GAMESCENES

EVENT: MALITZIN CORTÉS (CNDSD) AND IVÁN ABREU (OCTOBER 1 - 10 2024, ONLINE)

AUTOCONSTRUCCIÓN

digital video (1920 x 1080), color, sound, 13’ 52”, 2024, Mexico

created by Malitzin Cortés (CNDSD) and Iván Abreu

vral.org

 

Originally conceived and performed as a live-coded audiovisual concert and real-time video game animation, Autoconstrucción was collaboratively created by Malitzin Cortés (CNDSD) and Iván Abreu. The project, executed through algorithms and unfolding across four distinct chapters, was performed in Mexico City (2022), Madrid (2023), Utrecht (2023), and Shanghai (2023). The segment presented on VRAL features a generated version of episode 2, entitled Floating City - Floating Population. This episode explores the concept of a transient population inhabiting cities, with AI creating hybrid architectural facades that reflect the empty character of many peripheral cities during the day.

Malitzin Cortés (CNDSD) is a renowned musician, live coder, and creative technologist. Her multifaceted work encompasses live coding, live cinema, installation art, virtual reality, creative coding, sound design, experimental music, and sound art. In 2020, she was awarded the Latin American Prize for Virtual Reality “Realmix” for her immersive piece “Hyper_D.” Malitzin is currently a workshop instructor in live coding with functional programming using Tidal Cycles on the educational platform of CMMAS. She has showcased her work at prominent venues and events including the Multimedia Center, Alameda Art Laboratory, Ex-Teresa Arte Actual, Digital Cultural Center, Medialab Prado, Spain Cultural Center, CMMAS, Vorspiel, Spektrum Berlin, Transpiksel, Aural, Transmediale Berlin, ISEA, CYLAND MediaArtLab Saint Petersburg, ADAF, Ars Electronica, Currents, as well as MUTEK in Mexico, Montreal, and Japan. CNDSD’s soundscapes are crafted for experimental environments, characterized by granular landscapes, algorithmic vocal experiments, hypnotic noise improvisations, live coding, and asymmetric patterns, pushing the boundaries of musical and sonic exploration. Cortés lives and works in Mexico City.

Iván Abreu is an esteemed audiovisual artist and creative technologist based in Mexico City. His interdisciplinary practice spans a diverse array of media, including digital graphics, photography, electronic devices, software development, music and sound experimentation, expanded film and video, and industrial design. Abreu's innovative work has garnered numerous accolades and support from prestigious institutions. These include the Prix Ars Electronica (2012, Linz, Austria), the CINTAS Foundation Award in Visual Arts (2011-12, New York/Miami), and the ZKM Production and Research Residence – Center for Art and Media Karlsruhe, Germany (2021). He has also been supported by the National Fund for Culture and the Arts, through the National System of Art Creators (2012-2014, 2017-2019, and 2022-2025, Mexico). Abreu's audiovisual creations have been showcased at prominent international festivals dedicated to sound art, experimental music, and media art. His work has been featured at the International Conference of Live Coding in Madrid, Aural, Transmediale Berlin, MUTEK in Mexico and Montreal, the International Symposium on Electronic Art (ISEA), and the Asia Culture Center in Korea.

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EVENT: THE PIECES I AM (SEPTEMBER 30 2022 - JANUARY 8 2023, SHANGHAI)

panGenerator, Infinity, 2020

The Pieces I Am

Curated by Douyin Art 

September 30 2022 - January 8 2023

UCCA Edge
2F, No.88 Xizang Bei Lu,
Jing'an District, Shanghai

press release

SHANGHAI, China — From September 30, 2022, to January 8, 2023, UCCA and Douyin Art present the group exhibition “The Pieces I Am,” focused on humanity’s existence in the digital age. The exhibition features 27 artists and groups from China and abroad who use and/or explore technology in their works. The Chinese exhibition title takes its inspiration from the idiom 吉光片羽(jíguāngpiànyǔ), which metaphorically refers to fragments of treasured ancient relics, and changes the first character to the homophonous 集 (jí) to alter the meaning to suggest a collection of precious, beautiful, and enlightening “pieces” drifting down from the digital world. “The Pieces I Am” offers a possible starting point for understanding our digitized reality, interpreting and disenchanting the contemporary digital age through a wide range of art that traverses between digital and real, authentic and virtual, natural and technological, and logical and emotional. In doing so, it seeks to offer us new ways of recognizing the self, the world, and the relationship between the two in our fragmented contemporary context. “The Pieces I Am” is curated by UCCA Lab Curators Liya Han and Yoojin Tang together with special guest curator Iris Long, designed by Shen Ruofan, and organized by the UCCA Lab team.

