/’fu:bar/ 2021

festival program: OCT 2–8 2021
exhibition program: OCT 1–31 2021
extended program: OCT-NOV 2021

@ ONLINE & Institut français de Croatie (Preradovićeva 5, ZG/HR)

All online activities are conducted in English.
Unless otherwise stated (i.e. “AFK”) all events are organised online (“URL”).
Schedules are in CEST/UTC+02. An ICS set can be found HERE and a calendar outline HERE.

Admission to all events is open and free.
To participate in workshop events, please register via application forms where necessary.

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• //select:
• [EXHIBITION]
• [PERFORMANCE]
• [LECTURE]
• [WORKSHOP]
• [SCREENING]

• EXHIBITION
• FRI 01.10.
• 18:00 – EXHIBITION INSTALL @ Institut français de Croatie, Zagreb [AFK exhibition install]
• 19:00 – #fubar_expo 2k21 curators’ guided tour [URL talk]
• 20:00 – ONLINE EXHIBITION OPENING @ expo.fubar.space [online exhibition]
• SAT 09.10.
• 12:00 – Guided Tour @ Institut français de Croatie [AFK talk]
• SAT 09.10.
• 18:00 – #fubar_expo ONLINE tour – Ras Alhague [URL talk]
• SAT 16.10.
• 18:00 – #fubar_expo ONLINE tour – Kaspar Ravel and B [URL talk]
• SAT 23.10.
• 18:00 – #fubar_expo ONLINE tour – j3d1n4 [URL talk]
• SAT 30.10.
• 18:00 – #fubar_expo ONLINE tour – jonCates [URL text]
• FESTIVAL
• SAT 02.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – Craig Blackmoore [US] :Life is but a Glitch [URL performance]
• 18:00 – Crash-Stop [IE] : Mantissa [45’] [URL performance]
• 20:00 – HrW [HR] : Art+F%G//Wikimedia [URL workshop]
• SUN 03.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – #fubar_expo 2k21 artists [**] : G̝li͈̥tc͕h ͈͓Art Forum [URL talk]
• 20:00 – Ejla Kovačević w/ Chris Peters, Joanie Wind, Crash-Stop, Billy Roisz & Dieter Kovačić, Tim Caldwell, Autojektor, Sophie.B, Telcosystems [HR] : GLITCH CINEMA [URL screening & talk]
• MON 04.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – Paola Torres Núñez del Prado [PE/SE] : The Corrupted Structures: Latin American Glitch [URL lecture]
• 20:00 – Eyal Gruss [IL] : Adam Cutmix Presents [URL workshop]
• 23:00 – #fubar_expo 2k21 curator’s cut #01 [URL screening]
• TUE 05.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – Andrei Jay [US] : Myth and Magic of Analog and Digital [URL lecture]
• 20:00 – Amanda Stojanov [US] : Make your own game in Unity from a first person (subjective) glitch art & feminist perspective [URL workshop]
• 23:00 – #fubar_expo 2k21 curator’s cut #02 [URL screening]
• WED 06.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – Crash-Stop [IE] : Ethical Dilemmas [URL lecture]
• 20:00 – Teuta Gatolin [HR] : Wordy Workshop [URL workshop]
• 23:00 – #fubar_expo 2k21 curator’s cut #03 [URL screening]
• THU 07.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – Paul Hertz [US] : Loss, Gain, Nurture, Sustain [URL performance lecture]
• 20:00 – Teuta Gatolin [HR] : Wordy Workshop [URL workshop]
• 23:00 – #fubar_expo 2k21 curator’s cut #04 [URL screening]
• FRI 08.10.
• 00-24 – #fubar_expo [exhibition]
• 18:00 – sonda57 [SI] : OVERGLUED / PRELEPLJEN [URL performance lecture]
• 20:00 – Mike Richison [US] : Electo Electro: Whitewash [URL performance]
• 23:00 – #fubar_expo 2k21 curator’s cut #05 [URL screening]
• EXTENDED
• // 08.10. #fubar_archive @ 27th MFRU.org, Maribor [AFK+URL screening]
• // 18.10. Ian Keaveny aka Crash-Stop : Ethical Dilemmas [URL workshop]
• // Nov’21 group show : PEEK&POKE @ Rijeka, Croatia [AFK exhibition]
• // Dec’21 ► educational publication : TBA @ ONLINE [URL promotion]
/’fu:bar/ glitch art festival 2021

festival program: OCT 2–8 2021

exhibition opening: OCT 1 2021

extended program: OCT-NOV 2021

@ ONLINE & Institut français de Croatie(Preradovićeva 5, ZG/HR)

> contact: [email protected]

Starting in October, the seventh and hyper-extended /’fu:bar/ event is focusing on finding, catalyzing and documenting errors in new media art and the process of its creation.

