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Marina Alexeeva
Looking at you
video mapping, 2026
Outdoor
15.10.2026, 20:00
Engineer: Aleksandr Bochkov
If you keep looking at the Cascade, eventually it looks back.
Marina Alexeeva has worked with small-scale installations since 1991. Working with recognizable objects, architectural details, and everyday settings, Alexeeva turns standardization into a field for play and transformation. In her works, ordinary things remain in seemingly familiar places yet begin to behave differently, escaping habitual patterns of use and perception. Rather than reproducing reality, Alexeeva explores its capacity for transformation, mimicry, and unexpected shifts of meaning. Her installations connect cultural memory with contemporary everyday life, revealing how even the most conventional surroundings can become unstable, theatrical, and newly imagined. At the core of her method is a distinctive way of looking at ordinary things and discovering within them new images and possibilities.
![Marina Alexeeva, Looking at you, video mapping [03:00, loop], 2026](https://static.wixstatic.com/media/59c8b9_2eebea8bf7944777b166ec575573cba6~mv2.jpg/v1/fill/w_980,h_551,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/59c8b9_2eebea8bf7944777b166ec575573cba6~mv2.jpg)
AES+F
Digital Safari: Fables of the Jungle
Special Events Auditorium
16.10.2026, 17:00
In Digital Safari: Fables of the Jungle, AES+F draws on a long visual tradition of portraying humans with animal heads, from ancient Egyptian deities to European political caricature. Six animal-human hybrids—Jaguar, Hyena, Vulture, Tiger, Wolf, and Pallas’s Cat—become avatars of contemporary social-media behavior. Dressed in couture-like costumes and ritual masks, they move through a digitally saturated rainforest, watching one another while fixing their gaze on the viewer. At moments the balance of power shifts, and predators become prey. Fleeting movements also reveal the human faces beneath the animal façade. Mozart's Lacrimosa from the Requiem, reimagined by Vladimir Rannev in the fragile register of a mechanical music box, turns sacred mourning into uncanny repetition. The rainforest functions as both stage and allegory: dazzling and dangerous, these hybrid figures confront ecological anxiety, political volatility, and the seductions of digital spectacle.
AES+F was founded in 1987 by Tatiana Arzamasova, Lev Evzovich, and Evgeny Svyatsky (AES). In 1995, photographer Vladimir Fridkes joined the group, forming AES+F. Working across photography, video, CGI, sculpture, and installation, the collective is recognized for large-scale digitally constructed works examining myth, power, and contemporary visual culture. AES+F participated twice in the Venice Biennale: representing Russia at the 52nd Biennale in 2007, and presenting paintings and sculptures from the Trilogy, selected by the curator, at the Venice Pavilion in 2013. The collective has exhibited internationally at major museums and biennials.
/ Instagram: @aesplusf
Video Screening Program:
What’s in a Story?
Сurated by Barbara London
Special Events Auditorium
17.10.2026, 15:00
I emerged as a young curator based in a bankrupt Manhattan during the pre-internet days of counterculture activity. Since that moment in the early 1970s, a lot has changed but a lot hasn’t. The world moves at a faster pace, now as multifarious news flashes across the screens of handheld electronic gadgets at nearly the same moment that events unfold globally. Onscreen a plethora of alluring voices calls out and enticingly grabs users’ attention for a second. Given the current surfeit of information readily at hand, who stops and considers the source of a particular news bite, how the information arrived, or even what constitutes truth? In fact, what makes someone stop and pause for a moment is the idiosyncratic statement that intrinsically asks, what is reliable knowledge? This necessitates new forms of thinking in a communication society, where narrative seems to matter more than facts.
Today what bears weight is artwork with both a sense of immediacy and a storyline.
What’s in a Story? features eleven short media artworks produced by artists from different generations and different geographies, all made with contemporary tools—from camera to computer software. Each artist questions underlying biases, and explores the indeterminate distance between lived experience and ensuing narrative. And for each, home is a choice, something mutable for a range of personal reasons. It is the creator’s imagination that brings identity and agency together to encourage change. In different ways, the participating artists engage directly with the viewer and hold our attention with a sense of urgency discovered in their scenario. The short works are arranged thematically.
Sky Hopinka
Mnemonics of Shape and Reason
2021. Video, 4:13 min.
Camera, sound, edit: Sky Hopinka
Text: Flesh and Ghost.
Music: Room Thirteen.
Sky Hopinka explores memory and spirituality through a cinematic blend of landscapes, poetic text, and audio. His video is a powerful meditation on colonial devastation, selfhood, and indigeneity. The work traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.
Eva Papamargariti
Mutants, Crawlers, and Shapeshifters
2025. Video, 9 min.
Eva Papamargariti has a practice that spans moving image, printed matter, and sculptural installation. Her work often unfolds within suspended moments where the grotesque, fictional, and real converge, giving rise to hybrid and mutable worlds.
Using video, text, sound, motion capture, AR, CG animation, 3D scanning, character-creation software, sculpture, and textiles, Papamargariti’s projects investigate becoming, liminality, techno-romance, and the symbiotic relationships between human and non-human agents. These explorations trace the entanglements and kinships that emerge from continuous interaction with technological and machinic systems.
Tamar Zohara Ettun
IVF Document
2025. Video, 9:30 min.
Tamar Zohara Ettun works with sculpture, video, and performance art to invert the semiotics of our existing political, social, religious, and personal rituals. This video is a poetic reimagining of an ancient healing ritual, addressing the somatic, emotional, and physical realities of In Vitro Fertilization. The work incorporates animations made from printed genetic testing results and medical bills, aiming to create a visual language for an experience our culture struggles to articulate.
Andro Eradze
Flowering and Fading
2024. Video, 4K, 16:22 min.
Courtesy the artist, Lo schermo Dell’arte, Fondazione in Between Art Film, and SpazioA Pistoia.
Andro Eradze is an artist and filmmaker based in Tbilisi. His practice explores the qualitative nature of images, both still and moving, and their ability to evoke states of presence, memory, and spectrality. Eradze studied at the Shota Rustaveli Theatre and Film University and later completed the MFA program at the Center of Contemporary Art Tbilisi (CCA-T). Working primarily in Georgia, he constructs narratives that emerge on the fringes of human habitation.