Exhibition co-organizer Douyin Art has specially developed an online exhibition space as well as interactive viewing experiences for the offline exhibition. Douyin Art also hosted a special opening livestream including the premiere of an eponymous exhibition concept film starring art ambassadors selected by UCCA. Please find more information on the opening and film below.

Works in the exhibition

Participating artists include Pascale Birchler (b. 1982, Einsiedeln), Ian Cheng (b. 1984, Los Angeles), Chun Shao (b. 1987, Hangzhou), Guo Cheng (b. 1988, Beijing), Ann Veronica Janssens (b. 1956, Folkestone), Lawrence Lek (b. 1982, Frankfurt am Main), Lin Ke (b. 1984, Zhejiang province), Liu Di (b. 1985, Shaanxi province), Jiayu Liu (b. 1990, Liaoning province), Rafael Lozano-Hemmer (b. 1967, Mexico City), David OReilly (b. 1985, Kilkenny), panGenerator (formed 2010), Pete Jiadong Qiang (b. 1991, Shaanxi province), Shinseungback Kimyonghun (formed 2012), Shi Zheng (b. 1990, Jiangsu province), Yehwan Song (b. 1995, Seoul), Studio Above&Below (formed 2018), Sun Yitian (b. 1991, Wenzhou), Tang Chao (b. 1990, Hunan province), Coralie Vogelaar (b. 1981, Delft), Wu Ziyang (b. 1990, Xuzhou), Xin Yunpeng (b. 1983, Beijing), Ye Xuan (b. 1989, Hunan province), Yin Yi (b. 1978, Shanghai), Young-Hae Chang Heavy Industries (formed 1999), Wenxin Zhang (b. 1989, Hefei), Payne Zhu (b. 1990, Shanghai)

UCCA EDGE: Opened in May 2021, UCCA Edge occupies 5,500 square meters over three levels of the new EDGE tower in Shanghai’s Jing’an District. Designed by New Yorkbased architecture practice SO – IL, the museum includes 1,700 square meters of gallery space as well as a wraparound outdoor terrace and public spaces including a lobby and auditorium. Situated just north of People’s Square and Suzhou Creek, and directly above the Qufu Lu station of the Shanghai Metro in a bustling revitalized neighborhood, UCCA Edge will quickly become an essential destination and an integral part of Shanghai’s vibrant cultural fabric.

David OReilly, Everything, 2017

Wu Ziyang, Pasig River 2030 - 6 Plus, 2022

Ian Cheng, BoB (Bags of Belief), 2018-2019

LINK: The Pieces I Am (Thanks, Gemma!)

EVENT: IAN CHENG: WORLDING (MARCH 2–JULY 3, 2022, SEOUL, SOUTH KOREA)

Ian Cheng: Worlding
March 2–July 3, 2022

Leeum Museum of Art
60-16, Itaewon-ro, 55-gil, Yongsan-gu
140-893 Seoul
South Korea

Curated by Gina Lee, Curator, Leeum Museum of Art

press release

Leeum Museum of Art presents Ian Cheng: Worlding, the artist’s first solo exhibition in Asia. Through his pioneering works comprising virtual ecosystems created with artificial intelligence and game engine, Ian Cheng (b. 1984) creatively explores and philosophically contemplates the nature of human consciousness. Ian Cheng: Worlding is the first exhibition to bring together all of the virtual worlds that Cheng has created. The artist’s boundless imagination and futuristic vision are on full display in all five of the featured works, the latest of which was produced with support from Leeum.

Ian Cheng, Emissary in the Squat of Gods, 2015, still from simulation

Included in the exhibition is the Emissaries trilogy (2015–2017), the unique series that brought Cheng to the attention of the international art world. In this live simulation, which the artist describes as a “video game that plays itself,” AI-based characters and environment are contained in a virtual ecosystem in which new and unforeseen events continuously arise.

Ian Cheng, BOB (Bag of Beliefs) (2018–2019)

In BOB (Bag of Beliefs) (2018–2019), an artificial creature that resembles a snake explores the inner workings of human consciousness. Just as every person has different faces and traits that can appear in a given situation, BOB consists of multiple artificial intelligences with various motives. Using the customized app, audience members are invited and encouraged to help form BOB’s personality and beliefs.