The festival events are accessible online as a free-access program, while the artwork is shown in an open online install in a virtual setting as well as a physical one set in Zagreb. /’fu:bar/ 2021 is thematically oriented toward documenting, contextualising and extending various practices of digital art SUSTAINABILITY.

In its second networked iteration – the festival is presenting a week full of online performances, lectures and discussions on the praxis of more than 20 international artists and collectives from 11 countries – active in the field of electronic and digital experimental art, cinema and media theory. The program is completed by a series of video art screenings, free workshops and a group multimedia offline&online exhibition of over 500 digital artworks by ~150 artists from all around the world. During and after October the event extends into an intense Glitch Art workshop week and multiple exhibition installations in Zagreb, Rijeka and Maribor.

All online activities are conducted in English.

Unless otherwise stated (i.e. “AFK”) all events are organised online
(“URL”).

Schedules are in CEST/UTC+02.

Admission to all events is open and free.

To participate in workshop events, please register via application forms where necessary.

FRI 01.10. 18:00 EXHIBITION OPENING @ Institut français de Croatie [01.-31.10.2021.]

In 2021 the /’fu:bar/ group exhibition install is set up in the physical space of Institut français de Croatie (Preradovićeva 5, Zagreb, Croatia), as well as mirrored online in our digital exhibition space (expo.fubar.space).

The exhibition selection has been conducted after an open call, aiming to connect the super-contemporary glitch art oriented community, to collect and reflect their great support of extending this ever-evolving experimentation and collaboration area into a vibrant story of new media and electronic art.

This years’ exhibition will show over 500 artworks by 149 artists / collectives from 44 countries of the world, connected into a stream of multimedia shown as a public space install and as an online free-access hypermedia virtual installation.

The work shown at the Institut français de Croatie venue is a selection of the work, presented in video format and can be viewed from the public street area; for other types of media, please visit the online exhibition and presentation events. 

ARTISTS:

0bapek, /KU8I/, Sascha Kümmel, NCOUNTERS collective / acidgender / AFALFL / AK Ocol / Aleksandra Pieńkosz / Ali / Ali Kerem Öner / Allison Tanenhaus / Analog Whole / Andre Perim / andrei jay / Ani Haze / Anna Christine Sands / APIACOAB – Mathieu Petot / Apofenica / Aristeidis Koutoulogenis / ASaltyBunion / b00 / Bernizeck/Glitchachu / Bob Georgeson / bobby pharaoh / Brendan Downs / Caleb Foss / Cheng Daoyuan / Chepertom / Chernobyl Apple / Chester Wade / Cian Clesham / CIPOTE / Clarke Drahce / Constant Voisin / crash-stop / CRTCL / Cruel / cyberart_by_justin / Dalena Tran / DE GHOST /ENO / DerelictCountry / Devis Bergantin / Diego Ramos / Eddie Lohmeyer / Ehtesabian-Lichty (NPTeam) / ellis laurens / Eric Souther & Andrew Deutsch / Ermano Bančić / Esteban Gutiérrez / ethereal_interface / Evankelos / Eyal Gruss / F_lse_no / FLAG/2021 / forevermidi.com / Francesco Seren Rosso / Giorgos Gargalas / H. C. Turk / hyp0cr173 / Ian Grant / Idontcalculate / Iqra Iqbal / IVPITER_IR / Ｊａcɘ / Jaime Cleeland / Jason Bernagozzi / Jawek Kwakman / JB Friquet / Jean-Michel Rolland / Jerry Galle / Jia-Rey Chang / Joe Gilling / John Bumstead / José Irion Neto / Joshua Albers / jrdsctt / karisman / Katie Hallam / Kit Young, Allen Moore, Mike Brown / knop / 11korp / Kodandi / Koebane / Kristine Snodgrass / Lavoslava Benčić / layer ll / Letsglitchit / Lívia Zafanelli / malimanever – Maša Žekš / Maria Arkhipova / Mark Klink / Marllus Bisceglia / Marsidinian / Massimo Magee / Mathias Jansson / MedusaHurricane, Hecate, Volpina / miksitz / Mila Gvardiol / Mindfulness For Machines / mingkurray / Mirna Udovčić / Monica Améndola / Nataša Devčić / nilson carroll / NMTArts / Oliver Behrmann / p_en.gee / palermoalvapore / Paloma Kop / paranthre, velvet-bites / Pascal Audet / Patrick Lichty / Paul Beaudoin / Paul Hertz / Pianu / Pierre Gervois / PLUME / PMPope / pongpong / raphael.ars / Ras Alhague / Riitta Oittinen / Robert B. Lisek / Robert Hruska / Roopesh Sitharan, Mohd Hafizuddin Mohd Yusof / royb0t / Sabato Visconti / Safa / Samantha Blumenfeld / scwfilms / sepulchre / Sherwin Altarez Mapanoo / snk / stAllio! / stevenvsnothingness / SUPERFICIES MÍNIMAS: Marielasandía, SN0WKAP, GAB0 SEGURA / Terrafold Design / Teuta Gatolin / Thomas Jourdan / Thomas Valianatos / tokyo_nomad_ / tomk.dingus / Toni de Paula / trsctr / Txchidu / UMMTI-Collective / Valeria Vicente, Paulina Olea / Victor Tetaz-Josse / miksitz / zid.buke [noise.wall] / denis miksic, kruno jost / ian keaveny / World Wide Basement Vibes / ZL0 / Zsolt Mesterhazy, Bjørn Magnhildøen / Λαιν