Jane Bustin
From a Mezzanine Window
2019. Video, 1 min.
Jane Bustin’s practice spans three decades of work in painting and ceramic, as well as installation, text, film and performance. Her paintings—in such materials as copper, aluminum, wood, ceramic, acrylic, textile—are made as sequential, monochrome abstract works. They explore the metaphysical potential for painting to 'make visual' philosophical concepts found primarily in modernist literature, feminism, theology, as well as music and dance. Bustin uses the aesthetic disciplines found in formal abstraction to both push and pull the viewer’s attention. Her film From a Mezzanine Window acts like a moving painting, a still life of both inner and outer worlds, a reflected history, nostalgia for times past and a foreboding sense for the future.
Maitha Abdalla
If… To Be Born
2024. Video, 8:29 min.
Abdalla harnesses the performative and constructed character to tackle themes that range from folklore and mythology to gender, social conditioning and psychology. For the artist, the theatre is a space where she might confront and destabilize that which she has encountered in her social world, her imaginations, memories and fantasies at an objective distance. The artist's fantastical scenes shift between abstraction and representation and are charged with drama and melancholy. Abdalla's art forms an ongoing investigation into the self.
Shi Zheng
Tearing in Time #11
2026. Video, 8 min.
Shi Zhang's artistic creations range from audio-visual installations, digital music and live performance, demonstrating the artist's ongoing interest in simulation and "machine vision". Shi further embodies his reflection on the philosophy of technology, digital voyage and "latent time" by extending the audience's visual and audio experience.
Wendi Yan
Visions of Phosphine Earth
2025. Video, 13 min
Wendi Yan is an artist, writer and technologist. She uses CGI software to simulate alternative scientific progress through videos and games, and writes about the history and future of scientific discovery. She constructs speculative epistemologies through research-based worldbuilding, using CGI, game engines and documentary practices to interrogate the boundaries of scientific imagination. Her work—spanning films, interactive media, and fictional archival installations—examines the embodied challenges of facing alien epistemic systems across time.
Carla Gannis
Cathexis Core
2025. Video, 2 min.
In this video, Carla Gannis worked with multiple AI systems to produce a moving-image work seeded from physical assemblages she developed over two years. She layered digital montage with wig hair, costume jewelry, silk flowers, and other remnants of artificial adornment, dissolving them into hallucinatory expressions of myth, femininity, and transformation. Fire and ice, the human form, and a national flag converge to examine how internal perceptions persist amid external change. Gannis developed the soundscape with ChatGPT and Beatoven.ai, intensifying tensions between permanence and metamorphosis within a technologically reshaped world.
Video Screening Program:
Generation and Extinction: The State of Japanese Moving Image Art Today
Сurated by Sung Nam Han
Special Events Auditorium
18.10.2026, 12:00
Duration: 60
As light from screens and sounds from speakers flicker into being and fade before our eyes, we weave them together in our minds like threads, recognizing and processing what we see as moving images.
While distinct in approach and theme, these six short video works simultaneously delineate the “now” and the “future” of a world labeled the “Anthropocene” as it carries on, proposing "something" to the viewer. Life and death within living beings constitute the only absolute truth, and moving images structurally embody it.
Perhaps video art exists alongside humanity as a symbolic artifact, together with the still unsettled definition of the word “Anthropocene,” serving as a form of intersubjective knowledge. Verifying the premises of this shared understanding, video artists embed possibilities for an “alternate” world into their work, presenting us with their final scenes.
ABITA@KAC, a performance record by nakice in Kyoto, traces a path where objects and bodies blend equally within the space, as a harmonious chaos moves toward a de-chaotized realm born from chaos itself.
Shota SHIMURA's Mobile Literature: London Calling is a series belonging to "Mobile Literature" — a practice where texts written about specific cities are projected onto the local ground while cycling. It transforms urban graffiti into a more fleeting, ephemeral occurrence, establishing a physical performance as a video artwork.
(Virtual) Clip Channel is a project by animation artist and scriptwriter Numata, with clips of (Virtual) VTubers uploaded onto video sharing sites.These clips paint both gentle and powerful pictures of yearning, imagination and humour towards worlds that may yet exist, and worlds that may have once been. This animated series seeks a new era with new fiction and ways of storytelling.
Kazuki NAGATA's "Bed-town AI" explores the physical infrastructure supporting AI and the changing suburban landscape, taking the planned construction of a large-scale data center in Hino City, Tokyo—where the artist grew up—as its starting point. Intertwining the artist's own labor experience at a logistics warehouse, 3DCG simulations of data centers, and live-action footage, it addresses us as an ongoing, evolving video artwork presenting a new suburban scene.
Sung Nam HAN's "La Joconde and Sunflowers in the sea" forms part of a grand social experiment using the ocean as its venue, an endeavor HAN has pursued since the COVID-19 pandemic. It captures how artworks, existing as hybrid entities on the threshold between the artificial and the natural, adapt and evolve over time.
Keiji AIUCHI's "Fluxes" is a one-of-a-kind work that visually expresses an eerie, squirming presence through simple techniques. It has won awards and been screened at numerous film festivals.
(Virtual) Clip Channel
Cherry Blossom as Save Point
2022, 9 min 32 sec
VTuber (Streamer) Izumi Tsurumaki reports to her fans via streaming that she has moved back to her parents' house. Looking up at the cherry blossoms blooming in her hometown, she says she suddenly felt that the cherry blossoms is like a save point.
Everyone has a moment when they think back to a time when they might have followed a different path.
On the other side of the world, cut off forever, I who should still be alive today.
(Virtual) Clip Channel (沼田友) born in 1988. Graduated from Tama Art University, Department of Information Design, Information Art Course (now the Media Arts Course). Began creating short 3DCG animations while at university, releasing over 20 short films in about four years, receiving 18 awards, including a Grand Prix, and holding over 50 screenings across Japan.
Keiji Aiuchi
Fluxes
2023, 10 min 23 sec
The world is always changing and never stands still for a moment. A flock of crows flutters through the forest, disturbing the city air. In old group photos taken between 122 and 54 years ago, there are people waiting nervously in front of the camera for the shutter to be released. The gaze that stares into the camera lens transforms into a gaze that stares back at us, piercing us. A moment of time from the past that remains frozen. The frozen time that suddenly begins to buzz intersects with the camera's gaze, trying to find something there. As the frozen time begins to vibrate as countless gazes intersect, the memories of others and the time that has passed come to life.
Selected Screenings & Awards:
New York Indie ShortFest: Award Winner/Best Experimental film 2026
Washington Film Awards: Award Winner/Best Experimental film 2024
Hong Kong Indie Film Festival: Award Winner/Best Experimental film 2024
Philadelphia International Filmmakers Awards: Award Winner/Best Experimental film 2023
Los Angels Short Film Awards: Honorable Mention 2026
Keiji Aiuchi s an interdisciplinary artist who has created and presented works across a range of fields. His practice includes video art, experimental and art animation, drawing, painting, installation, objects, and stage design, as well as writing and curating exhibitions and screening programs.
