Krakow, 4 – 11 October 2020

Unsound focuses on a broad swath of contemporary music — emerging, experimental, and left-field — whose sweep doesn’t follow typical genre constraints. Influential around the world, it has developed a reputation for identifying innovative scenes and radical sounds.

It’s a platform for an exchange of artistic ideas for musicians, visual artists, curators, journalists, record label owners and booking agents from every continent.  

The theme for Unsound 2020 is Intermission. Meaning a break in a performance or production, here it also refers to the rupture caused by COVID-19, a period starkly separating before from after. The word therefore embodies multiple, and somehow contradictory, forces.

The audiovisual event takes place every year at a number of venues across Kraków, regular events also take place in New York, Adelaide, Toronto, and London. Between 2016 and 2018, Unsound also produced eleven festivals in Eastern Europe, Central Asia and the Caucasus, part of a long history of working with curators and artists in the post-Soviet region. 

As well as spotlighting emerging artists, Unsound also commissions new shows and encourages trans-border collaborations, adapts and re-imagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project.

Krakow, Poland

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DubLab is the new label of Dub Video Connection, mix-media studio based in Lisbon since 1997. DubLab used to be the name of the Arts & Experimentation department, but now it became that department.  New name, new life.

Stage & Visuals design for music labels and artists. DubLab creates concepts, visual contents and technical engineering projects for live performances. On top of that, they offer a long time experience with branded content and institutional video mappings on corporate events.

DubLab mission is to combine audiovisual technology with creativity, to achieve new sensorial light and video communication with the public. All this skills together, create excellence on project managing for show tours, DJ artworks and event design.

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Their multi-skilled backgrounds and a powerful synergy among the creatives are the foundations to produce impressive projection mapping, stage visuals and immersive installations.

VIDEO MAPPING

From traditional video projection techniques to the most complex forms of architectural video mapping.

INSTALLATIONS

Looking for new forms of communication through the use of multimedia technologies and nonconventional supports.

STAGE DESIGN

Design of multimedia scenography.

SOUND DESIGN

Sound department is handled by Giovanni Raniolo, established sound designer and music producer.

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Quebec, February 5-9 2020

Mois Multi 2020 is an archipelago of artists who express themselves madly, humanly, in a gigantic and dazzling spasm of life.

In a nutshell, the 2020 programs revolves around things that collapse. A subject of undoubted importance in the current times which affects us in the private and political life. The spark for this edition came, among other things, from the APA office, which approached us almost a year ago to talk about collapse. A joyful bonfire was born from this desire.

This is an edition generated by an unstoppable youth that also leaves space to a wise and proud guard. It’s young, casual, punk and contemporary. Festival curator, Emile Beauchemin aims to program a diversity of humans, approaches, subjects and ways to approach this world that we are constantly trying to understand and reconstruct.

Mois Multi is a project created by Recto Verso whose mission is to support and promote the research, creation and dissemination of multidisciplinary and electronic arts. 

In every edition, MM programs aim to bridge the gap between artworks and public, offering an unique and accessible experience of the art and the world.

Mois Multi

650, côte d’Abraham

Quebec, Canada

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Nick Verstand (1984) is a contemporary artis

The resulting intuitive experiences, co-creations of artist and audience, generate a hypnotizing environment for the subconscious mind.

Nick has exhibited and performed at Stedelijk Museum Amsterdam, Dutch Design Week, Art Central Hong Kong, SXSW and collaborated with artists such as Fatima Yamaha, Joep Beving and Suzanne Ciani. Dezeen selected his project AURA as one of the top 10 art installations of 2017, alongside Olafur Eliasson, Ai Weiwei, and Anish Kapoor.

studio@nickverstand.com

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Nick Verstand

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GDÁNSK, 13 December 2018

‘Interference’ literally means meddling, intervention, disturbance.