CURATORS:

Zoe S. a.k.a. Ras Alhague – a Polish digital artist specializing in glitch aesthetics. Their art has been exhibited in various shows and festivals both online and offline, in Europe and the United States. Today, their art mostly focuses on the exploration of artistic nudity, gender identity, and sexual expression through glitch art, making Ras Alhague their most prolific artistic identitymy.bio/rasalhague

jonCates – makes, curates, and teaches Glitch Art. Since the late 1990s, his work includes founding festivals, archives, and educational programs in Chicago, online, and around the world. His recent projects include 鬼鎮 (Ghosttown), the Glitch Western series of games and films.
joncates.com

Kaspar Ravel – new media artist && off/online curator
from the subcultures of internet art
he studied computer science and theater [at] sorbonne university
only to end up researching surreal data poetics.
kaspar.wtf

Dina Karadžić – mastered Sculpture at the Academy of Fine Arts in Zagreb, 2012. A member of the Croatian Association of Artists since 2011, of Croatian Association of Professional Artists since 2018, and the Art Director of Format C art org (an artist organization focused on digital art, experimental multimedia research and collaborative creation) since 2014. (Co)works as an independent lecturer and an educator; active as an organizer and an artist in the areas of visual | digital | net art.
formatc.hr/j3d1n4

Vedran Gligo is a self-taught DIY hacker / artist / cultural event organizer strongly applying open source principles in everyday life and practice and working to empower the local community by holding free and open digital workshops via the hacklab01.org project which he co-founded in 2009. Practicing in the fields of open source, promoting the adoption of GNU / Linux, glitch art, large scale online collaborative art, independent culture production, (h)ac(k)tivism (…)
v3d.space

* The install is visible from open public space but please keep in mind the current health & safety regulations on minimum physical distancing. If you feel ill prior to visiting, please #stay_home, #stay_kind and #stay_well.

FRI 01.10. 20:00 [online exhibition] ONLINE EXHIBITION OPENING [120’]

As the past period brought us widespread change, and influenced all of our communities – emotionally and physically, privately and professionally, creatively and financially – we have decided to keep most of our program collaborations online.

Apart from our shared international C-19 struggles, our home city was also hit by an M5.5 earthquake on Mar 22nd and floods on Jul 24th, significantly damaging our AKC Medika cultural venue (as well as many other Zagreb homes and buildings). Following these complex threads of events, we have decided to fully digitise our venue so we can construct future /’fu:bar/ events and collabs regardless of our venue’s physical (im)permanence or any political (lack of) agendas to (not) invest in maintaining non-profit urban and community culture spaces.

This year we have built upon our new digital, web-based exhibition space (expo.fubar.space) – a virtual replica of our AKC Medika cultural venue, built by v3d (and with a lot of help from our communities).

The work shown in this virtual exhibition is an up-to-date (somewhat structured but predominantly scattered) community archive of digital&digitised media glitch art, in a broad span of visual, video, web-based, interactive, generative and sound art. Artists participating in this exhibition have volunteered their time and shared their work to support our community event, and have entrusted us to present you their hopes and struggles via additional metadata on current changes in their lives and artistic production.

Although web-based virtual spaces are not yet fully accessible to everyone (and our gallery space is not yet optimized for mobile phones), it was the closest we could get to democratizing gallery space interaction and currently the most immersive way to share our collaborative efforts. We hope your experience in viewing this gallery is a constructive one.

Remember to be excellent to each other && see you online at our virtual #fubar_expo online launch. ♥

Unity dev & 3D: v3d

Install design: j3d1n4

Thank you: Bruno Krehula, Way Spurr-Chen

2021 Curators: Ras Alhague, jonCates, Kaspar Ravel, Dina Karadžić, Vedran Gligo

For bug reports or inquiries contact us at: [email protected]

Detailed participants list TBA!

FRI 01.10. 19:00 [online tour] ONLINE EXHIBITION OPENING [120’]



We invite you to join our #fubar_expo online guided tour, in a mixed recorded*streamed format, open to discussion and reflection.