Cheng’s latest work in the show is Life After BOB: The Chalice Study (2021), a feature-length animation created with support from Leeum, The Shed (New York), the LUMA Foundation, and Light Art Space (LAS, Berlin). Telling the story of Chalice Wong, a ten-year old girl with an AI “BOB” brain implant, this work reveals the artist’s imagining of a future in which humans and artificial intelligence coexist. After viewing the work, the audience can use a link to gain access to the interactive “World Watching” mode to explore Cheng’s animated world in even greater depth.

About Leeum Museum of Art: Leeum Museum of Art was established in 2004 by the Samsung Foundation of Culture to preserve the cultural assets of Korea and to share with the public its expansive collection ranging from traditional Korean art to modern and contemporary art of the world. The museum is dedicated to enhancing appreciation and understanding of art through exhibitions, artist support programs, education, research, and publications. Three of the world's most renowned architects designed the three buildings of the museum. Mario Botta designed the terracotta building (M1) for the museum's traditional Korean art collection, Jean Nouvel designed the rusted stainless steel building (M2) for the museum's modern and contemporary art collection, and Rem Koolhaas designed the futuristic black concrete and glass edifice for the museum's special exhibitions and Child Education & Culture Center.

LINK: Leum Museum of Art

LINK: Ian Cheng

EVENT: RADICAL GAMING – IMMERSION SIMULATION SUBVERSION (02.09.2021 – 14.11.2021)

 

Radical Gaming - Immersion Simulation Subversion

An exhibition curated by Boris Magrini

September 2 - November 14 2021

Opening: Wednesday, 01.09.2021

HeK
House of Electronic Arts Basel
Freilager-Platz 9
CH–4142 Münchenstein/Basel

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Theo Triantafyllidis, Pastoral, 2019 , screenshot. (Courtesy of the Artist)

This is the most important Game Art exhibition of 2021, by the way.

Press release

The international group exhibition Radical Gaming presents a selection of artists who investigate the structures, technologies and aesthetics of a global gaming industry. Their works are characterised by a particularly unconventional approach to employing the immersion and interaction inherent to video games, whose common narratives and stereotypes they subversively undermine.

This new generation of artists use contemporary game programming technologies to create virtual and augmented reality experiences, immersive environments, interactive stories and multimedia installations. By appropriating the medium for their artistic practice, they create alternative perspectives on identity construction, gender issues and social change. Their refusal to abide by the commercial and recreational logic of video games, sets the scene for their progressive, uncompromising, and thought-provoking works.

Artist: Danielle Brathwaite-Shirley, Leo Castañeda, Sara Culmann, Debbie Ding, Keiken, Lawrence Lek, Mikhail Maksimov, Cassie McQuater, Sahej Rahal, Nicole Ruggiero, Jacolby Satterwhite, Eddo Stern, Theo Triantafyllidis, Miyö Van Stenis, Lu Yang

LINK: Radical Gaming 

EVENT: THEO TRIANTAFYLLIDIS, RADICALIZATION PIPELINE (JUNE 3 - SEPTEMBER 25 2021, MILAN)

Radicalization Pipeline

Theo Triantafyllidis

June 3–September 25, 2021

Eduardo Secci Milano

Via Bernardino Zenale, 3, 

Milano, 20123 Italy

 

Press release:

For this new body of works, Theo Triantafyllidis draws inspiration from video games and recent events of civil disorder in America. Looking at phenomena such as the rise of QAnon, the artist suggests connections between gamification, fantasy, and political radicalization. The gallery space brings together a series of ceramic weapons. These dark glazed stoneware works are adorned with decorative details like tennis over grip tapes, hair extensions and laser-cut acrylics. With titles such as Chadslayer, SnowflakeSkorcherand, Stormbringer, they are reminiscent of the exaggerated forms often seen in video games and extremist ideologies which the internet culture has accelerated.

The ceramic surfaces reflect the light from a large display playing Radicalization Pipeline, a Live Simulation piece that runs on a gaming PC. Two seemingly endless hordes clash into a violent free-for-all, swinging large melee weapons and shouting with distorted voices. A wide range of characters -from citizen militias to fantastical creatures -enter the screen only to kill each other, wave after wave, sinking their virtual bodies slowly into a muddy landscape. The mood occasionally lightens up by the medieval covers of familiar pop songs that complete the soundscape conceived by the composer and sound designer Diego Navarro."

