A special online edition offering an alternative way of enjoying the numerous audiovisual artists involved from all over the world.

The festival is organised by the same ensemble that has been delivering the massive audiovisual artists meeting LPM, since 2004. Flyer SRL, Linux Club and FLxER.net are also behind Live Cinema Festival, the boutique event we attended (physically!) back in September.

Fotonica features a wide focus on the audiovisual arts, embracing the many features and different expressions within the new media.

Not just performances and VJ sets but also installations, lectures and workshops. In each edition, Fotonica offers a space for both artistic networking and outreach of new audiences.

This year, the organizers have created a virtual environment and live streaming channel where it is possible to discover and to participate in a safe, interactive and innovative way.

The team behind Fotonica is very conscious of the importance of international partnerships. This year the festival is collaborating with Athens Digital Art Festival , Lunchmeat Festival, Cerrado Mapping Festival, Live Cinema Festival, Cairotronica, Bright Festival and System11.

Therefore the event does not offer simple entertainment. Fotonica is a valuable hub for all audiovisual artists to keep inspiring and being inspired. Even from their own studios.

Arte19VVR VR Rooms will host the digital exhibitions, VR Mapping, lecture and live AV performances through VJTelevision and Twitch. Workshops, lectures and talks will take place on Meet and Zoom.

A full array of digital and virtual platforms to maintain the audiovisual event alive, despite the second wave Covid restrictions.

Hence the organizers are sending an important message to the audience: arts have to adapt to any arising scenario leveraging the full creative potential of the latest technologies.

Read our report about Live Cinema Festival

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DJ Wallizz and DJ Nomi are both from Berlin. They have run monthly parties such as “The Afro House Experience”, “Bantu’s Diary” or “Black Paper”.

Hence they created a nightlife audiovisual experience that fusions rhythms of African clubs with sounds from the Berlin clubbing scene.

Expanding their vision, Wallizz and Cambel decided to start their own project called Freak de l’Afrique (The Monster of Africa). Recently the collective has started to incorporate audiovisual in their shows and performances.

Their aim is to bring the modern side of African music to the clubbing scene.

Through music, events and fashion they continuously spread a lifestyle inspired by Africa. It is forward-thinking, unexpected, sometimes provocative but above all positive!

Among their project we find “Wena – Jame”: A Journey through Afropolitan Musical Encounters. Wena translates into the pronoun “you”. It comes from the Zulu, one of many languages in South Africa. “Wena” is often used to ask someone to do something.

The project is the result of the combined effort among Freak de l’Afrique sound system, six dancers and a team of creative light and projection artist.

They all invite you (WENA!) to join them on a journey through the modern musical landscape of Africa and its diaspora.

This trip unravels as a 90-minute stage show with DJs, dancers and visual art with music from Ghana, Congo, Nigeria, Ivory Coast, Tanzania, Angola, South Africa and many other places.

The collective wants to develop audiovisual content and projection mapping to make the experience more immersive.

They aim to connect the dancers, the music and the audiovisual content with an urban, modern and futuristic style rather than the traditional cliché one.

I think the concept is very powerful, not only for the magical moment they bring but also because of its originality.

I definitely look forward to seeing how it evolves! We will definitely keep an eye on them, as we always follow closely any type of audiovisual innovation.

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Barcelona is home town of many amazing audiovisual artists. It is not a coincidence our magazine has been founded there.

The city and its surroundings have always been very active since the early stages of the audiovisual culture.

Mapping World Lab features a 360° experimental approach to projection mapping.

During 10 years of activity, they have experimented with very different formats such as façade projections, indoor immersive shows, interactive installations, dance mapping and beyond.

MWL is active internationally both in the corporate and artistic world. Their main artistic mission is to transform venues and public spaces into immersive aesthetic environment through audiovisual content.

Vertical Dance Mapping

Very intriguing experiment where acrobatic vertical-dancers from SACUDE performed onto a façade projected upon by Mapping World Lab.

In order to deliver this complex show, the audiovisual artists have utilized motion graphics, VFX, 3D animations and a bespoke motion tracking tool to achieve precise synchronization with the dance’s movement.