Sung Nam Han
La Joconde and Sunflowers in the sea
2026, 5 min 15 sec
This video work assumes that we, living in the present, are the humans of the future. By treating art installations submerged underwater as "relics," the project frames our contemporary era as a past phenomenon, attempting to critically observe our current situation through an archaeological lens.
Following her acclaimed 2021 5-channel video installation Diver — which tracked the labor of professional divers — Sung Nam Han conceived of a "museum that can only be viewed underwater" in response to the COVID-19 pandemic. In 2022, she realized Japan’s first Japan Undersea Art Museum (JUAM) along the Sanriku Coast in Ofunato, Iwate Prefecture. At the venue in Ryori Fishing Port, a sculpture mimicking sea squirts (hoya) was installed within an actual sea squirt farm. Over time, the sculpture became coated with marine organisms, evolving into a hybrid entity existing in the liminal space between the artificial and the natural.
The project’s second iteration took place from June to October 2024, followed by a third from August to October 2025 at Shikinejima in Niijima Village, Tokyo. As the world’s first underwater museum specifically designed for the exhibition of contemporary art, this project presents a new perspective on modern society by "tracing" the activities of human civilization onto the seafloor. Furthermore, through the act of viewing art underwater, the work explores the expansion of the spectatorial experience, bodily functions, imagination, and creativity, while seeking new possibilities for underwater activities.
Sung Nam Han is a filmmaker and artist whose practice spans film, installation, and performance. She is the founder and director of the Interdisciplinary Art Festival Tokyo, Art in Country of Tokyo, and Interdisciplinary Art Project Kobe, as well as the inaugural director of the Japan Undersea Art Museum. Her body of work encompasses single-channel films, video installations employing blue-screen keying, AR-based photography and video, immersive performances, and installations exploring the theme of “blue.” Drawing on her original concept of “Superlinear,” she creates hybrid performances that weave together film, theater, and dance. She has also contributed to the international art and film community as a juror and programmer for festivals in South Korea and France. \ Instagram: @sungnamhan_jonart.net_
Kazuki Nagata
"Bed-town AI”
2026, 9 min 53 sec
This work takes as its starting point the construction of a large-scale data center planned for Hino, Tokyo, where the artist grew up, and examines both the material infrastructure that supports AI and the transformation of suburban landscapes.
In Japan, the term "Bed-town" refers to a commuter suburb that developed primarily as a place for people working in central Tokyo and other urban centers to return home and sleep. Today, these suburban areas are increasingly becoming sites for large-scale facilities such as logistics warehouses and data centers that support contemporary information society.
The work interweaves the artist’s own experiences of suburban life and working in a logistics warehouse with a 3D simulation of the planned data center created by local residents, as well as live-action footage filmed from a car approaching the construction site. Through these different images, it brings into view the physical foundations that exist behind the seemingly immaterial world of information — land, architecture, labor, and energy — and considers what a new suburban landscape might look like.
The narration is performed by an AI-generated voice trained on the artist’s own voice. Through it, the work reflects on personal memory and on a suburb being transformed by information technology.
Kazuki Nagata is an artist based in Tokyo. Working in video and installation, he explores suburban landscapes and contemporary infrastructure through subjects such as AI, data centers, and chain restaurants. Moving between research and personal experience, he examines how information technologies and consumer culture reshape everyday environments.
Shota Shimura
Mobile Literature: London Calling
2025, 8 min 18 sec
Mobile Literature is a series that seeks to fuse cycling-based movement and projection technology with literary expression. Using a bicycle rebuilt into a projection device, the artist cycles through each city, projecting onto the ground texts written for that place.
This work, Mobile Literature: London Calling, edits into moving image a text written on the theme of London, projecting it onto the ground while cycling by night along the city's cycle superhighways.
In Mobile Literature, writing is the act of inscribing into text the sensation of motion, the rhythm of breath and movement, obtained through the speed of the bicycle — a human scale faster than walking yet slower than the automobile. The characters projected onto the ground respond to physical sensations such as the force of pedaling, the vibration of the road surface, and changes in gradient; shifting and shading according to speed and the texture of the road, so that the same passage emerges each time bearing a singular, unrepeatable expression.
Shota Shimura is a media artist with a master’s degree from the Institute of Advanced Media Arts and Sciences (IAMAS). His practice explores narratives of place, experiences of movement, and the media environments of recording and communication. Using mobile technologies such as iPhones and bicycles, he pursues a new form of media expression grounded in literary imagination.
nakice
ABITA@KAC
2026, 7 min
Dots emerge along the contours of the core forms.
They multiply like bubbles.
They connect with dots emerging from another core.
Faint outlines begin to appear.
nakice: Artist Yohei Fujishiro and choreographer Miwa Okuno draw on their backgrounds in stage work to construct spaces using materials such as sound and the body. With a little manipulation, we observe what shapes are like before they are named and after their names are removed, and how they change through their arrangement.
Video Screening Program:
Reimagine the Landscape
Сurated by Victoria Ilyushkina
Special Events Auditorium
31.10.2026, 19:00
Reimagine the Landscape approaches landscape not as a fixed backdrop, but as an active and constantly changing field shaped by natural processes, human memory, and computational systems. Geological time, digital technologies, personal experience, and artificial perception intersect across the works in the program. Here, the digital is neither separate from nature nor simply a tool for representing it. It becomes another way of sensing, recording, and transforming the environment—revealing its fragility, preserving traces of what is disappearing, and proposing new ways of understanding our place within it.
Anabela Costa
Wind
2026, 4 min 36 sec
In our era of environmental change, Anabela Costa turns to a phenomenon that is felt before it is seen: wind. Wind is the movement of air, felt on the face as a caress or, when strong, as an act of aggression. A poetic spatial image is embedded in an abstract three-dimensional landscape, where the sound of the wind intensifies the perception of human memory.