Theo Triantafyllidis, Radicalization Pipeline (excerpt), live simulation, 2021

Theo Triantafyllidis, born in Athens in 1988, lives and works in Los Angeles. The artist builds virtual spaces and interfaces for the human body to inhabit them. He creates complex worlds and systems where the virtual and the physical merge in uncanny, absurd, and poetic ways. They are performances, mixed reality experiences, games and interactive installations. He received a Master of Fine Arts at UCLA Department of Design Media Arts in 2016. Selected solo shows include ‘Pastoral’ at Eduardo Secci, Florence (2019); ‘Role Play’ at Meredith Rosen Gallery, New York (2018); and ‘Pretzel Twist’ at The Breeder, Athens (2017). Among the group exhibitions, ‘World on a Wire’, Hyundai Motor Studio & Rhizome of New Museum, Seoul (2021); Sundance New Frontier Exhibition, Park City, Utah (2020); Athens Biennale: ANTI-, Athens (2018); and Hyper Pavilion, 57thVenice Biennale (2017). Theo Triantafyllidis’s work is currently on display at MEDITERRANEA 19 Young Artists Biennale: School of Waters, San Marino (2021). Among his upcoming exhibitions in 2021, ‘Radical Gaming: Immersion Simulation Subversion’ at House of Electronic Arts Basel and the Augmented Reality Biennale at NRW-Forum Düsseldorf.

All images courtesy of the Artists and Eduardo Secci gallery.

Theo Triantafyllidis

Witchblade, 2021

Glazed Stoneware 31 x 5 cm 12 1/4 x 2 in

LINK: Theo Triantafyllidis

LINK: Theo Triantafyllidis, Radicalization Pipeline at Eduardo Pecci Milano

EVENT: LI ZHU (JUNE 11 - JUNE 24 2021, ONLINE)

Li Zhu

All Beings Are Suffering  

June 11 - June 24 2021

Introduced by Matteo Bittanti

vral.org

All Beings Are Suffering is part of Human Dust, an ongoing project that comprises self-generating scenes of human-like intelligence created by Li Zhu with Unity 3D. These simulated creatures reproduce themselves endlessly, floating in the air and multiplying at a frantic pace. As the artist says, “We don’t know whether such a human-like AI would have consciousness, but its presence will definitely confuse real humans’ consciousness. At least, because I heavily rely on computers to create my artwork, my own consciousness seems to be constantly washed away by algorithms. In a data flood, ‘real’ meanings that may exist in my art quickly decompose. Reality disappears; only a torrent of tumbling image data remains.”

Li Zhu is a Chinese-Canadian artist and scholar who uses new technologies such as video games, virtual reality, artificial intelligence, and social media to create novel ways of understanding reality. Li Zhu has an MFA from the School of the Art Institute of Chicago. She received a B.A. in Visual And Intermedia Arts from the University of Quebec in Montreal, Canada. She studied at the École nationale supérieure des beaux-arts de Paris and McGill University. Her work has been exhibited in China, France, Canada, and the United States. Recent exhibitions include I Think (solo, 2017) in Guangzhou, China, ON AURA (group, 2021) in Montreal, and Backyard Stories (group, 2020) in Chicago. She is currently working and living in Chicago.

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GAME ART: DAVID OREILLY'S EYE OF THE DREAM (2018)

EYE OF THE DREAM by DAVID OREILLY

26.09.2018, 16: 00-21: 00 (opening)
27.09.-04.10.2018 
11: 00-15: 00 & 16: 00-21: 00

Mobile Dome 
Mariannenplatz, Berlin, Germany

music BEN LUKAS BOYSEN & SEBASTIAN PLANO
programming DAMIEN QUARTZ & EZRA HANSON WHITE
Sound Design EDUARDO ORTIZFRAU
narration: ALAN WATTS
Idea & curatorial consulting STEPHAN SCHWINGELER

Schedule 2018

September 26-October 4th - Berlin, Mariannenplatz (The New Infinity)
October 13-15 - Los Angeles (David Lynch's Festival of Disruption)
October 25-27 - Hamburg Planetarium (The New Infinity)

The creation of the universe in less than two hours - the new interactive work of artist and game designer David OReilly takes us on a journey through billions of years of history from the moment before the Big Bang through the evolution of life to our modern world. The result is a multi-layered experience that oscillates between dramatic and meditative, abstract and familiar, chaotic and orderly. Real-time simulation is driven by a series of interconnected systems inspired by musical compositional processes. Always moving and producing infinite variations, they create complex and evolving shapes and structures - each moment unique and unrepeatable.

Video courtesy of Berlin Art Link, produced by Anna Russ, filmed by Peter Cairns, and edited by Lena Kocutar.