An ambitious, gravity-defying mixed media show that didn’t fail in inspiring awe and wonder in the audience through the interaction among body, music and projection.

Interactive Projection Mapping

Based on the classic SIMON SAYS game, Mapping World Lab have developed this playful interactive audiovisual installations.

The audiovisual game has been projected onto the façade of the Sabadell council building, near Barcelona.

It consists of four large pushbuttons (green, yellow, red and blue) placed on the ground, so the player can interact with them.

The game sets a colour sequence, adding one extra colour at every turn. The player needs to repeat the exact pattern in the correct order.

The result? An highly engaging installation that connects strongly with the younger audience, by encouraging them to carry out a creative physical activity while the rest of the viewers enjoy the live show.

Body Mapping

Building facades have been utilized widely by projection mappers worldwide. What about using our own body as a live painting?

Mapping World Lab has been experimenting together with several performers to offer live audiovisual shows where the body in movement is the main expressive medium.

An alluring sensorial experience that captivates the audience and triggers an interesting dialogue between audiovisual artists and body performers.

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DEADLINE: NOVEMBER 15 2020

The BBBank Newcomer Prize 2021 is the new international award for Projection Mapping.

The prize for projection mapping is the result of the collaboration among the ZKM, the KME Karlsruhe Marketing & Event Ltd. and the BBBank who is endowing the award.


The winning project will be showcased at the SCHLOSSLICHTSPIELE Karlsruhe 2021, the projection mapping event organized by ZKM.

Open calls are essential for the audiovisual arts, especially for emerging audiovisual artists who are still finding their spot within the industry.

As paid gigs have been heavily reduced due to the ongoing Covid crisis, art awards have never been so welcomed by arts communities.

Too often audiovisual artists fall through the cracks of the awards guidelines. Being at the crossing point of diverse cultures and artistic disciplines, they lack a consistent and specific support within the arts industry.

That is why we are reducing the number of open calls we promote on our platform by concentrating on the paid awards that require no or very little entry fee.

So, let´s get down to the details of the BBBank Newcomer Prize 2021: the Grand Prize is 10,000€ plus production costs of up to 30,000€.

The production costs allowance covers all costs incurred during production, for example, fees and technical equipment.

Please note that winners of the Grand Prize agree that the work which was produced in the context of the competition will be shown exclusively at the SCHLOSSLICHTSPIELE Karlsruhe in 2021 and in the following years.

Second prize and third prize are respectively 5,000€ and 2,000€.

Second and Third Winners grant to ZKM first right to make an offer for joint implementation of the storyboards in the context of the SCHLOSSLICHTSPIELE Karlsruhe.

Here go the content guidelines outlined by the organizers:

• The content should engage with the City of Karlruhe and/or the history of the city
• The content should engage with a future technology in the area of sustainability
• The content should engage with a technology/the history of technology that relates to Karlsruhe.

Here the technical requirements:

• A short biography of the artist(s) giving details of previous experience (max. 1000 characters including spaces).
• A portrait photo of the artist(s) (min. 500 x 500px).
• A description of the entry submitted (max. 2000 characters including spaces), a storyboard, and a 5-second media check clip (mandatory) plus image files (optional).
• The confirmed Granting of Rights (pdf)

APPLY ONLINE

PRODUCTION MODEL FILES

PRODUCTION GUIDELINES

GRANT OF RIGHTS

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Flightgraf have been showcasing beautifully crafted projection mapping works, all around the globe since 2013. Their approach hinges upon the creative use of the core elements of audio-visualization.

RHYTHM AND LINE strikes immediately for its intrinsic aesthetic quality and the perfect synchronization between sounds and images.

The architectonical elements of the façade are constantly revealed and concealed again by the delicate luminous lines shooting across the space, during this mesmerizing audiovisual hide and seek.

The Altenburg building is the home of the Liszt School of Music Weimar. Like the symphonic poetry advocated by Franz Liszt in the 19th Century, the primary means of audiovisual expression are utilized to communicate extra-audiovisual content.

Not a pure formal exercise: a story is unravelling before our senses, through each sound element and its own visual doppelganger.