Anabela Costa is a visual artist living in Paris. She studied Fine Arts at Lisbon Fine Arts University (1980) and, from the 1980s onwards, moved progressively towards digital imagery. Since 2000, she has conducted research in experimental film along two axes: the moving image and the aesthetics of representing movement, and the formalization of thematic and scientific concepts. Her experimental animations Web, TIME, LIQST_liquid state, Landscape, and In Motion have been screened and awarded at international festivals. Based in Paris since 2010, she has worked with Le Cube Art and Creation Center and with the AVIZ research team at INRIA Saclay, whose experimental image-generation software she uses in her recent films, shown and awarded in Philadelphia, Sydney, at ISEA, CODAME San Francisco, CURRENTS New Media, Miami Media Art Festival, and PYR. Her current research extends into interactive 360° VR video art and moving images for LED screens in public spaces and the performing arts.
Sid Iandovka & Leslie Thornton
Twin of Earth
2024, 16 min 5 sec
At the center of Sid’s and Leslie’s common interests is a question about narratives, new forms of visualization and exploration of the complex intricacies of memory, place, and technology. The artists share a penchant for that which cannot be spoken and for open-ended projects, developing and taking multiple shapes over many years. In this collaborative work, they explore affinities between the two idiosyncratic artistic archives created under vastly different circumstances—calling out to each other across intervening decades and mediums.
Leslie Thornton is an American filmmaker and artist. In a career spanning nearly five decades, she has produced an influential body of work in film and video. Her work has been exhibited and widely screened internationally at documenta 12, Kassel; the Whitney Museum of American Art, MoMA PS1 and Artists Space in New York; Tate Modern and Raven Row in London; the Walker Art Center, Minneapolis; Centre d’Art Contemporain Genève; and at the Rotterdam, Berlin, Buenos Aires and New York film festivals, among many others.
Sid Iandovka is a visual artist and musician, originally from Novosibirsk, lives in NY. His work has developed independently, produced entirely outside institutional structures, and spans moving image, sound, and new media. His films have been presented at festivals including the International Film Festival Rotterdam, Viennale, Berwick Film & Media Arts Festival, Courtisane and the International Short Film Festival Oberhausen, among others.
Grigor Khachatryan
Beatlemania, City TV series
1996, 5 min 33 sec
City is a documentary TV series by Grigor Khachatryan, produced at the AR television company between 1996 and 2000 with the celebrated cameraman Souren Ter-Grigoryan, and later with Mkrtich Malkhasyan, Andranik Nerkararyan, and Artak Margaryan. The series had a short life on television, although the authors managed to capture the everyday life of a city that is now disappearing. A hunter-like approach to observation and filming made it possible to record things that would otherwise have been impossible to document: buildings that have already vanished, clothing that has changed, movements and gestures we will see no more. “City is conceptual poetry allowing us to live through intimate moments of what our life once was, and to recall the lost Yerevan of the 1990s praised by so many poets.” — Vardan Jaloyan, cultural critic.
Grigor Khachatryan is an artist, performer, actionist, and writer, a founding figure of Armenian video art and the founder of the Fools’ Party and the National Center of Contingency Planning. He juggles irony and paradox with ease. His works, whether abstract canvases, provocative actions, or paradoxical texts, challenge settled assumptions. “Nobody, not even I, can make anything new; we can only draw attention, like a child pointing with a finger … except perhaps from a slightly different angle.” — Grigor Khachatryan
Grigor Khachatryan
Sayat Nova, City TV series
1996, 4 min 34 sec
soundtrack: Yes Qo Ghimete (Յիս Քու Ղիմեթըն Չիմ Գիդի), based on a poem by the renowned Armenian ashugh Sayat-Nova and performed by Charles and Seda Aznavour
The work incorporates two episodes from City, a television project created by Grigor Khachatryan for Armenian television. Conceived as a video diary of the city and a mirror for self-reflection, the project explores urban life as a space of collective and individual identity. In Armenian, the word for “city” forms the root of the words for “citizen,” “politics,” and “civilization.”
Grigor Khachatryan is an artist, performer, actionist, and writer, a founding figure of Armenian video art and the founder of the Fools’ Party and the National Center of Contingency Planning. He juggles irony and paradox with ease. His works, whether abstract canvases, provocative actions, or paradoxical texts, challenge settled assumptions. “Nobody, not even I, can make anything new; we can only draw attention, like a child pointing with a finger … except perhaps from a slightly different angle.” — Grigor Khachatryan
Garush Melkonyan
Ubi sunt
2019, 20 min
Ubi sunt finds a time when language had no shape yet, and when the emotions appeared naked. Two women are trying to preserve what seems to be left of the world: nature, lush but fragile, their harmony, necessary but precarious. The threats to this environment erupt in internal conflict; gestures and words become the only recourse—last aid to restore harmony to the world.
Garush Melkonyan is a visual artist and filmmaker whose practice examines the methods and structures by which we communicate. Working across moving images, installations, and sculpture, he stages environments for his characters and audience to consider how we form language and the invisible societal codes that influence how we engage with others. His work has been presented internationally in solo exhibitions at Rencontres d’Arles (FR), Jean Claude Maier Galerie, Frankfurt (DE) and Lasecu, Lille (FR), as well as in group exhibitions, screenings and festivals at institutions such as the National Museum of Modern and Contemporary Art, Seoul (KR); the National Gallery of Victoria, Melbourne (AUS); Palais de Tokyo, La Villette and Centre Wallonie-Bruxelles, Paris (FR); the Peabody Essex Museum, Salem (USA); Nordenhake Gallery and Centro de Cultura Digital, Mexico City (MX); and La Panacée, Montpellier (FR).
Sayler / Morris
The Amazon is Elsewhere
2025, 11 min 59 sec
The Amazon is Elsewhere is part of a larger body of work titled Crystal Forest, which reflects on the Amazon as both a real place and a symbol shaped by outside ideas. Inspired by a crumbling university building in the Ecuadorian jungle, the work explores what happens when modern dreams fade and nature reclaims space. The project includes this short film, as well as collage, photography, and animation. These pieces ask: How do we imagine the Amazon? Who gets to define it? Using images from archives, AI, and the forest itself, the artists invite viewers to consider the Amazon not just as “the lungs of the Earth,” but as a living home full of meaning, memory, and mystery.
Sayler / Morris (Susannah Sayler and Edward Morris) work with photography, video, writing, installation, and public art to examine our changing notions of nature, culture, and ecology. Their work is often place-based and focused on historical research. They have been awarded numerous fellowships, including a Guggenheim Fellowship (2023), New York Artist Fellowship (2016), Smithsonian Artist Research Fellowship (2014), and Loeb Fellowship at Harvard Graduate School of Design (2008). Their archives are held by the Center for Art + Environment at the Nevada Museum of Art, Reno. They are represented by Robert Mann Gallery and have exhibited widely in a range of art and non-art spaces.
