in music and art made him start post-graduate studies, and in 2004 he received a Master of Science in Art & Technology at Chalmers University / Innovative Design. He is currently living and working in Sweden.

Tomato Sauce Takeaway is a four minute short film, shot in Johannesburg, South Africa. The film documents the final evening routines of a few urban life forms in Johannesburg city. It does so in a way that is observational, introspective and personal given our own relations to space, routines and urban loneliness. The mundanity of these acts highlights an absurdity in the city life routines we take for granted. The people and the city itself become characters in a narrative of the last things we do before retreating to residential respite.

Terrace House is a Johannesburg based artist collaboration between Abi Meekel, Riley Pam-Grant and Claire Meekel that began in early 2017 with an immersive video and sound installation titled "The Blue Exhibition". They predominantly but not exclusively work in video, light and sound installations. Since the collaboration's inception, Terrace House has exhibited "The Blue Exhibition" twice in Johannesburg, with the first iteration at a trendsetting club and exhibition space called Glory, and then again at the Fak'ugesi African Innovation Festival. In January 2018, Terrace House exhibited "The Blue Exhibition" in a solo show at Gallery MOMO Cape Town. Their most recent video and sound installation titled "Monument" was also shown at Gallery MOMO Cape Town in July 2018 as part of the gallery's forth annual video exhibition, Transmissions, and again in Johannesburg where they were invited to show "Monument" in launching the 99 Juta design showrooms space situated in Braamfontein, which is the cultural melting pot of Johannesburg. The short film, Tomato Sauce Takeaway, was filmed in 2018 and has not been screened as of yet.

Historically, the boat exemplifies the adventure of discovery of the unknown and lost paradise. Nowadays citizens from those places that have been discovered, travel by boats in the hope for freedom in countries of the ?discoverers?. As a temporary Dutch citizen I developed a collaboration project with immigrants living in The Netherlands. From the shore of the Dutch sea, as a metaphor of the discoverer?s journey and the journey of those who were discovered, the immigrants performed a walk in a shape of a boat through the city of Amsterdam and back to the sea. The narrow streets and main squares of Amsterdam represent the historical stage of past and present.