Images courtesy of David OReilly.

First presented at Berliner Festspiel 2018.

LINK: Eye of the Dream

Art Game: tha ltd.'s HUMANITY™ (work in progress)

The latest project from Japanese collective tha ltd., currently comprising Kentaro Yama, Yoshinori Nishimura, Sachi Okuda, Koji Takahashi, and Yoko Shiga, is titled Humanity. It's a mesmerizing game about crowds and crowd behaviors developed with Unity. This short video preview looks like a crazy mix of Lemmings, the Tokyo underground during rush hour, and M.C. Escher's drawings. Expect Humanity to reach the screens sometime is 2018.2018.

LINK: tha ltd.

Event: OPEN CODES: Living in Digital Worlds (October 20, 2017 – August 5, 2018, Karlsruhe, Germany)

Open Codes
Living in Digital Worlds
October 20, 2017–August 5, 2018 

Opening: October 19, 7pm 
ZKM_Foyer 

ZKM | Center for Art and Media Karlsruhe 
Lorenzstr. 19 
76135 Karlsruhe
Germany 

The exhibition Open Codes reflects on the world we live in today; a world that is created and controlled by digital codes. From communication to transportation (of people, goods, and messages), from design to production, from political economy and capital regimes, our contemporary societies are guided by codes written in programming languages that use electromagnetic waves and computers.

The all-encompassing digitization of the world, which has spawned disruptive technologies that have revolutionized traditional industries and ways of life, is due to two key lines of development: progress in mathematics and in physics. Specifically for the exhibition designed artworks and scientific works based on digital as well as on analog codes are presented in the exhibition. The works visualize and explain the complex dynamics and genealogy of digital codes, and the way in which they are increasingly shaping the way we live and how we perceive the world. Open Codes explores these advances together with their material and immaterial manifestations. The exhibition will help to understand the world we live in and inhabit. The exhibition traces the ingress of codes into our daily lives and the structures of knowledge they generate. By analyzing the latest developments in machine learning, emerging forms of governance, labor and production, economic shifts including cryptocurrencies and new business models, as well as the ways in which immersive visual and sound design influences our perception, Open Codes demonstrates the far-reaching and complex dynamics of our present-day, which is founded on codes and algorithms.

These dynamic shifts also profoundly impact what a museum represents. Global transformation of knowledge production and circulation because of advancing digitization are central to the debate on the functions and mission of a museum. This is why, with Open Codes, the ZKM has created a hybrid format of exhibition making, a mix of lounge and laboratory. Open Codes is designed as hub, a mixture of community and co-working spaces, an environment of coming together and sharing—for individual development and for reflection. It provides an infrastructure which facilitates creative working in different formats and a multitude of resources which offer essential information to facilitate understanding of the past, present, and future of digitization. This is an environment that encourages visitors to read, write, code, become participants, and engage in the imaginaries of art. The exhibition is a radical educational experiment. The entrance will be free and free drinks and snacks will be served to the public, because in future education should be rewarded and even paid.

With works by Jean-Michel Alberola, Morehshin Allahyari, Isaac Asimov, Lisa Bergmann, Michael Bielicky, Patrick Borgeat, James Bridle, Ludger Brümmer, Can Büyükberber, Emma Charles, Matthieu Cherubini, Arthur C. Clarke, Tyler Coburn, Max Cooper & Andy Lomas, Shane Cooper, Larry Cuba, Frederik De Wilde, Simon Denny, Götz Dipper, Constant Dullaart, Margret Eicher, Jonas Eltes, César Escudero Andaluz & Martín Nadal, Cerith Wyn Evans, Claire L. Evans, Harun Farocki, Thierry Fournier, Kristof Gavrielides, Jan Gerigk, Julia Gerlach, Julia Ghorayeb, Melanie Gilligan, Fabien Giraud & Raphaël Siboni, Manfred Hauffen, Daniel Heiss, Anton Himstedt, Yannick Hofmann, ICD/ITKE, Simon Ingram, Eduardo Kac, Helen Knowles, Beryl Korot, Anton Kossjanenko, Brigitte Kowanz, Marc Lee, Donna Legault, Jan Robert Leegte, Lawrence Lek, Armin Linke, Bernd Lintermann, Fei Liu, Christian Lölkes, Solimán López, Shawn Maximo, Tamara Mchedlidze, Rosa Menkman, Ben Miller, Chikashi Miyama, Andreas Müller Pohle, Jörn Müller-Quade, Greg Niemeyer, Helena Nikonole, Julian Palacz, Elizabeth Pich, Matthew Plummer-Fernandez, Julien Prévieux, Peter Reichard, Manfred Kraft & Michael Volkmer, Matthias Richter & Josef N. Patoprsty, Chandrasekhar Ramakrishnan, Betty Rieckmann, Robotlab, Curtis Roth, RYBN.ORG, saai | Südwestdeutsches Archiv für Architektur und Ingenieurbau, Chris Salter, Karin Sander, Karl Sims, Adam Słowik, Rasa Smite & Raitis Smits, Space Caviar, Barry Stone, Monica Studer & Christoph van den Berg, Jol Thomson, Suzanne Treister, UBERMORGEN.COM, Ruben van de Ven, Harm van den Dorpel, Koen Vanmechelen, Danja Vasiliev, Ivar Veermäe, Nikolaus Völzow, ::vtol::, Clemens von Wedemeyer, Peter Weibel, Alex Wenger & Max-Gerd Retzlaff, Where Dogs Run, Dan Wilcox, Stephen Willats, Manfred Wolff-Plottegg & Wolfgang Maass, World-Information Institute.

