On May 15 and 16 FIBER returns with the third edition of FIBER Festival, taking place at A Lab and Radion (Amsterdam), featuring an excellent selection of critical and inspiring art, DJs and live acts.
Latest in the series of collaborative projects between Elevenplay and Rhizomatiks is Shadow, a performance comprised of 3 drones with a spot light and one dancer.
Created by Klaus Obermaier with Stefano D’Alessio and Martina Menegon, EGO is an interactive installation that explores the concept of ‘mirror stage’ objectification resulting in a conflict between one’s perceived visual and emotional experience.
Transient Materialization explores the relationship between digital and material-based digital fabrication through n-hedron structure composed mainly of soap foam, which is blown, through a mixture of air and helium, into a foam structure.
Created by Kenichi Yoneda (Kynd) in collaboration with Tokyo ‘visual label’ BRDG, [BRDG020] Lilium is an audio-visual experiment that combines Kynd’s research into water colour simulation with the music by Yopparigami/Yu Miyashita.
At CAN we don’t really care for lists. But as we look back as the year winds down, we’re known to make an exception. To keep up with our tradition, we present our most memorable projects of the year.
Series of workshops by Ludwig Zeller at the Visual Communication Institute of the Academy of Art and Design in Basel to use generative systems to create visual instruments that mimic the expressivity of electronic music synthesizers.
Visions of America: Amériques is a site-specific architectural video installation, developed to illuminate and enhance the Varèse’s composition and to activate the architecture of Frank Gehry’s Walt Disney Concert Hall.
Created by Princemio in collaboration with onformative, the Pathfinder project was created with aim to contribute to the creative processes of choreographic development.
Earlier this year, Resonate festival was the host to Transcranial, a CAN initiated project bringing Klaus Obermaier, Daito Manabe and Kyle McDonald to Belgrade for two weeks to work on a new performance piece, creating a bridge between three festivals in Europe.
This past Saturday Ryoji Ikeda presented the North American premiere of superposition to a crowd of several hundred at the Musée d’art Contemporain de Montréal (MAC). As would be expected, the sixty-five minute multiscreen performance played out as kind of a data aesthetics megamix that flashed through a series of precisely choreographed abstract visual vignettes that grappled with the digital sublime and pondered the agnosticism of network culture.
Tundra define themselves as a “collaborative artistic collective” whose members include musicians, sound engineers, programmers and visual artists. Their focus is to create “spaces and experiences by making sound, visuals and emotions work together” in audiovisual performances and interactive installations.