A story that is subjective to each one of us, in this virtuous expressive circle created among the architecture, the audiovisual language and the viewer.

As part of our series about the Genius Loci Weimar 2020 winners, our young journalist Marta Minguell asked Flightgraf about their creative process and how they approached the audiovisual event open call.

This artwork brings us back to the origins of experimental animation thanks to the conscious use of the root elements of visual creation.

1. Can you share with us your particular methodology to develop abstract content from a conceptual starting point?

Instead of unraveling Liszt as that famous super-elaborate musician, we started reading about his social and historical background.

Moreover we read up on the important influence he exerted on the next generation and society.  So we focused on on his qualities as an educator and researcher.

We became particularly interested about his passion for breaking out of fixed forms and given routines. 

Thus we tackled our artwork as one of his students. We attempted to convey the complexity of the chords, compositions and constructions he wanted to express in reverse and simplicity.

2. What kind of emotions and thoughts does this projection aim to evoke and which tools have you used?

We want the audience to experience the sound and pictures without following a pre-established harmony. 

We mainly used Cinema4D and After Effect for the production. We also used Cakewalk for music production.

When creating sound effects we use a lot of natural sounds and very often we actually record in various fields. We recorded and used a variety of natural sound effects from our last appearance in Genius Loci Weimar in 2017.

3. Can you share with us your creative approach when submitting an artwork to an open call?

There is no right answer, but we think that a competition is very similar to working for a client. You have to think about what the organizer wants above everything else.

This means that it’s not what you do, but what you don’t do that matters. GLW is a very special competition. It’s very artistic, very creative.

The jury is looking at all of us. We concentrated on showing our work as it is, without lying. In the end, we believe that the Genius Loci Weimar competition asks us questions about who we truly are.

Genius Loci Weimar Winners 2020 – Marstall Building

Genius Loci Weimar Winners 2020 – Goethe & Schiller Archiv

Genius Loci Weimar Winners 2019

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Animation artists Soheil Seraji and Nadira Madreimova have approached a building façade for the first time. The result? A uniquely intriguing piece of projection mapping!

The audiovisual narrative is complex and it requires more than one take to be truly understood.

Nevertheless the stunning aesthetic and elegant storytelling have an immediate impact on the spectator.

The conversation between east and west is explored by leveraging the cultural differences in the sound and visual expressions. A powerful immersive narrative takes us by hand on this wonderful oneiric journey.

I believe sometimes projection mappers can get a bit sidetracked by the spectacle and the technical realization. That is why is so inspiring to have a fresh take from “outsiders”. Something that Genius Loci Weimar knows really well.

As part of our series about the Genius Loci Weimar 2020 winners, our young journalist Marta Minguell asked the creators about their creative process and how they approached the audiovisual event open call.

1. Can you give us insights about your creative process to build the visual narrative, and how the sound is conceptually connected to the images?

Goethe had a special relationship with the east, in particular with the most prominent Persian poet, Hafiz. We are from the east, so we decided to work on the Goethe Und Schiller Archiv building.

We started to read Goethe’s poems thoroughly and…. wow! He speaks about something we live everyday! So the journey began for us. We found out that there is a close relationship between his thoughts and our culture, our background.

We understood that we could easily make our visual world based on his poems. Therefore we decided to use the concept of “journey to east” for the artwork, which was explicited in Goethe’s poems. As you can gauge from the first verses of West-östlicher Divan.

We are eastern artists so we know the way that east has been represented to the west world. Mainly from a biased and unrealistic point of view.

So, we understood that the journey should represent east as it is and how we live it, not as it has been represented.

Goethe had a realistic view of the east and paid tribute to it, in spite of being from the west.

Hence we felt Goethe could be the point of unity between east and west. We had to build a perspective that depicted a realistic east and, at the same time, as it is expressed by a western man.

We paid our tribute to Goethe and his most important book and started the “west-east conversation”. We decided to portray a journey to the conceptual east, somehow a dreamy journey.

Therefore we avoided overused cliché and we tried to show the eastern soul through a video lead by a western poet.

Then we struck up a conversation between west and east. We depicted the calmness, softness, elegance and pleasance of east through movements and connections between forms.

