The project kicked off in 2019 in Rome with a spectacular showcase of mapping projections on the Facade of the Palazzo della Farnesina.

The Italian studios selected by The Farnesina Digital Art Experience are: Antaless Visual Design, Antica Proietteria, Apparati Effimeri, FLxER, Kanaka Studio, Luca Agnani Studio, Michele Pusceddu, Monogrid, Mou Factory, Olo Creative Farm, OOOPStudio, Pixel Shapes, The Fake Factory e WöA Creative Company.

During this difficult year for all arts, the organizers set a new phase for the audiovisual arts project, turning it into an itinerant showcase of the best in the Italian audiovisual arts.

The audiovisual exhibition is the result of a collaboration between the Italian Ministry of Foreign Affairs and Cooperation and the Bright Festival Connect.

Against all pandemic odds the world premiere of the expo took place in Leipzig on the 23rd of October during the Bright Festival Connect.

The exhibition in Leipzig is promoted by the Italian Cultural Institute in Berlin and will be open to the public until the 9th of May 2021.

There wasn’t a better venue to host the event than the Kunstkraftwerk in Leipzig, former power plant from the early 1900s then turned into the first digital arts German museum.

The audiovisual artists didn’t waste the creative opportunities offered by the industrial surroundings.

In fact, The Farnesina Digital Art Experience delivers a dramatic multimedia experience to the audience. A true sensorial bath featuring a 360° immersive audiovisual projection breaking all boundaries between artwork and user.

The Kunstkraftwerk will also host other immersive art pieces, interactive installations, mix-media sculptures, live performances and light art shows. The main goal is to encourage visitors to interact with new technologies and discover cutting-edge and futuristic artistic expressions .

The The Farnesina Digital Art Experience proves once more the possibilities of audience engagement offered by the audiovisual arts installations.

It also restresses how we can rethink our way of experiencing arts, while also respecting the COVID related health regulations.

Experiencing immersive arts can be done in total safety when planning has been done thoroughly and followed to the letter.

Shutting down museums and art galleries is possibly the easiest solution, but not so viable when we look at museum sustainability and cultural enrichment for the citizens.

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Maotik has produced a wide variety of audiovisual projects during his long lasting career. He is highly interested in the relationship among science, art and technology.

His aesthetic is refined, well paced and alluring. Pixel by pixel, beat by beat, Maotik builds up immersive environments where the audience gradually and seamlessly slips in.

By developing his own algorithms he is able to design unique artistic experiences where the sounds and images are intrinsically connected. Nevertheless he doesn’t seek full control over the audiovisual outcome.

Across his very different projects there is one interesting component that links them all: the inclusion of outside inputs, such as data feeds or audience interaction which are not totally under his control.

By incorporating these external inputs Maotik enriches the audiovisual experience. His polished aesthetic structure is shaken by the random elements from the outside world, making each show different from the previous one.

A mesmerizing contrast between his precise geometry-based audiovisual aesthetic and the chaos born from the random elements, that are manipulated live by the performer or by the audience.

Maotik has presented his work in various festivals around the world, such as Mutek Festival, Live Cinema in Rio, Signal Festival in Prague, the British Film Institute in London and ARS Electronica in Linz.

Maotik recently moved to Berlin where he continues his artistic research by taking part in the art residency organized between Sonar+D and Factory Berlin.

He also joined the CODE university where he works as a professor giving lectures about interactive design, generative design and AR/VR environments.

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LCF reaches its 7th edition this year and we are glad the organizers managed to go ahead despite the all the Covid restrictions.

Live Cinema Festival is part of an important network of international audiovisual projects including the LPM, The AV Node, The VJ Television and many more.

The main feature of this Italian AV get-together is the high focus on the concept of synaesthesia, the ability to merge senses that aren’t normally connected.

We consider this particular neural condition as the main artistic trait that distinguish the audiovisual art form from cinema or pure video art, both utilizing sound and images as main expressive vectors.

The Audiovisual artist designs the sound and the image-in-movement experience in sync, not just rhythmically but also emotionally. When the two senses are artistically connected an immersive experience is built for the audience.

More specifically the practice of Live Cinema seeks to break the linearity of the film narration through the artistic improvisation.

By connecting sounds and images over the live performance, the unpreventable storytelling opens up to chance, artist inspiration and feedback from the audience.