/’fu:bar/ – our yearly community arts event is the longest running glitch art themed festival in the world (*&universe?*), including thousands of artworks/contemplations/experiments just over its initial 5 iterations, and hosting about 100 glitch artists and/or their work per event.
Our digital exhibition space (expo.fubar.space) is a virtual environment structure and a replica of our past AKC Medika cultural venue (which *still* hasn’t gone under *any* repairs from the 2020 earthquake damage), in all its gore and glory. The multimedia art selected for #fubar_expo 2k21 is installed both as a physical display in the street-side gallery space by Institut français de Croatie (Zagreb) and as an interactive install in the photogrammetric AKC Medika.
Our online guided tour session is meant as an introduction to this interactive digitized space, and as support to visitors’ further explorations of this year’s virtual /’fu:bar/ exhibition. The tour will present the {digital} curatorial concept and techniques in creating the venue replica as well as the exhibition install, and will reflect on the many 2021 art pieces shown on display.

Hosts: Ras Alhague, jonCates, Kaspar Ravel, Dina Karadžić, Vedran Gligo

Next guided tour sessions: TBA – Oct 9th, 16th, 23rd, 30th 2021 at 6pm CEST/UTC+02

For bug reports or inquiries contact us at: [email protected]

SAT 09.10. 12:00 [guided tour] CURATORS’ TOUR [60’]

We are happy to invite you to join us on our #fubar_expo #digital_art guided tour, at the physical venue of Institut français de Croatie (Preradovićeva 5, Zagreb, Croatia).

This guided tour session is meant as an introduction to our 2020 collection, and as support to visitors’ further explorations of our first virtual /’fu:bar/ exhibition (accessible online as a virtual interactive web-based installation). The tour will present the exhibition install in depth, as well as some of the {digital} curating techniques enabling inclusive and community-oriented assembly of glitch art archives.

Hosts: Dina Karadžić, Vedran Gligo

Next guided tour sessions: TBA – Oct 9th, 16th, 23rd, 30th 2021 at 6pm CEST/UTC+02

SAT 09.10. 18:00 [online talk] ONLINE GUIDED TOUR [~30-45’]

An online guided tour session by one of the #fubar_expo 2k21 curators.
Free admission / no pre-registration necessary.

GAC @ fu:bar

Every year, the fu:bar festival welcomes dozens of artists engaged in an online glitch community by the name of Glitch Artists Collective. Created with the intention to connect and promote artists and glitch enthusiasts from all around the world, the group has grown in size over the years and became an important place for art sharing and exchange of knowledge on the glitch map of the Internet. The event will feature an overview of selected artworks and a bit of a history behind GAC, its artists, and the people who built it.

By: Ras Alhague w/ Way Spurr-Chen

Zoe S. a.k.a. Ras Alhague is a Polish digital artist specializing in glitch aesthetics. In 2014—2021, they were the main curator for Glitch Artists Collective, which strives to feature some of the most prominent glitch artists in the community on their multiple online platforms. In November 2014, they created Asthenia, a collaborative project that concentrates on the use of glitch aesthetics to create unrest, dark and obscure images. Since then Asthenia has received decent recognition in the community and participated in various group exhibitions. Zoe’s solo projects—Dream Doctor, mainly focused on the theme of sexuality as well as the problematic side of institutionalized religion and consumerism, and Outernet Explorer, an ironic take on the YouTube culture with a dark subliminal message—have also been featured in numerous events, including the longest-running glitch art festival in the world, fu:bar/expo. Today, their art focuses on the exploration of artistic nudity, gender identity, and sexual expression through glitch art, making Ras Alhague their most prolific artistic identity.
https://my.bio/rasalhague

SAT 16.10. 18:00 [online talk] ONLINE GUIDED TOUR [~45’]

An online guided tour session by one of the #fubar_expo 2k21 curators.
Free admission / no pre-registration necessary.

slowrun @ fu:bar

Hi, it’s Kaspar and Bee, on the 16th of October at 18:00 Zagreb time we’ll do a slowrun of the /’fu:bar/ 2021 video game. Everyone is invited, we’ll be talking about fubar, past and present, the artists that came, the ones who send their works every year, and maybe some of the fun stories that emerge when you bring together glitch artists in one hackerspace. To guide you throughout the exhibition we’ve selected a few works that we’d like to share a few thoughts about as we find our way together through this strange yet familiar URL world. Amongst these we’ll be talking about the datamoshing techniques of Thomas Collet, some of Jose Irion Neto’s PGF bends and John Bumstead’s work as a glitch artist and MacBook refurbisher.

