Starting from Hieronymus Bosch’s “Garden of Earthly Delights”, the exhibition THE GARDEN OF DIGITAL DELIGHTS gathers a selection of new-media and video artists who are exploring the new boundaries of the digital world and digitalizing the reality through new technologies. The selected video pieces represent different elements of the real world (nature, landscape, living and human beings), transformed and recreated in the digital realm; a sort of digital cosmogony of the existence. Following the Bosch’s triptych, the works are presented through an installation that reminds the physical structure and appearance of the original triptych, and are divided into 3 groups: one dedicated to the nature (as a new Eden) and the initial impact of the digital world with the “analog” reality, with artworks by Miguel Marino (AR) and Studio Above&Below (UK); a second section is dedicated to the “garden of digital delights” with artworks by Flavian Berar (UK) and Paulo Arraiano (PT); a third group of artworks is dedicated to the new forms of digital hybrids and chimeras created through the hyper-technological revolution, represented by Sandrine Deumier (FR) and Geriko (FR/BE). Opposite to the triptych installations we find the video projection of Cy Tone’s (IT) work: a distorted universe; a sort of digital version of the globe depicted on the exterior panels of Bosch’s masterpiece that represents “The Creation of the World”.
Partant du "Jardin des délices terrestres" de Jérôme Bosch, l'exposition THE GARDEN OF DIGITAL DELIGHTS rassemble une sélection d'artistes vidéo et nouveaux médias qui explorent les nouvelles frontières du monde numérique et numérisent la réalité grâce aux nouvelles technologies. Les pièces vidéo sélectionnées représentent différents éléments du monde réel (nature, paysage, êtres vivants et humains), transformés et recréés dans le domaine numérique ; une sorte de cosmogonie numérique de l'existence. Suivant le triptyque de Bosch, les œuvres sont présentées à travers une installation qui rappelle la structure physique et l'apparence du triptyque original, et sont divisées en 3 groupes : l'un est consacré à la nature (comme un nouvel Eden) et à l'impact initial du monde numérique sur la réalité "analogique", avec des œuvres de Miguel Marino (AR) et de Studio Above&Below (UK) ; une deuxième section est consacrée au "jardin des délices numériques" avec des œuvres de Flavian Berar (UK) et Paulo Arraiano (PT) ; un troisième groupe d'œuvres est consacré aux nouvelles formes d'hybrides et de chimères numériques créées par la révolution hyper-technologique, représentées par Sandrine Deumier (FR) et Geriko (FR/BE). En face des installations en triptyque, on trouve la projection vidéo de l'œuvre de Cy Tone (IT) : un univers déformé, une sorte de version numérique du globe représenté sur les panneaux extérieurs du chef-d'œuvre de Bosch qui représente " La création du monde ".
The PhotoPhore is a platform about contemporary art, photography and architecture. The PhotoPhore's mission is to design, create, manage and communicate art exhibitions, screenings and cultural events. It was founded by Marica Denora, art project manager, and Domenico Fallacara, architect and independent curator.
The duo has organized and curated online and IRL programs in collaboration with international festivals such as ADAF - Athens, Microwave Festival - Hong Kong, Festival Zero1 - La Rochelle. From media partnerships to special events organization, the PhotoPhore organized several exhibitions - especially in Venice - focused on video-art and new media art (“Future Resonance” 2017, “Back to the PostFuture” 2018, “Digital Settlement: Light Becomes Data” 2020 online).
In 2019, concurrently with the Venice Art Biennale, the PhotoPhore presented two exhibitions in Venice: “D/EVOLUTION”, hosted at Scuola Grande della Misericordia, with artworks by Sigalit Landau and Stefano Cagol, among the others; and “The Parents’ Bedroom Show”, in partnership with the organization Zuecca Projects and the State Gallery of Lower Austria, focused on a performance by Elisabeth von Samsonow and Juergen Teller. On the occasion of the exhibition there was the publication of the catalogue “Elisabeth von Samsonow / Juergen Teller, The Parents’ Bedroom Show (Creating Time)”.
The PhotoPhore est une plateforme sur l'art contemporain, la photographie et l'architecture. La mission du PhotoPhore est de concevoir, créer, gérer et communiquer des expositions d'art, des projections et des événements culturels. Elle a été fondée par Marica Denora, chef de projet artistique, et Domenico Fallacara, architecte et commissaire d'exposition indépendant.
Le duo a organisé et conservé des programmes en ligne et IRL en collaboration avec des festivals internationaux tels que ADAF - Athènes, Microwave Festival - Hong Kong, Festival Zero1 - La Rochelle. Des partenariats avec les médias à l'organisation d'événements spéciaux, le PhotoPhore a organisé plusieurs expositions - notamment à Venise - axées sur l'art vidéo et les nouveaux médias ("Future Resonance" 2017, "Back to the PostFuture" 2018, "Digital Settlement : Light Becomes Data" 2020 en ligne).