Open Codes is conceived by Peter Weibel and curated by Peter Weibel, Lívia Nolasco-Rózsás, Yasemin Keskintepe, and Blanca Giménez assisted by the external advisors Natalia Fuchs, Franz Pichler.

LINK: zkm.de 

Event: Hybrid Layers (June 3, 2017–January 7, 2018, Karlsruhe Germany)

Hybrid Layers
June 3, 2017–January 7, 2018

Opening: June 2, 7pm

ZKM | Center for Art and Media Karlsruhe
Lorenzstr. 19
76135 Karlsruhe
Germany

T +49 721 81000
F +49 721 81001139
[email protected]

zkm.de
Facebook / Instagram / YouTube

The group exhibition Hybrid Layers explores the diverse aspects of what can be described as “the digital condition.” The digital becomes the picklock, the a priori, that unlocks the specific cosmos, the cultural and conceptual scenarios revealed by the individual artworks. The exhibition focuses on a generation of artists, who were confronted with the growing presence and impact of the digital sphere; it presents new perspectives on digital technology, the internet, and social networks, and explores both the virtual and the physical appearance of an artistic practice that is profoundly influenced by the digital.

Today, to focus on artworks that deal with the wider issues of technology and the digital means entering a highly complex field that cannot be subsumed under any specific category or genre. Recognizing the multiple perspectives made manifest by technology, Hybrid Layers investigates the different strands of a narrative, which is intrinsically open and multifaceted, emancipating the discourse on technology from any restrictive categorization. The installations featured in the exhibition appear as multilayered projects in which the complexity of our surroundings emerges, be it the material consistency of our environments and artificial settings or the immateriality of the digital sphere, thus revealing the kaleidoscopic facets of the functions, contradictions, and phenomena, that affect us and characterize all areas of our lives. Once the category has been exploded the field becomes a hybrid nest of multiple, layered possibilities.

Since its foundation, ZKM | Karlsruhe has focused on current developments in media art, describing the influence of contemporary technology on society and art production by means of a variety of exhibitions. While infrastructural and dystopian aspects of digital transformation were the topic of the ZKM´s exhibition program in recent years, the subject of Hybrid Layers is the real-life influences of media on a generation of artists born predominantly in the 1980s. The works on display in the exhibition reflect on contemporary social, technological, and aesthetic debates and on how extensively the digital has influenced all areas of our everyday life, our perceptions, and our production of knowledge.

The exhibition is curated by Giulia Bini, Sabiha Keyif, Daria Mille, and Philipp Ziegler.

Artists:
Sophia Al Maria, Auto Italia South East, Riccardo Benassi, Enrico Boccioletti, Blunt x Skensved, Aleksandra Domanović, Ed Fornieles, Glass Bead, Guan Xiao, Yngve Holen & Aedrhlsomrs Othryutupt Lauecehrofn, Rachel de Joode, Delia Jürgens, Daniel Keller, La Plage, Lawrence Lek, Metaphysics (involved artists: Rubén Grilo, Anna K.E., Florian Meisenberg, Eddie Peake, Jack Strange and Anne de Vries; produced by: Philip Hausmeier), Katja Novitskova, Yuri Pattison, Tabita Rezaire, Unknown Fields, Anne de Vries, Yu Honglei.

LINK: Hybrid Layers