As you can see, there is no cut between the scenes and shots, everything is part of a continuous flow. Everything is in a calm and pleasant state.

At the same time we didn’t represent any form or scenario unfamiliar to our western audience.

He/she hears Goethe’s poem in an eastern environment simultaneously watching some familiar objects and forms like the train, the lighthouse and the car. In the overview, she/ he encounters the flowing concept and spirit of the east.

In addition, we thought about the different tasks we had to carry out for this project, being our first mapping projection.

We asked ourselves: what if we consider the building as a screen that is different from all the screens we had till now? So we decided to activate the volume of the building and started to consider the different architectural features as a tool for creativity.

We followed the conversation in music too. For a deeper perception of the visual image, we used the sound represented by voice, music and noises of natural objects. 

Projection mapping usually only uses music and noise.  We found a more original solution: we made the image more visible with the help of a voice that recites Goethe’s verses. 

Inspired by Goethe’s and eastern poetry, someone dreams of visiting the East where life is simple and wise. 

Music and visual images are not tied to specific frames.  We didn’t try to show the eastern lands, but the true concept of the east. 

Our task is to evoke emotional, figurative and spatial sensations of the concept of the East through the music of Sepehr Seraji. Inspired by western classical composers, we knew that would be familiar to our audience.

2. Can you tell us about the challenges and creative opportunities of working with projection mapping, coming from an animation background?

[Soheil Seraji] That’s a really good question! I have worked with this painting-like animation style over the last few years.

What I find interesting about this particular style is the depiction of figurative, realistic pictures and concepts in a generalized and abstract point of view.

For example, you can recognize the touches of brush but simultaneously you can see the sea wave illustrated by the brush.

Projection mapping allows us to show our point of view very explicitly because of the size of the building façade.

The coexistence between figurative and abstract of this animation style can be expressed and emphasized through the projection mapping.

As we explained above, another creative opportunity in this project in relation to my animation background was to consider the building as a screen.

I thought what can I do with this new and different type of screen? I can consider the building as a sketching notebook in front of me. Hence I started to freely sketching on it.

Finally I realized that I can activate different aspects and volumes of the building. I have set the shots and forms according to these aspects of the building, like the windows and columns.

Of course, there are challenges and limits, like the special aspect ratio for the video, the huge number of frames and layers to manage for an appropriate representation.

It is clear that these problems are not important at all in this project, since we have a limitless creative environment in front of us!  

3. Can you share with us your creative approach when submitting an artwork to an open call?

Yes, of course! It is not as simple as taking a fixed approach to every festival and event.

We prepare different projects for different types of events and our approach changes according to the type of event.

For example, lots of film and animation festivals accept diverse films in style, length and subject. The works we submit to these events are based on a personal idea that don’t pay attention to the uniqueness of the festival and its subject.

Another kind of festivals are the video and art festivals. When submitting to the events if our works are not matching the open call we start working on a new project.

Each project is based on our previously brainstormed ideas (and of course, we have an “ideas bank”!). We then grow the idea in a way that fits the open call’s guidelines.

What we have done for Genius loci Weimar is a totally different approach. As we haven’t done anything like this before!

We started our project from scratch, in order to create a truly original artwork from the first concept, with no preconceptions based on previous ideas.

Eventually, the approach depends on the conditions of the festival and the time we have to prepare our work to meet the deadline.

In this case the COVID outbreak helped us a lot! The day we found out about the event it was literally the deadline day! Fortunately, Genius Loci Weimar extended the deadline due to the pandemic.

Genius Loci Weimar Winners 2020 – Marstall Building

Genius Loci Weimar Winners 2019

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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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The audiovisual duo cleverly uses light and darkness to engender a majestic and ominous atmosphere. The audiovisual contrasts are a mirror of the antithetical historic times the building has been through.

From its renaissance foundations, through the misery of Socialist Germany and the rise of the National-Socialism, until becoming an important German cultural centre.

Through powerful content and excellent technical implementation, Emanuele Musca and Vincenzo Gagliardi managed to give a voice to the building itself.

INSIDE profound storytelling speaks directly to our collective memory, showing us the importance of remembrance for building a brighter future.