En 2019, parallèlement à la Biennale d'art de Venise, le PhotoPhore a présenté deux expositions à Venise : "D/EVOLUTION", accueillie à la Scuola Grande della Misericordia, avec des œuvres d'art de Sigalit Landau et Stefano Cagol, entre autres ; et "The Parents' Bedroom Show", en partenariat avec l'organisation Zuecca Projects et la Galerie d'État de Basse-Autriche, centrée sur une performance d'Elisabeth von Samsonow et Juergen Teller. À l'occasion de l'exposition, le catalogue "Elisabeth von Samsonow / Juergen Teller, The Parents' Bedroom Show (Creating Time)" a été publié.
MEMBERS ARTISTS OF THE PHOTOPHORE - THE GARDEN OF DIGITAL DELIGHTS
TERRAIN - 1.50 min
Sound credits: Einar Fehrholz
Above&Below was founded by media artists Daria Jelonek and Perry-James Sugden. Currently based in Somersethouse London, their collaboratively practice focuses on interactive and speculative projects, based on hands-on research at the intersection of art, technology and our environment. The artists aim to wire unseen connections together to create new experiences which they believe can change human behaviours for better interactions with our environment. The duo is specialising in the field of sustainable futures in which emerging technologies and code have the potential to improve our planet’s well being.
Above&Below’s artworks were exhibited and screened at cultural institutes such as Royal Academy, ICA London, the PhotoPhore - Spazio Ridotto Venice, Royal College of Art, Hima Art Space Shanghai and International Shortfilm Festival Oberhausen. They have been given talks about the intersection of art, design, technology and the environment at cultural and tech institutes such as London Design Festival, Retune Festival Berlin, V&A London, Microsoft Research Cambridge, Imperial College, Royal College of Art, WIRED Japan.
The CGI shortfilm Terrain was completely shot on an iPhone – taking this possibility as a starting point to explore how we perceive reality in our surrounding. The film shows three different spaces and hybrid objects that were formed within them. As camera tracking and machine vision capacity evolves, ABOVE&BELOW questions how can we use the terrain between the digital and physical world for new interactions between human, machines and places around us to create new ways of communicating.
Paulo Arraiano (PT)
Sensorial Divinities – 5.43 min
Paulo Arraiano is a visual artist based in Lisbon who has extensively explored the natural fluidity of life, under the visual austerity of technological media. He has participated in several exhibitions, both solo and collective including Dimora Artica [Milan]; Hawaii-Lisbon [Lisbon]; Pivô (S.Paulo); Museu d’Historia da Catalunya (Barcelona); Art Rotterdam [Rotterdam]; Cidade das Artes Museum [Rio de Janeiro]; MAH Museum [Azores]; Quartier General, Centre d’art Contemporain [La Chaux-de-Fonds]; Aeroplastics Contemporary [Brussels]; Petra Gut Contemporary [Zurich]; TAL Gallery [Rio de Janeiro]; ArtRio [Rio de Janeiro]; Pena Palace [Sintra]; Forty/Forty [Warsaw]; Galeria Graphos [Rio De Janeiro]; Museu do Côa [V. N. Foz Côa; Hifa, Harare International Festival Of Art [Zimbabwe]; Cãmara Municipal do Porto [Porto]; Museé d’Art Moderne [Luxembourg], Scope/Miami Basel [Miami]; National Building Museum [Washington DC]; P28 [Lisbon] among others. Paulo Arraiano has also participated in several artist residency programmes, such as Walk&Talk [Azores]; Transforma [Torres Vedras]; LAC [Lagos] among others. He is represented in both public and private collections such as CAC Málaga Museum, [Spain]; Luciano Benton Collection [Italy]; Quartier-General Arts Center [Switzerland]; Museu de Angra do Heroismo [Azores]; Sztuki Zewnetrznej Foundation [Poland]; Pestana Group [Portugal]; Fundação D. Luís / Museum Quarter [Portugal]; MARCC Museum [Portugal]. Paulo Arraiano has a degree in Communication by ISCEM [Lisbon], and studied Visual Arts at Ar.Co - Centro de Arte e Comunicação Visual [Lisbon]. He is also co-founder of re_act contemporary, art laboratory and residence program based in the Azores Islands and no.stereo, an independent Artist-run platform.
Sensorial Divinities functions as an apparatus for a new spirituality. During five minutes images of nature and technology are merging, while a voice recites what unconsciously resembles a pre paradigm change mass - “Transforming society and reality as we know it in the present moment, we are spectators of a precise moment where fiction... magic are becoming science facts. The arrival of the internet of things...”.
