Aspects of culture and civilization have changed, mainly due to the technologies used to expand the human experience; As far as our feelings and desires are concerned, many things have remained. Hieronymus Boschs most famous painting is filled with the idiosyncratic iconography that continues to intrigue viewers. Emoji are a contemporary glyph. This system offers an emotional shorthand for virtual expression. The main intention in the production of "Emoji's Garden of Earthly Delights" is to combine the historical and the popular. Sign systems, as a reflection on human, earthly and cosmological conditions in the 21st century.
Manuel de Landa (Mexico City, 1952) Mexican writer, artist and philosopher living in New York who has a highly varied and exceptional multidisciplinary body of work. He has written extensively on nonlinear dynamics, self-organization theories, life and artificial intelligence, chaos theory, architecture, and history of science. Currently, de Landa is a professor at the Graduate School of Columbia University in New York in the area of architecture and holds the Gilles Deleuze Chair at the European Graduate School in Saas-Fee, Switzerland. He moved to New York in 1975 where he became a film director. In 1980 he became interested in computing, was a pioneer programmer and made art with the computer, when he stands out as one of the most outstanding theorists in the field of cybernetics.
A contemporary look at the institution of the museum in England. The artist was invited by the Warrington Museum to reflect on his past and to create or speculate on possible futures. The English Provincial Museum is an ode to England's imperial past, and its quasi-ethnographic collections glimpse a colonial past. With the idea of empire in mind, the artist created an installation where the multiform, deformed or monstrous form an essential part of the pieces created. Using the monument to Oliver Cromwell the artist has created a sculpture that resembles a creature half insect half sea monster that reminds us of the cruelty of the English expansion throughout the world.
TWINS is an installation of UltraHD monitors showing CGI compositions of vaguely zoomorphic, machine-like objects in constant transformation, tied and embraced in ropes in the style of Kinbaku, the Japanese art of bondage. Two television screens resembling bound bodies, enslaved subjects, and objects of both desire and display become bodies on them. Beings - subjects and objects literally tied, restricted, coerced. The monitors intrigue and seduce, invoking hidden fantasies within us, releasing deeper emotions and sensory experiences... or perhaps watching as the apple might suddenly fall from the tree for Eve, bringing sin to earth. Some people have to be tied down to be free. By being physically constrained, we became more aware of our senses. By becoming our objects, a latent violence sharpens our sensory experience.
The TOPO Canadian Artists Performing Center proposes four virtual creation projects where reality acts as an advocate for neurodiversity and positive recognition of autism. In 2018, TOPO held several workshops with a great team of artists who, through virtual reality, created experiences with a transmedia approach; thus, the participants were introduced to a documentary methodology: media production through photography, video and virtual reality technologies. The participants had the opportunity to create new means of communication, using technological and innovative tools that allow immersion in creative, rich and sensory worlds.
Latidos Marinos is a virtual reality installation that seeks to recreate and represent the universe of the humpback whale, based on awareness of its heartbeat and its songs. Using virtual reality glasses, the participant is immersed in a 360° video where they experience an abstract world built around these huge mammals. This was a winning project of the Call for Incentives for Art and Culture 2018 of the Mayor's Office of Medellín and its Secretariat of Citizen Culture. It was developed by the Ecos collective during an artist residency at the Exploratorio del Parque Explora.
Schmitz uses pneumatic sculpture, multidimensional drawing, and video to explore new forms of space. Going through temporary stages, discarding and reinventing himself, his pieces explore the oscillating stages of being and non-being, of existence inside and outside of the image. Relying on viewers to activate them, many of his pieces discuss the extent and possibilities of participation. The artist produced different pieces related to space monitoring and exploration practices, combining performance and field recording with video, sound, and the installation of objects. Schmitz's current cycle of work shows images of the Mediterranean, creating deeply ambiguous impressions of idleness and drowning, referencing the recent refugee crisis, but referring in a much broader sense to the sentiment of a life with access to privilege rather than Unprivileged existence: about movement and room to breathe instead of being locked in an airless space, about choice and empowerment instead of being reduced to fighting for the most basic necessities of survival.