Marco Pando *19-05-73, Lima/Peru Education 2005-2006 Rijksakademie van Beeldende Kunsten, Amsterdam 1998-2002 Facultad de Arte de la Universidad Católica, Lima 1995-1997 Estudios Generales Letras en la Universidad Católica, Lima 1995 Escuela Nacional de Bellas Artes, Lima Residencies 2005-2006 Rijksakademie vanbeeldende Kunsten, Amsterdam, NL 2008 European Postgraduate residency, Hoyerswerda, DE Grants/Awards 2010 Nederlands Fonds voor de Film, NL 2009 Amsterdams Fonds voor de Kunsten, NL Stimuleringssubsidie, Fonds BKVB, NL 2008 Basisstipendium, Fonds BKVB, NL 2007 Stimuleringssubsidie, Fonds BKVB, NL Solo shows 2012 Miracle, Gallery 80m2, Lima, PE 2011 Walks of Desire, Gallery 80m2, Lima, PE 2010 Filmmuseum, Amsterdam, NL 2008 The End of cinema, De Verschijning, Tilburg, NL 2007 ?Portable Cinema?, Arto teek, Den Haag, NL 2003 Cinema Familiar, Cinematógrafo de Barranco, PE Group Shows (Selection) 2012 Fondazione Cassa di Risparmio di Modena, Modena, IT 2011 Kröller-Müller Museum, Otterlo, NL  TIE ? The International Experimental Cinema Exposition festival, Milwaukee, USA ?Arte al paso?, Contemporary Collection of Museo de Arte de Lima - MALI in the Estaçao Pinacoteca Sao Paulo, BR Trans///fer, Atelier HSL Foundation, Amsterdam, NL IFFR, Rotterdam, NL 2010 ?Villians and heroes?, Arti et Amicitiae, Amsterdam, NL 2009 ?En Transito al Paraiso. Imaginarios de la migracion?, Galeria Vertice, Lima, PE 2008 ?Rijksakademie in the Bank gallery in Durban?, South Africa, ZA 2007-08 ?Impakt High Lights?, Tour cities-Europe, EU 2007 ?Drawing Typologies? en el Stedelijk Museum CS, Amsterdam, NL ?Under the skyline?, Galeria Vertice, Lima, PE Impakt festival, Utrecht, NL 2006 ?Open Ateliers?, Rijksakademie Van Beeldende Kunsten, Amsterdam, NL 2006 ?Rijksakademie at Parts? Parts, Xiamen, CN ?In order of Appearance?, Living Art Museum, Reykjavik, IS ?Open Ateliers?, Rijksakademie van Beeldende Kunsten, Amterdam, NL 2003 ?Entre Eros y Tanatos?, Centro Cultural de España, Lima, PE Bibliography 2011 Ingrid Commandeur: ?Nature as a form of Recycling?, Windflower, Perceptions of Nature, Otterlo, NL 2010 Pierre Emile Vandoorne: El proyeccionista Itinerante, Lima, PE http://visionesmetaforicas.blogspot.com/2010/08/el-proyeccionista-itinerante.html Luis Lama: ?24 imagenes por segundo?, Caretas, PE 2009 Elida Roman: ?Autoexilio?, Lima (22.03.09), PE 2008 Mirko Kolodziej: ?Der Dia-Projektor lässt Erinnerungen an den WK X auferstehen?, Hoyerswerdaer Tageblatt (25.08.08), DE 2007 Sacha Bronwasser: ?Film maken met elastiek en plantenspuit?, De Volkskrant (16.03.07), NL Saskia van kampen: ?Drawing Typologies?, Stedelijk Museum, NL Sergio Llerena Caballero: ?Paseo por el borde?, El Comercio (25.02.07), Lima, PE 2006 Sandra Smallenburg: ?TI-buizen, voor 100 euro per stuck?, NRC Handelsblad (24.11.06), NL Kees Keijer: ?Geen grote gebaren en statements bij Open Ateliers?, Het Parool (21.11.06), NL 2005 Miguel Zegarra: ?La memoria Portátil?, Prótesis, PE Lecture/Talks 2011 Kröller-Müller Museum, Otterlo, NL Museo de Arte de Lima, Lima, PE 2010 11.Festival internacional de video/arte/electrónica, Lima, PE 2007 Espacio ?La culpable?, Lima, PE www.laculpable.org

"If You Tell Me When Your Birthday Is" is a 'lost in translation' machinima mini-drama in 3 fragments. It combines 3D scans of real objects and people, CGI worldbuilding, avataring and motion capture elements with scripted spoken dialogue based on current qualities of textual and linguistic communication with and between artificial intelligences. Using real-time computer graphics engines, the film is entirely 'shot' in a virtually created world. The three episodes thus seem like fragments of an absurd computer game, but the conflict between the analogue physical and the virtual digital world, between man and machine remains visibly inscribed here in the glitches, the errors and flaws that arise at the 'cracks' of the interfaces between the differet realms. The absurd, comical, or even uncanny inadequacies of the digital techniques used for the film emphasize these very fractures, instead of striving for complete cleanup and perfectly consumable illusionism. The dialogue is based on the current state of developments of communication with self-learning algorithms, simple, consumer-oriented so-called artificial intelligences, such as chatbots and virtual assistants and reflects on the disturbing peculiarities and differences, the shortcomings, but also the similarities of this kind of communication with that from human to human.

For several years now, Stefan Panhans and Andrea Winkler have increasingly been working together in the sense of Expanded Cinema on filmic projects, sculptural/performative installations and exhibitions. In their works they mainly use cinematic, performative and installative means including text to deal with the increasing hypermediatization and digitalization and their effects on our society, our behavior, our psyche and body, as well as the phenomenon of self-optimization in the form of a practically artistic research. In addition, their works negotiate moments of increasing social inequality, everyday racism, celebrity cult, and gender stereotypes. Their work has been shown in numerous exhibitions and festivals, and many times awarded, e.g. Edith Russ Haus Media Art Award 2017, honorable mention videonale 17, 2019, the innogy visit award for their anti-musical »Defender«, 2019, and the research fellowship at the academy for theater and digitality, Dortmund, 2020. Recent exhibitions include the opening performance combining video with installation and staccato reading, comissioned by transmediale, HKW–Haus der Kulturen der Welt, Berlin, 2019; the expanded cinema installation »Freeroam A Rebours Mod.I.1 – installation version« at Tabakalera–International Centre for Contemporary Culture, 2020; Upcoming is their solo show at HMKV–HartWare MedienKunstverein Dortmund early summer 2021