As part of our series about the Genius Loci Weimar 2020 winners, our young journalist Marta Minguell asked the creators about their creative process and how they approached the audiovisual event open call.

We are very interested to know more about how you achieved the mysterious atmosphere that pervades the mapping projection.

1. Can you describe how you leveraged the contrast between light and darkness in your artwork to create such a unique atmosphere?

The contrast is at the core of this project. The combination of elements of light and darkness represents the troubled existence of the Marstall, victim of the political changes during the history.

Fascinated by the baroque still life paintings and the interplay of the shadows in the architecture, we focused on recreating that atmosphere in 3D, which emerged in an aseptic but very detailed result in terms of realism and textures.

The robust facade extrusions stretch out the structural elements to grasp the last rays of light when the dying sun leaves the space to the cold night (“endarkment” of reason), to be reborn, after the darkness, in a rejuvenated light (positivity for the future).

We want to highlight that the Marstall reminds us how hate and rage can twist something as harmless as a riding stable into something as brutal as a prison.

2. Could you explain to us the concept behind the sound design, especially mentioning the incorporation of voices?

The goal of our sound design will be to drag the audience away into a spiral of memories, fears and smashed dreams. We want the listener to feel the realities that the building experienced from his foundation.

Sound has always had a key role in our life. We create music. At the same time we are both involved in the Berlin electronic music scene organizing events and working with the labels: Modern Bön and Vu-Mantra Records.

We are particularly fond of experimental electronics and living in Berlin is obviously a constant source of inspiration.

Music can also be a mirror of the times, which is why we are planning to mix small samples of meaningful music, heavily treated and broken with effects and granular synthesis, with sounds produced through hardware samplers and modular synthesizers.

The vocal sound in the submission is a sample from the 1936 Olympics Opening Anthem by Richard Strauss which fades in some notes of the No. 3: Nocturne in A-Flat Major by Franz Liszt.

Both sounds have the incredible power to instantly grab the attention and trigger strong emotional memories.

The first one recalling the illusion of greatness of the rising National-Socialism and the other one, reminding the beauty that the wounded city of Weimar holds in its spirit.

3. Can you share with us your creative approach when submitting an artwork to an open call?

That was our very first submission to this kind of contest. We are very good friends but also collaborate together for different projects.

We work together, share opinions, learn from each other, so that our artistic chemistry has already consolidated.

When we decided to apply for this contest, it was a usual after work dinner.

We started brainstorming and preparing the material, one more focused on the 3d animations and the other on the sound design, but still working in parallel and sharing the results of the job.

It took a couple of additional nights to finally find the right direction but as soon as we did it, it was really exciting and we started immediately to work on it. We went through difficult moments, also stressful ones but it was worth it.

Genius Loci Weimar Winners 2020 – Goethe & Schiller Archiv

Genius Loci Weimar Winners 2019

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Their artwork range from audiovisual performances and new media theatre to design, interactive installations and projection mapping.

mammasONica approach to audiovisual reveals a fond social aesthetic and a strong relationship with the public space.

Their most recognized works are undoubtedly their large scale mapping projections.

mammasONica have projected onto prestigious locations such as European Parliament in Strasburg, the Atrium in Weimar, the Palace of Parliament in Bucarest, the Romisch-Germanisches Museum in Cologne, the Lancaster Caste in Lancashire.

The Italian collective has won several art awards during their busy career. In 2014 and 2015 they won the Genius Loci Weimar Competition with their TRA-DIGITAL Projection mapping onto the Anna Amalia Bibliothek and Zoetropolis on the Weimar Atrium.

mammasONica design complex AV storytelling experiences that require more than a simple look to be fully appreciated.

They are technically outstanding and conceptually advanced, leaving the viewer with thoughts and feelings that lingers way after the performance.

Their AV artwork is too dense and utterly complex to be described from a single perspective. To better grasp their meaningful aesthetic I have picked a few works sent to me by the collective:

ZOETROPOLIS

This massive 400m projection mappings has been developed for the Gauforum in Weimar in the frame of the Genius Loci Weimar festival.

The building is a symbol of the dystopian Nazi society. The painful human odyssey has been brilliantly transposed by the creative studio, within a dark and unsettling storytelling.