Interference Festival 2018 – 5th Festival of Visual Communication, it’s a one-of-a-kind event in the Pomeranian District which the main target is to popularize visual arts. The festival is focused on international short visual forms’ overview and on the Contest ‘Freedom of Form’ which the main aim is to emerge the best artists in categories Found Footage, Music Video, Creative Advertising Piece, and Experimental Short Visual Form

Visuals, music videos, teasers, creative advertising forms, jingles and video art, experiments on the border of art – that is what you’ll see during one of the most interesting events of the kind in Central Europe. Interference Festival equals a new, unconventional form of the open-minded festival in which one the most important aim is to discover and to look for the best video avant-garde artists.

Last but not least, there is VJ Battle coming during which the best 8 Vjs will compete on the screen. The main festival points during the fifth edition of the festival will be at the Academy of Fine Arts, Pionowa Gallery, and the Gdańsk Shakespeare Theatre.

Interference 

Gdańsk, Poland

info@interferencefestival.com

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Interference Festival

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• What is your artistic background and main inspirations in the new media art field?

I studied art and architecture at The Technical University in Liberec. Students of my generation were influenced by conceptual artist Stanislav Zippe. Maybe for this reason, I try to combine architecture and multimedia in my work. Therefore, we have established two platforms that work in synergy Kolmo.eu and Loom on the Moon.com

• What is Audiovisual to you and how do you position yourself in that culture?

We have recently worked on an audiovisual representation of historical topics for various museums and installations. We find challenging to use contemporary visual language to speak about events and moments in our distant and recent history. It is not our only focus, yet it is a territory we have been exploring for a couple years now. We do not look in the past scenes as into the hermetic events which do not have any correlation with lives we have today. We rather pick out those which do have relevance to today in our view.

• We were very impressed with the immersive use of video-mapping as a documentary tool. Can you tell us about the creative process behind Memory of the Nations?

Memory of the Nations is the organization focused on collecting of testimonies. It is a wide archive (7000 people recorded up to date) of subjective views on past events. The phenomenon of subjectivity was very attractive to us as it’s in contradiction with mainstream explanation of history. We, in collaboration with Pink productions (coauthors of the exhibition), have tried to avoid black and white viewpoint, therefore, we have focused on situations in which the human rights or human dignity were most violated. In those darkest places we could find bravery, humanity, and characters with strong moral principles.

We feel that everyone is tired by straightforward information oriented rhetoric, for that reason we have split the installation into two main parts. Almost like the two halves of the brain, one-half emotional and subconscious and the other narrative and rational.

It was challenging to cover such a long historical period of 100 years so we highlighted two totalitarian periods our nation underwent during this time. It is important for us to keep these past atrophies on the display so the public could be on guard when politics start to go wrong. Somehow the recent rise of populists and post fact demagogues in the world makes us believe that such an ambition is more relevant than ever.

• Audiovisual culture is progressively becoming more prominent and known in the Czech Republic and Prague. What’s your opinion about the Czech AV scene nowadays also regarding public and private support to artists and events?

When I returned back to the Czech Republic from Netherlands where I had lived for 5 years, I noticed that Prague scene around film, animation, and multimedia is full of skilled people who were great to work with. For that reason, I have been trying to promote this field abroad. It is fun to work with these people on some projects in Singapore or Hong Kong or elsewhere and bring our sensitivity, skills, and improvisation to the table.

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“An Interdisciplinary art festival ‘LOOM’ presents a panoramic view of Immersive Art by means of performance, audio-visual and interactive installation. In the era of Big Data and Connected Individualism the audience will be transported into a fictitious world blending the lines between artistic disciplines simulating Utopia, Dystopia, Futurism, Technology, Control, Freedom, Reality and Fiction in a contemporary landscape. Ten rooms will be transformed into an interactive path through Utopia126​“

Movistar Loom Festival ​was the winner of the Artsy Festival 2017 contest and has been developed by
Loom Collective​. With headquarters in Barcelona, the platform and multicultural-interdisciplinary collective was born with the intention of promoting Barcelona’s artistic underground scene.

On first entering the festival, held in the arty Poble Nou neighbourhood of this cosmopolitan city, we were greeted by some rather shiny figures and lights beaming down from the ceiling. We realized that this was not going to be like the usual Barcelona Festival scene.