I deliver everything! raps the 'delivery-anti-heroine' and 'delivers' the sound of a rebellious exhaustion in a world increasingly defined by algorithms and AI where everything seems to become a commodity and we all breathless suppliers

Stefan Panhans & Andrea Winkler are artists and filmmakers collaborating on films and video installations that are shown internationally at film and media festivals and in numerous solo and group exhibitions.

Vanitas is a film animation with a very experimental character.It is an effort to make a contadiction between the style of the 2D, traditional (black and white) animation and a story, characterised by a very shocking and unusual for such kind of work concept. The explicit and detailed depiction of a very shocking action (as suicide is) with the use of cartoon, funny chatacters creates a very weird and hard final result that shocks the audience. Finally the project underlines the fact that the promising, posthumusly eternal life does not necessarily exist and the religious theories where support that concept are as fake as cartoons are.

STUDIES 1996-2002 Athens School of Fine Arts- BA Fine Art(Painting) 2004-2005 University of West England- MA in Animation WORK EXPERIENCE 1996-2000 Life drawing teaching at N.Stefos foundation art school (17 Kallifrona Street, 11256 Athens) 1997-2002 Life drawing teaching at D.Giotakis foundation art school (8 S.Merkouri Street, 11632 Athens)

The wall and what it symbolized stood out as a negative horizon throughout my entire life, which began in 1956 in Berlin, five years before the construction of the wall. Only one week after the wall came down, its disappearance was already foreseeable. I set out with a camera one last time to film continuously along the wall on November 17th 1989. The two-and-a-half hour route begins at the river Spree in Kreuzberg, follows the painted wall along deserted streets to Checkpoint Charlie, around Potsdamer Platz up to the Brandenburg Gate, ending after seven kilometers behind a desolate Reichstag with a view across the Spree, where the new government buildings now stand.

Filmmaker, artist, university professor. Born 1956 in Berlin, studied fine art / experimental film at the University of Fine Arts Hamburg. She specialized early on the media of film/video/computer, though was interested less in their technological possibilities – although she mastered these with virtuosity – than in their artistic potential to develop formulations for interrogating society politically and ethically. Performance and installation play a major role in her work (including in her videos and films), both as actual performances and as interactive experimental arrangements. Screenings, exhibitions, publications and talks at home and abroad. Professor for Film/Video at the Academy of Art and Design Offenbach.

Songwriter Dion McGregor became famous in the 1960s for narrating his dreams in his sleep. His flatmate recorded him doing so. In their new film somniloquies, Lucien Castaing-Taylor and Verena Paravel overcome the boundaries between inner dreamscapes and human bodies. At the start, flowing forms can be seen and a gentle, undefinable sound made out in the background. McGregor's voice appears and makes an invitation: “I have expected you, come-on in, I said I would grant an interview”. The more we listen to him and enter into his dreamworld, the clearer the contours of the sleeping bodies become, before they seem to dissipate once again. The dreaming man speaks with people who are sawing open his body, removing his organs and stitching him back up. As we find out how painful he finds the stitches, we ask ourselves for how long we’ll want to follow the camera, which sometimes seems to caress the bodies tenderly, but at other times seeks to pierce them almost brutally, like an x-ray. Just in time, we hear his voice: "Let’s go to future land (…) it’s shining near the corner". In this case, sleeping in the cinema means pushing forward to its very limits.