Are we creating digital immortality or could we become digitally immortal in a Google cloud of souls?
Flavian Berar (UK)
Engines of Creation - 5.45 min
Flavian Berar is an architectural designer, artist and storyteller based in London. Flavian is a graduate of the Bartlett School of Architecture and employs film, 3D animation and visualisation as part of his design methodology, bringing together the realms of the physical and the digital, whilst mediating between the real and the fictional. He is interested in the shift of the human condition in the coming era and enjoys speculating about the direction architecture might take. As an aspiring architect, Flavian is equally eager to materialise and build his visions. flavianberar.com
Engines of Creation is an architectural essay film that responds to the existential threats posed by climate change, artificial intelligence and nanotechnology, exploring potential new directions that architecture might take, reacting to and against these potent forces. Located in the heart of Europe, within the neutral, yet hostile territories of the Swiss Alps, the project begins as an alternative Future of Humanity Institute, trying to depart from the corporatist approach of the institute with the same name at the University of Oxford. The building is anchored to Mount Titlis or The Hill of Angels as William Wordsworth called it in the 18th century in a poem with the same name, programmatically reconciling the religious and monastic past of the site with the present condition of the Alps, a landscape host of various research and technological testing grounds. At this mythical research laboratory, Citizens of Nowhere gather to shape our Post-Anthropocentric interplanetary future, the building slowly evolving over a long period of time.
Cy Tone (IT)
JOSEPH K - 5.52 min
Sound credits: Emiliano Comollo
Alberto Cittone, aka Cy Tone, is a 36 years-old industrial and graphic designer from Turin, Italy. He studied Graphic Design at the European Institute of Design and defines his work as “evidence, experiments, results”. After a 6 years old career as industrial designer he became a creative freelance designer. He feeds on 3D modeling, rendering and Photoshop working with various agencies in Turin, but his main interested is the production of creative and artistic images and videos.
“All subjects are Copyright-free, everyone can use them as he/she/it prefers, we don’t give a f**K. Culture is a human heritage not a mass production tool”. So reads his manifesto, demonstrating a strong attitude to the social and knowledge of the new-media world, focused on networking and open-source. Image manipulation has seen by the artist as an enrichment and growth, a new creative purpose.
Sandrine Deumier (FR)
Pink Party - 18.00 min
Sandrine Deumier is a French author, video artist and performer. With her dual philosophical and artistic training, Sandrine Deumier constructed a multifaceted poetry focused on the issue of technological change and the performative place of poetry conceived through new technologies. Using material from the word as image and the image as a word vector, she also works at the junction of video and sound poetry considering them as sensitive devices to express a form of unconscious material itself. The process of writing and the mobile material of the image function as underlying meanings of reflux which refer to the real flickering and to their reality transfers via unconscious thought structures. Her work consists mainly of texts, digital poetry, multimedia installations and audiovisual performances in collaboration with composers. sandrinedeumier.com
The digital animation Pink Party is a mechanical ballet set in the era of cyborgs and artificial human behaviors. Comprised of several scenes, Pink Party combines indistinctly cybernetic chimeras, humanoids and objectified humans with reversible identities and behaviors. Each scene depicts a disturbingly prefigurations of artificial humanity.
Anvil - 3.41 min
Sound credits: Lorn
Geriko is a duo of young directors and visual artists Franco-Belgian bringing together Hélène Jeudy and Antoine Caecke. Passionate about European and Japanese comics, science-fiction films, contemporary drawings and typography, they feed these fields to the universe they are building for many years.
In the film Anvil, we are in the Year 2100 when, in an effort to combat overpopulation, the postmortem social network "Anvil" is released. Right from birth, people receive a robot for their daily needs – cleaning up, games, education, social and sexual life – until the day it signals the end of their right to live on Earth. The robot then follows his owner to one of the Anvil facilities, activating the machine that will end the citizen’s days. During this transition, the body is destroyed and a part of the robot is recycled as a server/funerary urn. Anvil invites us on a journey through the eyes of a young woman in her final moments on earth.
Miguel Marino (AR)
Registro #10 - 3.00 min
Registro #131 - 1.27 min
Miguel Marino grew up in Mar del Plata, Argentina and currently resides in Buenos Aires. miguelmarino.tv
The video series Registros is an exploration of faux memories suspended in time, short fragments of places de-voided of context, narrative and closure. The series contains interventions on video and analog & digital photography. Registros started in 2013 as an unintentional collaboration between Miguel and his father, an intervention over two of his father’s 30-year-old 35mm photographs of Patagonia. A collage between his past and the artist’s present that evolved into a ongoing exploration over different mediums.