Live Cinema Festival 2020 features important audiovisual artists like Tarik Barri, Amelie Duchow and Maotik over 12 live performances.

Each evening performance is preceded by the Symposium on “What is synesthesia?”, a meeting in which authors, curators and artists of international standing are invited to discuss the topic of synaesthesia and the relationship between sound and image.

Before each performance, it is also possible to enjoy the video installation “Machine for Living” by the Canadian artist Sabrina Rattè, a series of videos that investigate the architecture of the new cities and the brutalist residential buildings around Paris.

Furthermore, the Sala Ellittica hosts a special section dedicated to Italian artists, Live Cinema Made in Italy , from Sunday the 11th to Wednesday the 14th of October.

The program is then enriched by the educational offer of Live Cinema Festival. On October 9, The workshop curated by Algo:Ritmi kicks off. It will cover the topic of Digital Storytelling and Virtual Reality over the span of 4 days.

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The festival has been founded by a group of VJs with the goal of outreaching new audiences and promoting collaboration among audiovisual artists.

As you know we are always happy to add a new pinpoint on the Audiovisual map we have been building since 2011. Especially when it comes from a country we haven’t heard in a while from.

Aavistus Festival is the result of the joint effort of local audiovisual artists and event producers to endorse VJing as an independent art form.

Artists need events to showcase their work and for professional networking. As any ground-breaking form of art, the beginnings are tough due to the lack of dedicated events.

Vjing and audiovisual art are often misinterpreted as forms of entertainment to complement electronic music.

It is true that VJing especially, share the same breeding ground as electronic music. Nevertheless it quickly took its spot as an independent, varied and complex art form.

Aavistus Festival responds to the specific needs of the local artistic scene bringing something fresh in Helsinki and truly ambitious, considering the overall Covid scenario and restrictions to public events.

The programme includes AV live performances, VJ sets, audiovisual installations, projection mapping, workshop and panel discussions.

It will take place in multiple locations in Helsinki. Aavistus Festival organisers aim for the event to become a a truly international festival, when travel restrictions don’t stop us anymore.

From Audiovisual City all the best of luck to this new kid on the audiovisual events block!

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They craft beautiful light geometrical shapes, slowly pulling the viewer into a trance-like state. The soundscape is dense and absorbing, precise and analytical.

Their immersive environments are pervaded with a dreamy, hermetic atmosphere.

NONOTAK explore the full potential of minimal forms by combining lights and sounds to build delicate audiovisual architectures.

Instead of offering a colorful audiovisual feast, NONOTAK prefers basic structural elements slowly appearing and conquering the dark space.

We are hypnotised. We step into a dream-like state by wandering around this otherworldly and ethereal landscape, built upon three key elements: light, sound and movement.

Fascinating and mysterious, each installation leaves the viewer with an impelling feeling of wanting to know and explore more of their audiovisual art.

The studio is the result of the collaboration between the illustrator Noemi Schipfer and the architect musician Takami Nakamoto.

Commissioned by the Architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, NONOTAK was created in late 2011.

In early 2013, they started to work on light and sound installations capitalizing on Takami Nakamoto’s approach to space & sound, and Noemi Schipfer’s experience in kinetic visual.

NONOTAK have been commissioned by the Mapping Festival ( GENEVA ), EM15 ELEKTRA / MUTEK ( MONTREAL ), MUTEK.JP (TOKYO), MUTEK.MX (MEXICO), MUTEK.SF (SAN FRANCISCO), MUTEK.ES (BARCELONA), la Nuit Blanche ( PARIS ), Roppongi Art night ( TOKYO ), Axcess Art Gallery ( NEW YORK ), Stereolux ( NANTES ), Playgrounds Festival ( TILBURG ), Mirage Festival ( LYON ), Vision’R, Insanitus Festival ( LITHUANIA ), FUZ Festival ( PARIS ), Lunchmeat Festival (PRAHA ), KIKK Festival ( BELGIUM ), Nokia by Lumia ( ISTANBUL ). 

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This is a world of constant evolution and incessant refinement – the “MU” in MUTEK refers consciously to the notion of “mutation”. 

MUTEK team

Year 2020. Needless to say this applies to the “special” year we are all experiencing, dare to say, more than any other year…

The 21st edition of MUTEK is happening. Following MUTEK SF NEXUS in May, the digital creativity festival is mutating into a hybrid edition.