Véréna Paravel born in 1971 in Neuchâtel, Switzerland, and Lucien Castaing-Taylor, born in 1966, in Liverpool, are both artists and anthropologists who work in film, video and photography. They work and live in US. Véréna Paravel studied Anthropology at the École Nationale Supérieure des Mines in Paris and at the University of Toulouse. Lucien Castaing-Taylor studied Philosophy, Theology, and Anthropology, and is a professor of Visual Arts and Anthropology at Harvard University. In the process of reinventing the relationship between their two fields of inquiry, anthropology and cinema, they have established in 2008 an experimental laboratory and school at Harvard University, the Sensory Ethnography Lab. The films coming out of the lab take a decentered approach to the visual practice of the moving image. Their camera does not focus primarily on humans as privileged actors in the world but rather on the fabric of affective relations among the natural elements, animals, technology, and our physical lifeworlds. Their films have received several awards, namely the Special Orizzonti Jury Prize at the Venice International Film Festival, the FIPRESCI (International Film Critics) Award, a Creative Capital Award, and the Los Angeles Film Critics’ Circle Douglas Edwards Independent and Experimental Film Award. Thirteen of their moving image works were also included in the 2014 Whitney Museum Biennial.

Pyong-taek, a city in South Korea currently hosts 2 large U.S. military bases. The plan for base expansion is under way which would make the existing bases the largest U.S. military installations in East Asia by 2007. Land of the farmers in Pyong-taek was stolen consecutively by the Japanese and the United States military in the past. Farmers who were kicked out from their land still live in extreme living conditions in the margins of the U.S. military bases, however, they are now organized to fight the upcoming base expansion. Conflicts among the residents arise for the merchants who do business for the base welcome the base expansion. Farmers in Pyong-taek continue their fight against the U.S. military to keep their hometown. The film questions ideas of history and memory embedded in landscapes and testimonies in a country where remnants of cold war ideological battles still dominate political discourse. Through personal perspective of the filmmaker, the film attempts to portray towns near the U.S. military bases and the lives of the people who live there. In 2005, when the conflict in Iraq still continues, perhaps the presence of the U.S. military and the way its policies get executed is not only the symptom of Pyong-taek, South Korea.

Kelvin Kyung Kun Park was born in South Korea on 1978 and has grown up all around the world since childhood. He finished MFA degree in Film & Video from California Institute of the Arts, in the United States. He is a soldier in an artillary regiment, fulfilling mandatory military service in the Republic of Korea`s army. After the Army, he wishes to work in various mediums to produce meaningful work.

A love story comes to an end when a woman sets out in search of a shamanic god. Director Kelvin Kyung Kun Park takes the trauma of a spurned lover as the starting point for his own search for a god. He makes several finds across various narrative strands – among whales in the sea, in a shipyard, at a steelworks. All of them are giants of their respective times: vast, sublime, godlike. Park’s imagery also evokes the divine: embers and steel, sparks and fire; people dwarved by huge cogwheels, robbed of their individuality. A brave new world in which workers produce modern industrial goods, even as industry has long since been producing the modern worker. Work is a god we have submitted to. Yet every existence is temporary and fleeting, which applies in equal measure to both relationships and gods. CHEOL-AE-KUM carries a unique signature. Park weaves together his different narrative strands into a complex documentary work of shamans and propellers, whales and industrial halls. His editing suite comes to resemble a piece of welding equipment, the soundtrack a commanding symphony of industrial noise, whale song, Gustav Mahler and shamanic songs.

Born in 1978 in Seoul, South Korea. He earned his BA in design and media arts from the University of California, Los Angeles and holds an MFA in film and video from the California Institute of the Arts. He is currently based in Seoul, working in the medium of film and video, photography and installations and as a lecturer.

One man is on his way home where he could not feel at home. He dreams of fleeing away but in the same time tries to settle down by building a room within the house with laser beams. Looking into particles floating in the air which are not visible under normal light conditions he finds that the natural movements of air seems to resonate with his emotions.

Jean Taek Park is an architect. Born in Seoul 1975, he grew up in the time of rapid economic growth and mass construction. Places where he lived in had completely transformed. Naturally he became interested in architecture not as an iconic object nor a perfect shelter but rather as a time-space which one could emotionally attach to it. He uses film to discover a new dimension of time-space.