Studio Above&Below (Daria Jelonek & Perry-James Sugden)
Critical Landscapes – Series One
2024, 2 min 45 sec
Critical Landscapes – Series One explores the dynamic relationship between human technological systems and the living processes of the Earth. Focusing on past, present, and future critical mineral extraction, the work reimagines landscape as an interconnected, evolving system shaped by geological forces and computational intervention. Incorporating outputs from the DeepMind GNoME model, the series treats code, data, and material as co-creative agents, reflecting on how technologies participate in self-organizing processes.
Studio Above&Below is an award-winning art and technology practice based in London, founded by Daria Jelonek (GER) and Perry-James Sugden (UK) after graduating from the Royal College of Art. Since 2018, the duo has developed a distinct voice in the immersive art space, crafting multisensory experiences that blend digital art, mixed reality (XR), and live data to reveal the unseen layers of our umwelt. Rooted in a research-driven methodology, their practice draws from fields such as ecology, human-computer interaction, and critical and sensory design. Their installations often use real-time environmental data to translate complex systems into visual and spatial experiences. Their projects have been exhibited internationally, including at the V&A, Royal Academy of Arts, Sónar+D, UCCA Shanghai, and transmediale in Berlin. Recognition includes the STARTS in the City Prize, Bloomberg Bursary, and UCL Creative Fellowship.
Video Screening Program:
Data Traces
Сurated by Victoria Ilyushkina
Special Events Auditorium
21.11.2026 19:00
Data Traces brings together works in which information drawn from bodies, ecosystems, weather, and technological environments becomes part of the artistic process itself. Data is not treated as a neutral description of reality, but as an active material capable of reshaping how landscapes, bodies, and systems are perceived. Across the program, distinctions between the organic and the computational, physical places and digital representations, natural evolution and technological intervention become increasingly unstable. Landscape emerges as a living document: continuously recorded, processed, and rewritten.
Liudmila Belova
Diary of Observations
2026, 11 min 10 sec
Concept: Liudmila Belova
Video: Iurii Tolstoguzov
Sound: Kristina Petukhina
Diary of Observations is an imaginary scenario where artificial intelligence steps out into a natural environment for the first time and begins to study it intently. These “tactile explorations” of nature by AI are visualized using Blob tracking software. Its algorithms identify specific images for detailed inspection and track the movement of selected objects. The soundscape reflects this encounter between two distinct ways of perceiving the world: the organic natural environment and the logic of technological systems. The rhythmic structure of the sound is synchronized with the hand movements of the artist, who creates a painting of tropical leaves in real-time within the frame. The work invites the viewer to imagine how a machine might perceive living nature—and what happens when artificial intelligence begins not only to analyze and listen to the world around it, but also to create its own “Diary of Observations”.
Liudmila Belova works with video, sound, painting and photography, investigating questions of memory, space and time and studying the impact of new technologies on the human being in art practice. Winner of the “50 Bestern” prize at ZKM (2000, Karlsruhe, Germany) and of the Sergey Kuryokhin Award (2017, Russia). She has taken part in more than 50 local and international group exhibitions and festivals. Since 2011 she has been a regular participant in exhibitions parallel to the Venice Biennale. Her works are held in the collections of the Russian Museum, the Anna Akhmatova Museum, the Kolodzei Art Foundation (New York, USA) and in numerous private collections.
Hong Chen
The Command of Origin
2025, 6 min 33 sec
The Command of Origin presents a particle universe that seems to generate its own laws. As particles move, patterns of individuality, collectivity, and larger systems emerge. Yet this apparent autonomy is shaped by heart-rate data, translated into parameters that modulate the system’s behaviour. A persistent cursor disrupts the illusion of a closed visual world, exposing its hidden controls and suggesting a reciprocal relationship in which individuals and systems continuously produce, regulate, and transform one another.
Hong Chen is an artist studying Experimental Art at the University of Arts Linz, with a background in vehicle engineering. Working with moving images, biometric systems, and installation, she examines how systems of control shape perception and consciousness, particularly the tension between machine interpretation and sensory experience.
Citron | Lunardi
Kingdom Plantae
2025, 4 min 03 sec
Kingdom Plantae is a speculative fiction imagining a future where humanity has vanished after irreversibly disrupting Earth’s balance. Nature, shaped by anthropization and contaminated by technology, re-emerges in hybrid forms: ecosystems reconstructed through data and pixels, luminescent plants reduced to simulacra and sustained by generators on natural/artificial platforms. Created through a collaboration between humans and artificial intelligence, the work challenges anthropocentric perspectives and subverts traditional biological classifications, proposing a fluid and shifting vision of endangered biodiversity. Beyond dystopia, the video unfolds as a visual poem in which nature and technology intertwine within a continuous cycle of mutation and regeneration, evoking a posthuman world in constant evolution.
Citron | Lunardi is the artistic duo formed by Selene Citron and Luca Lunardi. For over a decade, their practice has moved fluidly across art, science, and technology, interrogating the very concept of human identity. In their most recent work, identity is understood as a fluid, permeable shell that is shaped by both biological and technological forces and approached through a post-anthropocentric lens. Positioning the moving image as a key tool for actively imagining forward-looking scenarios, Citron | Lunardi investigate the hybrid networks binding humans and non-humans, drawing on recent developments in posthumanist philosophy. Across video, sculpture, and installation, the duo works with a range of animation techniques—drawing, sculpture, photogrammetry, 3D-scanned landscapes—weaving together a dense fabric of analog and digital imagery.
Mark Cypher
Dis_place
2025, 1 min 41 sec
Dis_place is a net-artwork that transforms images of place using economic, geographic, and personal data to generate evolving audiovisual compositions. The work challenges fixed definitions of place, presenting it instead as dynamic, relational, and contested. By deforming landscapes through data, it exposes the tension between the apparent clarity of data and the complexity of the realities it helps produce. The artwork suggests that neither place nor data possesses stable, inherent meaning. Rather, both emerge through networks of relationships, while the tools and methods used to measure and describe them shape what can be perceived, known, and represented.
Mark Cypher is an artist who lives and works in Perth, Western Australia and has been featured in over 30 international exhibitions. He serves as the Chair of Graphic Design at Murdoch University, where his research focuses on posthuman art and design practice. His artwork is also part of several prestigious Australian state and national collections.