Loom festival had an interesting balance between performance art, installation and visuals, as well as the usual food trucks and DJs that we’re used to seeing. The interesting part about the festival for us was the way that some of the usual concepts were broken, such as musical spaces where the DJ on the stage at one end of the room was finally broken – obvious, but lacking on the Barcelona creative scene. El Palomar provided us with an interesting demonstration of five trans/non-binary people carrying banners – a first for us within an art festival context, which was both surprising and refreshing as an idea.

Daniele Bonnici’s technological alter was all to familiar to us, in this digital age, a reminder of how we have developed as a culture faced with technology, as it begins to take over every daily task that we know. What will this alter look like in 20 years to come? We hate to think, but this was an excellent representation of the overall eeriness of the festival’s concept of dystopia.

The Plastic Kingdom, perhaps the most easily identifiable installation/performance had a very clear message. A clear story of pollution and nationalism, a powerful political message is conveyed through the use of performance art in a way that is thoroughly engaging to all ages – the disasters of our oceans presented with a pinch of LOL.

And just when we thought that they didn’t have it covered, the icing on the cake was the representation of Cyborg art, with the participation of Neil Harbisson – ‘a Catalan-raised, British-born cyborg artist.’ If you have never heard of this guy, you’d better do your research, because he is living proof of the powers of technology. The first person to have an antenna implanted in his head is said to have information sent to him such as measurements of electromagnetic radiation, phone calls, music, as well as video or images which are translated into audible vibrations.

What better way to end our experience at the festival than through some live digital painting to music through local artist, Alberto de Blobs.

Slidemedia ‘Aleph’ – 3 panels with an audiovisual hologramatic installation, multi-screen and multi-layered.

Photography & review by Hayley Cantor – www.hayleycantor.com

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Art collective, Genetic Moo create playful interactive art using Open Source software and a range of low tech sensors, including web cams, microphones and Kinect. Their work draws widely from science, particularly in the areas of evolution, mutation and artificial life.

Since 2008, they have been building a digital bestiary based on ‘imagined future evolutions’, where human development is driven by sensual rather than cerebral influences.

Their creatures, such as Starfish and Cockatoo Squid, reconfigure the human body into fantastical forms and are programmed to respond in a variety of life-like ways to audience motion, sound and touch.

In 2013, Genetic Moo starting building Microworlds – digital environments populated with their interacting creatures. Microworld is an experiment in creating a digital ecosystem of artworks that react to each other, to the space and to the audience. Each Microworld is an open invitation to local artists and tinkerers to bring a ‘responding work’ into the mix. The seventh Microworld takes place in Leicester 20-27 Aug 2016.

Genetic Moo have exhibited extensively around the UK and abroad. Their awards include the John Lansdown Award, the Lumen Prize Founder’s Prize and the 2016 Kent Creative Audio Visual Award.

info@geneticmoo.com

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He is currently a fellow at Birmingham Open Media – www.bom.org.uk. He works with live animation, digital beats, motion graphics, photography and glitch art using nascent and rehashed technology. “As an artist I am using evolving technology not only as a medium in itself but also as subject.”

Streaming, layering and reinterpreting multiple live art forms simultaneously. Finding where science meets creativity. I dedicate the use of technology and it’s tweakability to improvise live images that relate to, and directly influence the current situation, i.e. music, dance, theatre etc.”

His practice largely bases itself on the building of live collaborative digital systems. That could be the notes from a piano that results in multi coloured projected particles or a series of body movements from a performer, learned by a computer that result in corresponding sections of a film being played back.

For his live shows he slices and layers recorded material and breaks away into improvised musicianship played from modified instruments or grid based controllers. Each element of sound has a visual representation. His own electronically built synthesisers are a part of this – devices that uses voltage to portray patterns in sound and video simultaneously. Spectral colours are represented, rhythms are present in shifting patterns, and moods are conveyed.

LINK BOX

www.chromatouch.net

http://chromatv.tumblr.com

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