Beginning from the research of the 11th-century Iraqi optic physicist, Discourse on Twin Mirrors (2020) reads the moments when light and immaterial images tactically intervene in the physical world. The story of gaze and darkness connects the ambivalent desires for observation and destruction inherent in the history of camera obscura, mirage, and 19th century binocular photography. The visuality found here is reconnected with Medina Wasl, an Iraqi military base recreated in California Mojave Desert by the 21st century Hollywood special effects industry. Doppelgangers are generated here where cinematic attractions become part of an actual physical war. Just as in the old tales that anyone who faces their own doppelganger must meet their death, this piece tells a story of mirrors that can never meet, never reflect each other.

Minha Park’s films and audio-visual installations study how the media, image/sound archives that surround us intervene in our sensory world and shape the reality. Park studied art and film in Los Angeles and continues her artistic career in Seoul. Currently living and working in Berlin, she had a solo show Shadow Planet (2023) at Künstlerhaus Bethanien and participated in the Archive Books’ screening & talk event at Savvy Contemporary. Her works have been presented in exhibitions and screenings at Cité Internationale des Arts, Lux Moving Image, 27th Images Festival, Doosan Gallery, Luckman Gallery, National Museum of Modern & Contemporary Art Seoul, Nam June Paik Art Center, Seoul Museum of Art, Leeum Samsung Museum, and 72nd Edinburgh International Film Festival, etc. Park’s films are in collections including the MoCA Busan, Korean Film Archive, Arko Art Center, and Vtape Toronto.

In this staged writers meeting members of the groups share their work; poetry and prose. The discussions unfold around the reception of their works demonstrating codes of criticism and politeness, selfhood and aspiration. The group replicates an autonomous gathering, each member having their own agenda for taking part. The intimacy of the camera, close-up to the characters, creates a feeling of being in the room. The guest, the viewer is invited to understand the sentiment of the members. This video developed from research into community writing groups associated with the Federation of Worker Writers and Community Publishers. The Federation was established in the 1970’s and created a network between groups UK wide, also making associations with groups abroad.

Lucy Parker live in London. Her film and video works take the starting point of contemporary and historic pedagogic situations to explore how ideas are disseminated between individuals. She is interested in ways collaboration can impact on the production and distribution of works. Her films have been shown at film festivals in the UK and Internationally, she has a Masters in Fine Art from Goldsmiths University. Lucy lectures in filmmkaing at Kingston University.

Stationary Music takes its name from the first movement of Stefan Wolpe`s `Sonata 1` composed in 1925. The sonata is introduced and performed by his daughter, pianist Katharina Wolpe. Stationary Music: music that doesn`t develop/music that stands still. after the fire what Shall we do? ?firsT onE step;aFterthAt,aNother.? We?re alOne the music is difficuLt to Play. wE must work at it. `In Memoriam S. W.`, acrostic by John Cage

Born in Nottingham, 1957, Jayne PARKER has been living and working in London since 1980. Her interest in film-making began whilst studying sculpture at Canterbury College of Art and continued at the Slade School of Fine Art in the Experimental Media Department. She was a visiting lecturer in Fine Art at Goldsmiths? College from 1984 until 1998 and has taught at the Slade since 1989. Her work has been widely shown, both nationally and internationally, in major art institutions, on television and in film and music festivals. In 1997 her film Crystal Aquarium was awarded the Grand Prize of the City of Oberhausen, at the Oberhausen Short Film Festival; it is also in the Arts Council Collection. In 2003 she was the recipient of the 1871 Fellowship, researching the relationship between music and film, hosted by the Ruskin School of Drawing, Oxford and the San Francisco Art Institute. Much of her recent work features the performance of music.

Various neural networks originally conceived to enhance image detail and resolution are iteratively applied to the digitalization of The Arrival of a Train at the Station (Lumière Brothers, 1896). The relationship between reality and realism is affected when these devices generate forms and textures tending to an existing figuration as they seek to identify and reconstitute an original image that in each iteration becomes even more deferred and unrecoverable.

Image and Sound Design (UBA) student interested in the intersection between art, design and technology. He develops his work by investigating the ideological construction behind the images that circulate in the contemporary media landscape, resorting to various media -from video to artificial intelligence, through virtual reality and video games- to propose new forms of perception and participation with screens.