Sami Keskikallio
Bordering
2026, 2 min 11 sec
Some phenomena of nature seen through an artificial divide. Filmed in the northern cities of Haparanda (Sweden) and Tornio (Finland), which share a border and, more or less, also a culture. They have a history as twin cities—a special case of two neighbouring cities or urban centres that grow into a single conurbation, or narrowly separated urban areas, over time. Unsurprisingly, the nature on both sides of the border remains the same.
Sami Keskikallio (aka MKRF) is a media artist living in Sweden, working with video, abstract animation, sound and music. At the moment his interests lie in studying the dialogue and emotional flow between concrete and abstract expression. As of now, inspiration comes from experimental dance and body movement as an art form.
Anton Khlabov
Distortion of Signal
2026, 5 min
Sound: Giuseppe Di Bisceglie
Information never disappears completely, it only changes form. As noise accumulates within the original message, the possibility of decoding the signal back to its initial state gradually becomes almost unattainable. Yet at this point the signal itself acquires a particular poetic beauty and expressive power, as the signifier becomes detached from its signified. Distortion of Signal explores this state: the simple, unambiguous messages of advertisements on urban screens, transformed through chains of reflections and distortions, become fragile, trembling pulsations of ephemeral light scattered across the imperfect surfaces of the city.
Anton Khlabov is a photographer and multimedia artist. In 2005, he graduated from the PRO ARTE Foundation’s “New Technologies in Contemporary Art” program. His video works have been presented at the Avanto Festival / Kiasma Theatre (Helsinki, Finland), Örebro International Video Art Festival (Örebro, Sweden), Video Guerrilha Festival (São Paulo, Brazil), Moscow Biennale of Contemporary Art, Contemporary Art in Traditional Museum Festival, Qui Vive?, Videoforma Festival (St. Petersburg), OutVideo, No-Festival of Video Art and Animation, CYFEST Media Art Festival, and Gyumri Art Week. His works are held in the collections of the Haegeumgang Theme Museum and Yukyung Art Museum in Geoje, Republic of Korea.
Arnaud Laffond
Breathing
2025, 7 min 20 sec
Breathing explores how invisible climate processes can become visible through moving images. Generated from real meteorological and environmental data, the video transforms scientific information into an evolving audiovisual landscape where data, abstraction and figurative imagery merge. Oscillating between contemplation and urgency, the work questions how generative media can reshape our perception of climate change and reveal the hidden systems that connect humanity, technology and the living world.
Arnaud Laffond is a multidisciplinary artist based in Lyon whose work explores the intersection of moving image, artificial intelligence, generative media and environmental research. His artistic practice focuses on making invisible phenomena perceptible, translating climate data, geological processes, collective dreams and scientific information into immersive visual experiences. He regularly collaborates with scientists, cultural institutions and local communities to develop works that combine artistic research with participatory approaches; recent collaborations include ClimatEurope2, the Belgrade Science Promotion Center, Villa Créative (Avignon), EOFA Biotech Geneva and Centre Pompidou. His work has been presented internationally at Ars Electronica (Austria), Amsterdam Light Festival (Netherlands), Scopitone (France), Impakt Festival (Netherlands), ISEA Dubai (UAE), Dig Shibuya (Japan), Adelaide Festival Centre (Australia), the Grand Palais (France), the Macau Biennale and CYFEST. Recent distinctions include the Kino Mural Award (2025) and nominations at Ars Electronica and SCAM.
Marc Lee
Hi, AI Agents! Create New Chimeras Based on Scientific Publications such as Genetics and Robotics
2026, 10 min 23 sec
This video was captured from the mobile app Speculative Evolution with the prompts: “Hi, AI agents! Create new chimeras based on scientific publications such as robotics, 3D printing, CRISPR and genetic engineering, to help balance our ecosystem and improve its biodiversity, sustainability, health and resilience. AI agents evolve new forms of life that can thrive where nature once set limits. Speculative Evolution is a mobile app that allows users to create new chimeras by combining traits from animals, plants, fungi and robots. The app uses AI to generate these chimeras and to predict how they could balance our ecosystem and improve biodiversity, sustainability, health and resilience.
Marc Lee is a Swiss artist. He is experimenting with information and communication technologies and, within his contemporary art practice, he reflects critically on creative, cultural, social, ecological and political aspects. In this context he creates network-oriented interactive art projects: interactive installations, media art, internet art, performance art, video art, augmented reality (AR) art, virtual reality (VR) art and mobile art apps. His works are exhibited in major museums and new media art exhibitions including ZKM Karlsruhe, New Museum New York, Transmediale Berlin, Ars Electronica Linz, HMKV Dortmund, HEK Basel, Fotomuseum Winterthur, Read_Me Festival Moscow, CeC Delhi, MoMA Shanghai, ICC Tokyo, Nam June Paik Art Center, Media Art Biennale and MMCA Seoul. He lectures, teaches and holds workshops about art and software art at many schools, including the China Academy of Art (CAA) Hangzhou, Strelka Moscow, Shanghai Institute of Visual Art (SIVA), the National Museum of Modern and Contemporary Art (MMCA) Seoul and ZHdK Zurich. He has won many prizes and honorary mentions at international festivals, including the “Interaction” and “Software” Awards at Transmediale Berlin and the Social-Media-Art-Award at Phaenomenale Wolfsburg. His art projects are in private and public collections such as the Swiss Confederation Federal Art Collection Bern, HEK Basel, Fotomuseum Winterthur and ZKM Karlsruhe.
Jaanika Peerna
All That Is Kelp Melts Into Ice
2024, 5 min 6 sec
Camera and sound: David Rothenberg
Editing: Harriet Lengel Enright
A performance film in which the cinematic gaze itself becomes a transformative agent, collapsing temporal and ecological scales into a single, haunting encounter. Jaanika Peerna brings her signature ‘last piece of ice on Earth’ into a forest of kelp in the extreme tides of the Bay of Fundy on Grand Manan Island, where sea and sand confront the richness of the plant world with the lingering presence of dwindling glaciers on our hearts and minds.
Jaanika Peerna is an Estonian-born artist whose work encompasses drawing, installation, and performance, often dealing with transitions in light, air, water, and other natural phenomena. Her art practice stems from the corporeal experience of existence and reaches towards awareness of the fragility and interconnectedness of all life. Her work is part of the Fonds National d’Art Contemporain, Paris, and is represented by JHB Gallery and ARC Fine Art.