As many other works of the collective, it incorporates a clever fusion of different techniques such as 3D Animation and Stop-Motion.

A superb immersive audiovisual work, triggering historical reflection through a mesmerizing visual impact.

‘KHOR

Very different from the dystopian storytelling of Zoetropolis, ‘KHOR features a beautifully crafted representation of the natural elements.

The main protagonist of this abstract storytelling is the ever-flowing energy that animates the static structure Palace of Parliament in Romania.

Matter and antimatter, light and darkness, hyperbolic fractals and invisible quantic forces. The space boundaries are fragmented leaving the spectators dumbfounded and lost in this constant flow of light.

PLANAR.S & FRAME.S

A very playful light installation engaging with audience of all age. An irrefutable prove of how versatile mammasONica are. And how diverse is their audiovisual narrative.

The light shapes reinvent the urban fabric by engaging with the passer-by and dematerialising the space of predesignated trajectories.

They are placed within the urban fabric to open a dialogue with the public; like a metaphor, where our relationships are filtered through perception and construction.

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We said it many times: audiovisual is vast and complex, and within audiovisual the different techniques branch out to a myriad of different styles and expressions.

Jonas Denzel here really embraced the think-outside-the-box approach delivering something unique, engaging and playfully attractive.

The projection might not strike at first impact. Nevertheless as soon as you pick up the complex audiovisual interaction and sound design, you realize that you haven’t quite seen anything like that before.

The protagonist is the hand, the starting point of the artistic expression. From a simple gesture the whole audiovisual narrative takes over the building, truly engaging with the audience by inviting them to play along.

As part of our series about the Genius Loci Weimar 2019 winners, our young journalist Marta Minguell asked Jonas Denzel about his creative process and how he approached the audiovisual event open call.

1. Can you tell us about the interaction design process that is so prominent in this projection mapping artwork?

For me as an artist it is important to let the audience become part of the projection. They should not only look, they should have the chance to actively participate. The interactive part of the projection is based on a musical pattern: it’s called Call and Response.

Basically, one person claps a rhythm and the crowd responds by clapping the same rhythm. In “The Shape of Sound” hands on the façade animate the audience through gestures to participate and rhythmically respond.

It’s a game of call and response. The viewers communicate with their hands. It’s a dialogue between them and the new Bauhaus Museum. By responding to the façade, the audience completes the projection. The rhythms are arranged in a way that they become increasingly difficult.

The simple beginning encourages as many spectators as possible to participate. The increase of rhythmical difficulty is not only challenging but also fun for the audience. It creates a feeling of community.

2. The piece celebrates the power of the gesture as an essential tool to create images and sounds. Which have been your sources of inspiration both in music and visual art for this piece and how did you link them together?

Hands are the oldest tools of mankind. They assist us in our everyday life: to work, to communicate, to make music, etc. The work “The Shape of Sound” is mainly inspired by playing drums.

“Body percussion” is a form of drums, where only hands are used to create rhythms and sounds on the body. I translated this to the new Bauhaus Museum and the projection. One can say it’s now no longer “Body Percussion” but actually “Bauhaus Percussion”.

The building transforms into an oversized instrument which is played by hands. For me it’s important that not only the visuals but also the sounds refer to the building. This is why the sounds were directly recorded at the new Bauhaus Museum facade.

Together with sound designer Sören Schaudel, sounds and rhythms were recorded on the actual building by knocking on windows, stroking on rough walls, drumming on railings, anything that makes sounds.

These sounds are then arranged in a composition which is an interplay of image and sound. Recording the sounds on the façade is an essential and inspiring part of the design process of the projection.

3. Can you share with us your creative approach when submitting an artwork to an open call?

First of all, I study the building, the architecture and its history. I then take a close look at the facade and its architectural structure to imagine what kind of musical instrument the building could be transformed into and how it could sound like.

In the specific case of the new Bauhaus Museum, the fine horizontal architectural lines on the facade were used to create a keyboard which then transforms the building into a huge piano played by over-dimensional hands.

Genius Loci Weimar

Interview to Genius Loci Weimar

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