A review, photos, and selection of highlights from the abundant offerings of the 4th edition of the International Digital Art Biennial (BIAN) in Montreal.
The 2017 edition of Eastern Bloc’s Sight + Sound festival put ‘capital I’ innovation in its cross-hairs and pulled the trigger. We journeyed to Montreal to its flagship exhibition and assess its spectrum of ‘non-compliant futures.’
The CAN/HOLO team is headed to Montréal for the 18th edition of MUTEK. A celebration of the best and brightest in audiovisual performance, we’ll be hosting ‘HOLO Encounters’ with several of the festival’s featured artists.
In just a short few weeks, NODE is back for another edition and invites you to take part in a week long exploration of creative technologies.
Created by the SCI-Arc Faculty members Curime Batliner and Jake Newsum for the for the third annual Mextropoli Festival, Spheres of Influence is a temporary installation installed in the patio of Laboratorio Arte Alameda. Part installation and part live performance, it uses a robotic system from Staubli to paint layers of graphics (abstracted from the city) onto a series of human-scale spheres.
InterAccess’ Vector Festival returns with its fifth edition next summer and its curators have issued their annual call for work in and around the edges of videogame culture.
Pittsburgh’s Art && Code returns with a much-needed consideration of “new and independent visions for VR, MR, and AR.” Taking place from Oct 6-9th, and deliriously titled WEIRD REALITY, the four-day symposium gathers many of the best and brightest working in and at the fringes of immersive media.
In a little over a week, the 6th edition of TADAEX festival (Tehran Annual Digital Art Exhibition) takes place at Mohsen Gallery in Tehran, Iran. It’s a strong manifestation of the digital scene in Tehran and the people who make it possible, it features Iranian digital artists as well as far reaching international network of collaborators thanks to an ongoing residency program with NODE Forum for Digital Arts.
CAN’s report on the audiovisual highlights (and our participation) in the 17th edition of Montréal’s venerable MUTEK festival.
CAN contributor Dylan Schenker considers AUTOMATA (“art made by machines for machines”) and the uneasy relation between human and machine aesthetics at the third edition of Montreal’s BIAN digital art biennale.
The Gray Area Foundation for the Arts has been active in San Francisco for a decade. On the eve of the second edition of their eponymous festival, CAN chats with the Gray Area team about their ongoing educational and programming initiatives.
Created by London based studio Nocte, Ascent is interactive installation intended to blur and at the same time highlights its surroundings. Using nature as a basis for aesthetic, Ascent is a mesmerising sight of smooth lines and soft light.