When the Lumière brothers invented the cinematograph in 1985, they quickly understood that the spectator's curiosity was aroused by the mere reflection of reality: people were flabbergasted at watching situations that they usually took for granted, such as a train arriving at a station or workers leaving a factory. In this piece we scanned objects and environments which make up our conception of reality and placed them in a virtual space by using photogrammetry, a 3D reconstruction technique. We allow the users to experience a twist on the conception of time and space they are used to by altering the dimensions of the scans, placing them on new positions, and embracing the errors that occur when capturing reality. The result is an absurdly atypical territory which can be navigated via teleportation as if it were a new planet. The spectator is physically circumscribed to a narrow perimeter but virtually the limits become fuzzy and elusive, every direction is equivalent and their individual and uniqueexploration will force them to reflect on the nature of virtual reality.

Maximiliano Parlagreco is an audiovisual design student (FADU, UBA) who’s interested in the impact of technology on society and the fuzzy line which divides reality from virtuality. He has employed photography, video, creative coding and digital animations in an experimental way to create navigable universes which are slightly different from the one we live in. Lately he’s ventured both in the field of virtual and augmented reality, as well as that of artificial intelligence, exploring the human-machine symbiosis that occurs in these devices. Micaela Pinalli is an audiovisual design student (FADU, UBA) who has worked in analogue and digital found footage creation with a great interest in montage and the way accidental interactions between shots creates a meaning. She currently develops projects ranging from interactive and graphic design to photography and animation. Since June 2019 she's been running the independent publisher Cuarto Ciego, where she creates and sells artistic graphic pieces.

Various neural networks originally conceived to enhance image detail and resolution are iteratively applied to the digitalization of The Arrival of a Train at the Station (Lumière Brothers, 1896). The relationship between reality and realism is affected when these devices generate forms and textures tending to an existing figuration as they seek to identify and reconstitute an original image that in each iteration becomes even more deferred and unrecoverable.

Image and Sound Design (UBA) student interested in the intersection between art, design and technology. He develops his work by investigating the ideological construction behind the images that circulate in the contemporary media landscape, resorting to various media -from video to artificial intelligence, through virtual reality and video games- to propose new forms of perception and participation with screens.

When the Lumière brothers invented the cinematograph in 1985, they quickly understood that the spectator's curiosity was aroused by the mere reflection of reality: people were flabbergasted at watching situations that they usually took for granted, such as a train arriving at a station or workers leaving a factory. In this piece we scanned objects and environments which make up our conception of reality and placed them in a virtual space by using photogrammetry, a 3D reconstruction technique. We allow the users to experience a twist on the conception of time and space they are used to by altering the dimensions of the scans, placing them on new positions, and embracing the errors that occur when capturing reality. The result is an absurdly atypical territory which can be navigated via teleportation as if it were a new planet. The spectator is physically circumscribed to a narrow perimeter but virtually the limits become fuzzy and elusive, every direction is equivalent and their individual and uniqueexploration will force them to reflect on the nature of virtual reality.

Maximiliano Parlagreco is an audiovisual design student (FADU, UBA) who’s interested in the impact of technology on society and the fuzzy line which divides reality from virtuality. He has employed photography, video, creative coding and digital animations in an experimental way to create navigable universes which are slightly different from the one we live in. Lately he’s ventured both in the field of virtual and augmented reality, as well as that of artificial intelligence, exploring the human-machine symbiosis that occurs in these devices. Micaela Pinalli is an audiovisual design student (FADU, UBA) who has worked in analogue and digital found footage creation with a great interest in montage and the way accidental interactions between shots creates a meaning. She currently develops projects ranging from interactive and graphic design to photography and animation. Since June 2019 she's been running the independent publisher Cuarto Ciego, where she creates and sells artistic graphic pieces.

Mu is a study of the manipulation of the sound produced by an empty tape recorder. http://www.artsonique.com/catalogue/cparodi.html

The Italian Claudio Parodi has studied classical piano. For a few years he has been playing electronic instruments he has built or modified himself and, more recently, non-western reed-instruments. He collaborates with numerous musicians, dancers, poets, actors, painters and video-makers.