We find this original format with both physical and virtual events to be an interesting experimental adaptation to the Covid outbreak.

Through September 8th-13th we will attend numerous events across 3 virtual stages with more than 60 performances, an interactive Gallery featuring more than 20 VR, AI, video and audio artworks, an Auditorium of master classes and lectures, and a MUTEK archives Listening Room.

The festival will include 19 world premiers and the participation of more than a 100 artists. 

On top of the wide online programme accesible worldwide for free (with one and only requirement: internet connection), there will be physical offline events across the MUTEK network locations through MUTEK Connect in Montréal, Mexico City, Barcelona, Buenos Aires, San Francisco and Tokyo. 

Physical events include:

Connect MUTEK.AR

Bionautas (Jonas Kopp & Flor del Valle) AR Live A/V Bruno De Vincenti AR – Hyper Dreams (VJ Javier Casadidio AR) Efe Ce Ele CO/AR – Biosynthetic Borders Live A/V Flor de Fuego AR – Fractal Live A/V Naiborg AR (VJ MMOS AR) SidiRum AR (VJ Tama AR)

Connect MUTEK.ES

Joana Gomila ES Marina Herlop ES

Connect MUTEK.JP

Ai.step JP Live A/V Hiroaki Umeda JP — Intensional Particle Live A/V Junichi Akagawa JP — Geist on the Lake Live A/V Sakura Tsuruta & asagi JP Live A/V

Connect MUTEK.MX

Mabe Fratti & Milena Pafundi GT/MX+AR Live A/V Wasted Fates & Future Forward MX — Illuminations Live A/V

Connect MUTEK.SF

Arushi Jain & Carly Lave US — GOLEM (via GHUNGHRU) George Hurd US — Echolocation

Moreover, three other partners will be taking part in the virtual version of the MUTEK Montreal festival: the Transart Festival in Italy, cultural venue Chapelle XIV in France, as well as artistic centre B39 and its associated festival, PRECTXE, in South Korea, adding extra diversity to the international hybrid programme. 

For more information head to their official website

Register to the virtual event.

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The overwhelming beauty of data visualization. Our world evolves at staggering speed. With it the gathering and processing of the new world currency: the data.

The importance of the audiovisual data visualization resides in the sensorial connection with the audience.

Ouchhh are absolute master of the data-visualization technique. They create awe-inspiring aesthetic representation of data through audiovisual technologies.

Their installations and data sculptures draw the complexity of big data closer to the audience, by converting it into mesmerizing audiovisual experiences.

Reading through data only provides us with a two-dimensional hint of the information landscape we live in. Through the work of the audiovisual artists, the data is turned into a meaningful immersive environment.

By experiencing this environment, we can just about grasp the scale of the information that rig our hybrid world. And we let ourselves go into the shockingly beautiful universe of data.

Ouchhh always manages to balance the big data complex analysis with the delivery of a stunning audiovisual experience to the audience.

The studio integrates art, science, and technology in every work they create. A multidisciplinary creative hub focused on new media platforms, offering direction and art direction and also producing video mapping projections.

Skilled in animation, design, illustration, 3D, 2D, interactivity, interaction, and live-action -and seamlessly combining some or all of these- OUCHHH considers each project as a challenge and takes a fresh and unique approach to each other.

They have an office in Istanbul, and partnerships in L.A., Vienna, Barcelona, Paris, and Berlin.

Ouchhh has created the “POETIC AI” Solo Exhibition at Atelier des Lumières, the largest AI exhibition using 50K pixels and 136 projectors. One million people visited the exhibition!

The studio worked with many brands such as Google, Cern, Nike, Wired, their collaborators transcend all industries and all continents.

Their works have received multiple accolades and awards in the international arena. Ouchhh has been featured at Ars Electronica 4 times and will be attending for the 5th time this year.

They became Istanbul’s first new media agency to win Reddot design awards, German Design Award, 10th Annual IDA Awards (The International Design Awards) and ADC Awards ( The Art Directors Club), in addition to an Honorable Mention from the City University of Hong Kong.

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He makes music videos, illustration and video art with a strong narrative focus for exhibitions, installations and broadcast events.

Over the past three years, he has been working extensively at Somerset House Studios with Gaika to develop installation art, music and commercial projects.