By: Kaspar Ravel w/ B

Kaspar Ravel
new media artist && off/online curator
from the subcultures of internet art
he studied computer science and theater [at] sorbonne university
only to end up researching surreal data poetics.
https://www.kaspar.wtf/

B
pittsburgh, pa // a new media artist who, through animation, game performances and video art, researches the inherent interconnected relationships of self image
https://www.suture.blue/

SAT 23.10. 18:00 [online talk] ONLINE GUIDED TOUR [~45’]

An online guided tour session by one of the #fubar_expo 2k21 curators.
Free admission / no pre-registration necessary.

#glitčh @ fu:bar

Even though it has a strongly international identity & community, /’fu:bar/ is physically set in Zagreb/Croatia so in this occasion we will introduce some of the local participants showing their work in this year’s #fubar_expo. Join us in visiting the experimental and/or collaborative work by Nataša Devčić, sepulchre, Mirna Udovčić, pongpong, miksitz, Teuta Gatolin, MedusaHurricane / Hecate / Volpina, b00, Ermano Bančić, miksitz / zid.buke [noise.wall] / denis miksic & kruno jost / ian keaveny, FLAG/2021 [T. Gatolin, B. Vojvodić, K. Pongrac, B. Asanovski, I. Keaveny, D. Mikšić; Producers: D. Karadžić, V. Gligo]

By: j3d1n4

Dina Karadžić (1986) — Born and resides in Zagreb, CRO. Mastered in art (MFA, Sculpture) at the Academy of Fine Arts in Zagreb in 2012. A member of the Croatian Association of Artists since 2011, of Croatian Association of Professional Artists since 2018, and the Art Director of Format C art org (an artist organization focused on digital art, experimental multimedia research and collaborative creation) since 2014.
(Co)works as an independent lecturer; active as an organizer and an artist in the areas of visual | digital | net art; works as a digital artisan, in stop-mo animation and as a non-profit culture production assistant. Akademie Schloss Solitude Alumna, a CTHR workgroup member, a board member to Operation city and an advisor to the collaborative AiR by Pogon & Akademie Solitude. Since 2021. a council member to the The Wrong Digital Art Biennale and the “Kožarić Digital” awardee (for the best online digital artwork – Pivilion).
Frequently collaborates with Vedran Gligo and initiates media _=__I_N_____t____ERPRETATIONS as a Glitch Artists Collective fan and a hacklab01 member.
https://formatc.hr/j3d1n4/

SAT 30.10. 18:00 [online text] ONLINE PRESENTATION [~15’ reading time]

An online text by one of the #fubar_expo 2k21 curators.
Free access @ https://formatc.hr/fubar-2021-textmode-001/

Cyberpsychedelic Abstraction in the World of Glitch!

jonCates takes a cyberpsychedelic trip through abstraction and meaning in the world of Glitch Art, following 3 artists Cates selected from the submissions to /`fu:bar/ 2K21. This text is a part of “/`fu:bar/ textMode verbose”, a selection of texts (defined broadly) addressing Glitch Art from text-based perspectives.

By: jonCates

jonCates makes, curates, and teaches Glitch Art. Since the late 1990s, his work includes founding festivals, archives, and educational programs in Chicago, online, and around the world. His recent projects include 鬼鎮 (Ghosttown), the Glitch Western series of games and films: https://systemsapproach.itch.io/ghosttown-spirit-simulator

SAT 02.10. 18:00 [online performance] Craig Blackmoore [US] : Life is but a Glitch [45’]

An audio/visual and immersive VR performance taking place within a virtual venue designed exclusively for this experience. The visuals will contain abstract and surreal glitch animations that follow cinematic original music that also includes unique broken sounds. You can access the venue with any mobile, desktop, or VR browser and if you don’t wish to see the venue, you can watch the stream. The discussion will happen after the performance and go on for about 30mins.

I’m an artist, blogger, metaverse explorer, and all around digital vagrant from Detroit, Michigan, USA who has been experimenting with glitch for over a decade. As a youngster, glitch experiments consisted of running magnets across CRT TV screens and warping the image into abstract and colorful pictures that I found cool, but my parents didn’t. I would also manipulate the “rabbit ears” antennae by attaching foreign objects and wire to it with hopes of mixing data from different channels. I didn’t consider this art at the time, just experimentation. As an adult I stay obsessed with elements of error. Much of my music, visual art, and even corporate design projects contain some glitch element or process, even if it’s subtle.

Currently I am working to create my own little virtual world complete with characters, music, mind-numbing glitch art, and a corny little gift shop with really expensive keychains. I continue to experiment with new methods of creation as a full time creative and have a passionate goal to expose new technologies and ideas to the general public via art and artistic measures.

cblackmoore.com

SAT 02.10. 20:00 [online workshop] HrW [HR] : Art+F%G//Wikimedia [180’]

In this quick&dirty introduction to Wikimedia we will focus on methods of work that are useful for getting familiar with the publishing ecosystem of Wikipedia and its Wikimedia sister projects. We will look into content and participation gaps and strategies of how to bridge them, as well as where to look for inspirational work when documenting artistic practices. No previous knowledge is needed, but opening an account and preparing some content ideas or media to be published under CreativeCommons 0 and CreativeCommons by Share Alike 4.0 licences is desirable. 