Jean-Michel Rolland
Affordance
2020, 5 min 46 sec
Around a low tree with twisted branches, a man seeks to rest. He doubles up. One lifts its paw, clings to a branch, the other sits on an uncomfortable curve, like a monkey trying to make its nest. There are three now, then four, to explore the possibilities for action offered by the plant. This tree was waiting for him. The character stretches, hangs, lengthens. He becomes one with the tree and settles there, promising to visit it without hurting it. Of course, the tree is instrumentalized by becoming a chair or a bed, but no one cuts off its branches or assembles them to make them useful. The tree remains a tree, it becomes a temporary shelter, the act is reversible and, once the visitor has left, it will resume the course of its peaceful life, a living being among the living.
Jean-Michel Rolland is a musician and a painter for a long time, he has brought together his two passions—sound and image—in the digital arts since 2010. Through video art works, generative art, audiovisual performances and interactive installations, he questions temporality, a genuine fourth dimension inherent to the moving image, as well as the duality between his two favourite mediums, the sound and the visual. His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it, to better give new realities to the world around us.
Guli Silberstein
Materialive
2025, 5 min
Data, body, pixels, fluids, neural networks, nature, all moshed up, made by a unique combination of generative AI and algorithmic datamoshing. Morphing videos in the uncanny valley. Materialive is a poem for human and nature (co)existence and the processing of it, by organic forces and technological powers. A hybrid is created, an audio-visual documentary of the hyperreal, or perhaps a living form, born from the history of our dreams and hallucinations. A material, perhaps maternity, for thought, and thought as material/maternity. Perception of existence, creation of substance, and the impact of time—that is the thematic core, empowered by new technology to re-reflect.
Guli Silberstein is a London-based digital video artist and filmmaker working for over two decades, since graduating with a Master’s degree in Media Studies from The New School New York in 2001. An early adopter (2020) of using AI to create video work, he also works with visual effects and ‘glitch’ datamoshing techniques. He continuously uses disruptive digital technologies to peel back the surface layer of human perception and expose hidden patterns of existence, trauma, and consciousness. His extensive body of mind-bending work has been showcased and won awards at hundreds of festivals and exhibitions around the world, such as WRO Media Art Biennale in Poland, Transmediale Festival in Berlin, FILE in São Paulo, the Cinémathèque Française in Paris, London Short Film Festival, and the Royal Scottish Academy. Editions of his artwork have been curated by close collaborators such as Sedition Art, Luba Elliott’s CVPR AI Art Gallery, and Dead End AI Gallery Amsterdam.
Tonoptik
Latent Space
2025, 4 min
Latent Space (2025) is an AI-driven audiovisual work that transforms Bangkok’s dense networks of electrical wires into evolving digital landscapes. Based on a corpus of photographs, the imagery is processed through machine learning and temporal interpolation, generating fluid, unstable visual layers accompanied by sound derived from electrical signals. The work reflects the theme Natura Naturans by revealing urban infrastructure as a living, self-generating system. Human-made networks begin to resemble organic forms, blurring boundaries between nature and technology, landscape and data.
Tonoptik is a new media art project founded by Yuriy Tolstoguzov in 2015, with Kristina Petukhina joining as co-creator in 2019. Working at the intersection of art, technology, and science, the duo creates light and sound installations, audiovisual performances, and generative works. Tonoptik’s practice combines minimalist and maximalist aesthetics with an open experimental approach. The artists work with machine learning algorithms, physical data, interactive environments, and spatial sound, positioning technology simultaneously as medium, method, and subject matter. Their works have been presented internationally at major museums, festivals, and media art platforms.
Video Screening Program:
Land of Memories
Сurated by Victoria Ilyushkina
Special Events Auditorium
19.12.2026 19:00
Land of Memories turns from external landscapes toward inner and imagined ones. Animation becomes a way of mapping memory, psychological transition, altered states of perception, and possible futures. Across the program, fixed realities dissolve: documentary experience meets speculation, human perception encounters non-human perspectives, and personal memory becomes inseparable from constructed and imagined worlds.
Together, the works suggest that in a world shaped by ecological crisis and an overwhelming circulation of information, reality can no longer be understood as stable or singular. Organic life, physical environments, memory, and computational systems remain in constant transformation.
Arman Ayvazyan
Dragonfly
2024, 7 min 39 sec
Dragonfly is a story of an unnoticed sacrifice, whose consequences ripple through light, time, and the cosmos.
Arman Ayvazyan is a director, documentarian, and film editor. He studied directing at the Armenian State Pedagogical University and later enrolled at VGIK (Gerasimov Institute of Cinematography), where he spent five years specializing in documentary filmmaking. His student films, The Gull and Stones, achieved success and received multiple international awards. During the 2020 Nagorno-Karabakh war, he joined the Bars Media studio team as a war journalist, director, and cameraman, documenting the events of the conflict. Since 2023, Arman Ayvazyan has been teaching directing and editing at the Yerevan State Institute of Theatre and Cinema. His work is distinguished by deep observation, visual poetry, and unique directing and editing techniques.
Yanina Chernykh
The Nivkhs
2026, 1 min 11 sec
The voice draws on Nivkh beliefs of a world without boundaries—between the living and the dead, animal and spirit, human and other. The dog acts as a guide between these states. Statements based on ethnographic sources gradually shift into an imagined mythology, blurring the boundary between documentation and fiction. Part of the film was shot with a camera attached to the artist’s dog, allowing the animal’s movement to determine the movement of the image. Through repetition, pauses, and minimal sound, the film creates a space of continuous transformation, where familiar boundaries dissolve and the known gradually gives way to the unknown.
Yanina Chernykh is an artist working with video, animation, and painting. Her practice explores relationships between human and non-human beings through mythology, animism, and interactions between humans, animals, and the natural environment. A significant part of her work draws on the mythologies of Indigenous peoples. Her projects combine documentary and autobiographical material with fictional imagery, creating spaces in which the boundaries between reality and myth become unstable.
Ani Chopuryan
The Weight of Becoming
2025, 4 min 13 sec
Somewhere between memory and waking life, a figure moves through a world that no longer obeys the rules of reality. Birds become witnesses. The sea remembers. A distant planet hangs above everything like an old thought that refuses to disappear. Fragments of bodies, paintings, landscapes and forgotten images collide—not as decoration, but as pieces of a life trying to reconstruct itself. The work is about becoming: the quiet violence of changing into someone you do not yet recognise. There is a moment when we realise that the person we were has already disappeared, while the person we are becoming has not arrived yet. We exist in that fragile space between the two—beautiful, uncertain, suspended. This video is a journey through that space. It asks: what remains of us when memory, identity and reality begin to dissolve? Perhaps the answer is not a person. Perhaps it is the movement itself.