He has also been developing his own projects and working with other artists as projects come up. Some of this projects are music videos for artists like Nazar, Crystal Fighters, visuals for the FOLD club in London together with the artist Gaika, and others.

We are closely keeping an eye on this audiovisual artist because of his creative and unique projects related to the London based independent label Hyperdub, created by Kode9.

The label has its own identity. His style leaves us astonished, like the Rob Heppel´s visuals. A dark, provocative, sci-fi audiovisual narrative arising from a sensorial and introspective background.

Rob Heppel has also been collaborating with musician Gaika for Hyperdub at Corsica Studios, London in 2019.

One of his many artworks is “Lamborghini copz” , a 360 Film & -3 Channel / 26 Minute Holographic Installation.

Lamborghini Copz is a speculative fiction work of expanded cinema about the development of Brexit, created in collaboration with Gaika for an installation at Hyperdub’s Ø night at Corsica Studios.

Another strong artwork is an installation prototype he built for the exhibition Get Up, Stand Up Now in Somerset House in 2019.

A major new exhibition celebrating the past 50 years of Black creativity in Britain and beyond.

And my favourite one, is the music video for Nazar – “Bunker” in 2020 because of the originality of the technical production when expressing the background of the song.

For this video, Nazar told Rob Heppel about the situation in Angola in 1992; after 17 years of the civil war with the countless lives destroyed between warring factions – the ruling MPLA agreed to hold an election.

After researching the Angolan civil war, Rob Heppell wanted to create something representing the right emotional context for the song.

Claustrophobic ruptured rooms, skeletal remains of luxury hotels, the transformation of personal space turned into political no-man’s land through extreme violence, the shifting centre of an infinite war.

The camera moves as the memory of a soul whirl-winding through a city, right after a coup.

I absolutely love this complex and thoughtful audiovisual artist. His work is fresh and original. Not only because he mixes the different tools to achieve a particular result but also because of the way of expressing an idea. In many cases an idea with a strong reflection of reality.

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The Iberian Peninsula has been a hotspot for audiovisual culture and new media arts for many years.

Groundbreaking events such as LEV Festival and Sonar (just to name a couple) have left an indisputable mark in the international AV panorama.

UMBRA Light Festival is a new audiovisual event in Vitoria-Gasteiz celebrating its second edition in February next year.

UMBRA is launching an open call for all audiovisual artists working the field of Light Art.

If you feel like exhibiting your work in the beautiful Basque Country, surrounded by lovely people and delicious food… Well, this might just do the trick!

The festival showcases projection mapping, audiovisual installations and light sculptures in order to develop a dialogue between new media and the urban context of the Basque Country capital city.

The participants have total freedom regarding the proposal theme. However proposals addressing environmental issues and/or United Nations  Sustainable Development Goals (SDGs) will be highly valued by the jury.

These will be the main focus of the 2021 edition of UMBRA Light Festival.  The installations will be selected accordingly to the sculptural value and interactive implementation of art and light.

The selection process will be finalized within one month after the submission deadline. All finalists will be notified individually by e-mail

The artists may present proposals as an individual and/or collective. There is no limit to the number of members per team, however each proposal requires a distinct form and must be completed accordingly.

The Jury or selection committee, appointed by Argia_3, is made by professionals from lighting design, public space intervention and the Light Art sectors.

The Jury shall take into account the artistic quality, originality, innovation, and themes regarding sustainability (SDGs), as well as features of the artwork regarding the actual set up within the festival capabilities.

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Out and about robots, hard-techno futuristic music, crazy bonkers live performances, audiovisual extravaganza with a general cyberpunk attitude to bond it all together.

All of this and much more is offered by Gogbot Festival, the techno-hardcore-sci-fi audiovisual event based in Netherlands.

Basically the kind of event we would go on a normal weekend if we were living in the Mad Max universe. The main aim of the event is showcasing the most avant-garde and cutting edge trends in the audiovisual and new media world. And then push a little further!

There is nothing quite like Gogbot on the audiovisual scene: AI meets AV, Science meets music, art meets activism during 4 intense days of multidisciplinary activities across Enschede.

Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.

Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.

This year theme is Quantum Supremacy, a mind-blowing, controversial, but extremely urgent theme.

Big companies such as Google, Microsoft, and IBM are competing to build the first quantum computer, a ‘supercomputer’ expected to be a staggering one billion times faster than today’s best computer. What will the quantum future hold?

In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.

Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?

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