* Registration mandatory (until Oct 2nd 19:00CEST):https://cloud.formatc.hr/apps/forms/Q9tS89XcmniRkTn4  

Z. Blace …(in+)consistently working (in-)between fields of contemporary culture and arts, digital technology and media, community sports and activism – by cross-pollinating queer/commoning perspectives and embodied experiences with thinking and doing methods across different networks and contexts…HrW_initiative is a recently started informal group of progressive Wikimedia contributors in Croatia that focus on content gaps, participation diversity and innovative and novel methods of empowering new contributors.

https://hr.wikipedia.org/wiki/Wikipedija:HrW_inicijativa

SUN 03.10. 18:00 [online discussion] #fubar_expo 2k21 artists [**] : G̝li͈̥tc͕h ͈͓Art Forum [60’]

Have you found anything particular about your digital art related practice during the past year? Did you have to change the way you create your (glitch) art related work during 2021? How much did you experiment with new tools/methods in 2021? Were you able to provide for yourself with your glitch art related practice during the first half of 2021? How different was 2021 as opposed to 2020 in regards to your work/income/life stability as a digital arts author?

As these questions were kindly answered by our community, we invite you to participate in publishing this data and analysing how we can act together to make our art practices more sustainable for ourselves.

We invite you to take part in an open discussion on these topics, as shared among the many festival artists, volunteers, visitors and organizers.

The talk is set up to be held online, and is in an open forum format.

Any inquiries and further suggestions: [email protected]

SUN 03.10. 20:00 [online screening & talk] Ejla Kovačević [HR] w/ Sophie.B, Tim Caldwell, Joanie Wind, Billy Roisz & Dieter Kovačić, Telcosystems, Ian Keaveny aka Crash-Stop, Chris Peters, Autojektor : GLITCH CINEMA [90’]


GLITCH CINEMA: Poetic & critical embrace of noise & error

In the beginning there was noise – thus writes Rosa Menkman in her influential Glitch Studies Manifesto (2011), a work that laid the foundations for the critical exploration of art works that incorporate noise & error as a means to examine and interrupt the normative function of the image and the media itself.
These works do not only present pleasurable aesthetic objects (because, yes, dirty glitch can be indeed very pretty) – they also act as a magnifying glass drawing attention to the material basis of the technology used to reproduce moving images, whether it be celluloid, analogue video or digital apparatus.
Using various means to distort the recognisable imagery (celluloid scratching, data bending, images generated by artificial intelligence etc.), they bring us exciting, vibrant, noisy and utmost dirty alternative visions that radically challenge the dominating clean, sterile imagery of contemporary digital cinema. As such, they pose fundamental questions regarding the political nature of technology, image and the reality itself.
This program will showcase eight eye and mind-bending contemporary audiovisual works that offer a journey through myriad of creative & critical uses of glitch in different media (celluloid, analogue video, digital format) followed by the Q&A discussion with the artists.
(Ejla Kovačević)

ARTISTS & WORK:
Sophie.B : IMMERSIO (FR, 2018, 5’)
Tim Caldwell : two mushrooms KNOCKING (NZ, 2017, 5’)
Joanie Wind : This one weird trick (US, 2020, 6’)
Billy Roisz & Dieter Kovačić : Surge (AT, 2019, 5’)
Telcosystems : TESTFILM #1 (HR/NL, 2020, 14’)
Ian Keaveny aka Crash-Stop : Mantissa (IE, 2021, 6’)
Chris Peters : Vertigo A.I. (US, 2019, 5’)
Autojektor : thisismenotthinkingofyou//untitled2 (UK, 2020, 2’)

---

CURATOR:
Ejla Kovačević – a freelance film critic, curator and independent/experimental cinema researcher. She’s a long-time collaborator of International Experimental Film and Video Festival 25 FPS and a selection committee member at Belgrade-based International Analog Film Festival Kinoskop.
Since 2011 she’s been active in the film labs community dedicated to the promotion and preservation of analog film practices. In Zagreb-based filmlab Klubvizija she organized numerous workshops, screenings and held lectures on experimental and photochemical  cinema.
As an Erasmus scholar she spent a semester working in filmmakers’ cooperative LIGHT CONE in Paris. She earned her MA in French Language at the Sorbonne Nouvelle University and is currently pursuing MA in Comparative Literature in Zagreb.