Ani Chopuryan is an Armenian multidisciplinary artist and creative director based in Yerevan. Working across painting, mixed media, digital art, fashion and visual design, her practice explores identity, cultural memory, femininity, contemporary Armenian life and the relationship between tradition and modernity. Her work combines expressive imagery with experimental materials, often transforming everyday objects, vintage elements and cultural references into contemporary visual narratives. She is the co-founder and creative director of ArtKvartal, an independent contemporary art and cultural space in Yerevan, and the founder of Bazaar, a sustainable fashion and wearable-art project focused on upcycling vintage garments. She studied Cultural Studies at Yerevan State University and has taken part in artistic and cultural projects and exhibitions across Europe and internationally.
Sid Iandovka
(e)scape goat
2020, 6 min 23 sec
(e)scape goat lets the work take place on its own terms, unsteady and strange, untethered to familiar, predictable, habitual orders of media perception or consumption. The lightest touch, almost leaving the image alone, introduces unexpected pluralities, sensory and evidentiary traces, potentialities, displacing rather than grounding the image, bringing about new forms of visualization, new possible worlds.
Sid Iandovka is a visual artist and musician, originally from Novosibirsk, lives in NY. His work has developed independently, produced entirely outside institutional structures, and spans moving image, sound, and new media. His films have been presented at festivals including the International Film Festival Rotterdam, Viennale, Berwick Film & Media Arts Festival, Courtisane and the International Short Film Festival Oberhausen, among others.
Diana Kapizova
There, over the Rainbow, We will Hide in the Shadow
2025, 9 min
The artist spent her childhood in Pervouralsk city, known for its large industrial plants. Their emissions and warm air currents paint the sky above the city pink, and the rivers also appear pink. Green malachite, mined in the Ural Mountains, symbolizes the potential for happiness for workers from all over the world, who flocked to the Urals in hopes of finding work at the plants and achieving prosperity. These journeys are reminiscent of the adventures of Ellie, the heroine of The Wizard of the Emerald City. Like Ellie, Diana Kapizova embarks on her own journey to a wondrous, magical land on the border of Europe and Asia, tinged with green and pink.
Diana Kapizova is a multimedia artist working with video, performance and 3D graphics, and creating objects. Born in 1993 in Pervouralsk, she studied at the British Higher School of Art and Design. In her works, Diana creates worlds with a sensual, naive, childlike experience of the past and present; these worlds have a beginning and an end, and a courageous hero navigates their journey, undergoing internal and external metamorphoses. She won the Ruarts Foundation grant programme in 2022 and was a nominee for the 2022 Sergey Kuryokhin Prize.
Edward Kulemin
Swarm
2024, 4 min 46 sec
In the video poem Swarm the author interprets the concept of «swarm intelligence», which is used in biology, sociology, and bionics. This includes collective behaviour of communities, management of information systems, and swarm programming. Swarm intelligence systems consist of multiple agents interacting locally with each other and with the environment; ideas of collective behaviour, as a rule, come from nature. In the video poem Swarm, ideographic images, asemic writings, and iconic-symbolic structures are transformed to a soundtrack mixed from the buzzing of swarming insects, the hum of birds, the humming of drones, and other sounds.
Edward Kulemin is a multimedia artist, the author and curator of many personal and collective art projects, and the inspirer and organizer of various communication creative communities (KEPNOS, a group of unknown artists, the Association of Damned Poets, Studio of Total Creativity, and others). He has taken part in more than 150 exhibitions and many festivals, and is the author of the books It seems to have begun (1994), Odnohujstvenny Ulysses (1995), By the artificial way (1998), Multimatum (2002), Lowdown (2012) and Cash register poems (2018).
Ellen Pearlman
Brenda
2026, 3 min
How do memory and identity form in living entities, and how are these processes being integrated into algorithmic representations of human memory? Artificial intelligence image processing relies on text prompts coupled with algorithmic latent space to render synthetic visual representations. How do meaning and context arise from this latent space? Do humans have their own biological version of latent space memories? Artistic representations of individualized memories use processes paralleling recent research in neurophysiological models of spatial and cognitive memory mapping, indicating an emerging synthesis and co-opting of human memory using “biomimetic” algorithmic modeling. The video Brenda shows mimicked algorithmic interpretations of seminal individualized human memories coupled with linguistic fragments as a soundtrack.
Ellen Pearlman is a Research Affiliate at NYU Tandon School of Engineering and a New York based media artist, curator, and educator. She was awarded a three-year grant by the German Culture Foundation to work on a new AI opera, “The System Cannot Fail”. A New Works Grantee at Harvestworks in New York, she has presented at Ars Electronica, was a Lumen Prize selection in AI Moving Images, a Research Fellow at MIT, a Fulbright Scholar at the University of Warsaw, a three-time Fulbright World Learning Specialist in Art, New Media and Technology, an EU Vertigo STARTS Laureate and a Zero1 American Arts Incubator / U.S. State Department cultural envoy to Kyiv. She premiered “Noor—A Brainwave Opera” (2016), the world’s first interactive immersive brainwave opera in a 360-degree theatre; “ABIO”, the world’s first emotionally intelligent artificial intelligence brainwave opera (2019/20), premiered at the Estonian Academy of Music in Tallinn; and “Language Is Leaving Me” (2023), the world’s first AI cinematic opera of the skin, premiered at the Copernicus Art/Science Festival in Warsaw. She has been a frequent participant of CYFEST since 2007.
Lin Yen-Ju
(林晏竹) / 0
2019, 5 min 2 sec
This work explores space as a perceptual interface that destabilizes reality. It constructs a liminal field where materiality and virtuality intersect, inviting the viewer to traverse multiple dimensions. Through dreamlike imagery and embodied perception, the self becomes both subject and projection, dissolving into spatial illusion. The work foregrounds the tension between corporeality and abstraction, where vision produces both surreal affect and a sense of dehumanization. Ultimately, it reflects on how space mediates cognition, revealing reality as a constructed image and experience as a process of continuous interpretation across dimensions.
Lin Yen-Ju is a Taiwanese artist and researcher based in Taipei. Her practice spans new media art, moving image, installation, and painting, exploring the intersections of digital media and the physical world. Her work investigates the relationships between information, perception, technology, and contemporary visual culture, with a particular interest in how technological systems mediate human experience and shape our understanding of reality. Her works have been presented internationally at Ars Electronica Festival in Austria, Instants Vidéo in France, Ambika P3 in the United Kingdom, and across Europe, Asia, and the United States.
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