IMMERSIO “Caelum mergens sidera” – a sound and visual experience around duality. “Immersio” evokes the light / dark, the conscious and the unconscious, the confusion of the senses in a chaotic world and the finitude of being.

Sophie BOULOUX alias Sophie.B, practices photography and experimental cinema, but also writing more precisely concrete poetry that she self-publishes and also produces sound creations for her films. His photographic and cinematographic work is autonomous and without rules and builds a link between experimentation and poetry creating a real dialectic of intimate and unusual worlds.

TWO MUSHROOMS KNOCKING – a disused shed in county Wexford remix featuring percussion and ambient mushroom sounds.

This audio visual piece was put together with my friends Victoria Spicer and Catherine Ireland as a submission for Peter McCoy’s Radical Mycology Mixtape Vol. 1 – sounds were inspired by the Derek Mahon poem A Disused Shed in County Wexford and made use of percussive and ambient mushroom samples that we recorded. The visuals represent what I imagine mushrooms would dream of – made using and misusing VHS and other obsolete video devices.

cyberboy666 is a video-artist & toolmaker interested in electronics, creative code, open source, hack culture, community space, weird+trash cinema and more.

THIS ONE WEIRD TRICK – A woman slogs through an identity mired with gendered stereotypes and consumer capitalism to attempt to discover her true self. What is “natural” or “original” becomes inaccessible, forgotten, and nonexistent.Joanie Wind (b. 1987, she/they) is a visual artist and filmmaker from Tucson, Arizona. She received her MFA in Interdisciplinary Art from Eastern Michigan University in 2015. They now live and teach art in the Detroit area and exhibit their work internationally.

SURGE – A green shape hops on a red background mildly offbeat to a waltzing rhythm rendered by the alternating sounds of an increasingly slurred high-key ping and deeply resonant bass tone as the green color gradually turns turquoise and spreads out in space. Something awakes and stretches itself, the gravitational center of the image shifts from horizontal to vertical. In the next section a mysterious object – not a UFO – enters from the left and pushes across the image at a Star Wars angle. It is a finely chiseled ghost ship that shape shifts into a gorge and back again to the powerful beat of the music. The voyage of the gorge ship is superimposed with vertical stripes. These glitches serve as an allusion to disturbed analog signals and interfere with a circumspect deciphering of what is seen, thereby triggering the imagination. The next sequence returns us to abstraction, circumscribing an inner world conjured by bass notes – the insistent beating of a heart cradled within the ghost ship. It resolves into the slow-motion dance of a phosphorescent fade-out.

Billy Roisz is one of the best-known figures on the Austrian experimental scene. Her ability to translate experimental music into visual memory images is particularly noteworthy, revealing borrowings from minimal art and conceptual art. She specializes in feedback video and video/sound interaction by using monitors, cameras, video mixingdesks, a selfbuilt videosynth, computer, a bass guitar and sometimes turntables for video and sound generating.

Her videoworks are distributed by sixpackfilm.

Dieter Kovačić lives and works in Vienna. Since the late 80ies he has worked continuously at rendering cassette players, vinyls, cds and harddisks as instruments. solo appearances under various pseudonyms, eg dieb13, dieb14, takeshi fumimoto. Member of different musical formations and conscientious copyright-objector.

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules? (Text by Telcosystems & Mirna Belina)

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior.

Mirna Belina (HR) researches and curates in the fields of environmental humanities, film and new media art. She has edited several books and curated film programmes for international festivals and exhibitions. She holds Master’s Degrees in both literature and philosophy from the Faculty of Humanities and Social Sciences, Zagreb University, and is a graduate of Women Studies from the Centre for Women’s Studies in Zagreb. Since 2015 she is one of the curators of Sonic Acts festival and editor at Sonic Acts Press.

MANTISSA is partly a reference to the book by John Fowles and partly to the meaning of the word as the least significant fraction of something. The video is a record of the script I call Mantissa running on a computer which takes its input from two cameras observing the screen as a seed then uses a displacement script to alter that seed combined with the current feedback on screen , its a self feeding and self recording feedback loop which is slightly out of step with itself and which continues infinitely constantly changing until halted by the user. I see it as both the computer observing itself and as conjuring something out of nothing , which is also the theme of the book.

Ian Keaveny aka Crash-Stop – Born and raised on a council estate in the Midlands of the U.K I’ve lived and worked quietly in the Midlands of Ireland for the last 30 odd years. At first primarily a traditionally trained artist working with paint I switched to using digital media and specifically exploring glitch art and circuit-bending from 2012 and on.

VERTIGO A.I. – An artificial intelligence (A.I.) computer watched the Hitchcock classic “Vertigo” 20 times in a row and then it made its own disturbing movie.

With machine-generated imagery and narration, the film gives us a glimpse into a world at once familiar and fantastic – our world, as seen by a new intelligence of our own design.

Chris Peters is a Los Angeles based painter and filmmaker. His films have screened at numerous Academy Award qualifying festivals, including Slamdance 2021 and winning the Peter Wilde Award at the 2020 Ann Arbor Film Festival.

His art work has been exhibited at the Los Angeles County Museum of Art as part of the private collection of Academy Award winning director Guillermo del Toro and he recently completed a solo show at Sullivan Goss Gallery in Santa Barbara. He’s had eight previous solo shows at galleries in Santa Monica, Santa Fe, and New York City. His collectors include many members of the music and film industries.

THISISMENOTTHINKINGOFYOU//UNTITLED2 – 8mm footage of a 1960s skyline is attacked by decades of distortions.

Autojektor is a trans-femme filmmaker from the UK.

MON 04.10. 18:00 [online lecture] Paola Torres Núñez del Prado [PE/SE] : The Corrupted Structures: Latin American Glitch [40’]

I will talk about the historical background (Latin American Glitch Art), method, implementation and symbolism behind the “Corrupted Structures” Electronic Embroidery Series, Glitch art textile works that visualize various sound events related to human societal collapse.

The “Corrupted Structures” can be seen here: https://autodios.github.io/Embroidery.html

Paola Torres Núñez del Prado (PE/SE) explores the boundaries and connections in between tactility, the visual and sound related to the human voice, to nature, and to synthetic ones those whose listening is often considered less harmonious, such as machine or digital noises linked to the glitches and grains that Torres Núñez Del Prado harnesses in many of her works. She explores complexity and the limits of the senses, examining the concepts of interpretation, translation and misrepresentation, so as to reflect on mediated sensorial experiences while questioning the cultural hegemony within the history of Technology and the Arts.

*Honorary Mention @Prix Ars Electronica, 2021 – Google Artists + Machine Intelligence Residence Grant recipient, 2019 – Vivo Arte.mov Mobile Media Award, Brasil, 2013.*
autodios.github.io

MON 04.10. 20:00 [online workshop] Eyal Gruss [IL] : Adam Cutmix Presents [180’]

Recent innovations in deep learning bring new capabilities for automatic video editing (and glitching!). I will present accessible online interfaces that I am developing for making some of the latest released techniques be easily accessible as fully automatic, online and free ready and easy to use yet fully customizable tools. Participants will experiment with tools to generate and manipulate videos with various effects including automatic background replacement, and automatic face replacement (deepfakes), as well as controlling head and body avatars. The attached video shows a work of mine created with these tools. The central tools used https://j.mp/vid2green starting as an automatic background removal tool for video but is no evolved into a general video mixer and glitcher able to automatically create multi-layered mash ups.

Zoom link for the workshop.

* Registration optional (until Oct 4th 19:00CEST):https://cloud.formatc.hr/apps/forms/aPewC9AsD9QP57se

Eyal Gruss is a new-media artist and machine learning researcher. He holds a PhD in physics, and is an IDF Talpiyot graduate. Eyal writes poetry and creates interactive installations, computer generated art, algorithmic poetry, audio-visual performances, AI art and online interventions. Eyal teaches computational creativity and creates tools to make AI techniques more accessible and to help artists introduce the power of algorithms to their practice.
eyalgruss.com

MON 04.10. 23:00 [online screening] #fubar_expo 2k21 curator’s cut #01 [~60’]


We are starting the Fubar video screening evenings [screened at the “LIVE” session] with the following work:

1. Aristeidis Koutoulogenis : Digital Recollection [02’24”, 2021]
2. ethereal interface : God is in the Moire [03’16”, 2020]
3. Dalena Tran : Incomplete [03’29”, 2021]
4. Clarke Drahce : Alpha Covid Wave [03’31”, 2021]
5. Txchidu : Jupiter Gale [04’21”, 2020]
6. World Wide Basement Vibes : Cache Scratch Fever Dream [07’38”, 2021]
7. Jason Bernagozzi : Dialectic [08’33”, 2019]
8. Jaime Cleeland : Raw Data [24’58”, 2021]

Digital Recollection
On the analog side, lenses used were a pinhole Holga HL-C 60mm f/8, Helios-81 50 mm f/ 2 and the bellows and lens of an Autographic Kodak Special Model A, F -6.3. On the digital side the camera used was a Canon 550D with Magic Lantern firmware. The video shooting was made by hand and for some scenes was used the lens whacking technique.
The methods used for the glitching were databending (incorrect editing) and datamoshing.

Aristeidis Koutoulogenis
Aristeidis Koutoulogenis is a video artist based in Greece. He holds a Bachelor in Material Science, a MA in Audiovisual Arts, and now is a postgraduate student in Computer Engineering. Despite that he worked for several years in the audiovisual industry as a videographer, editor, and project manager, it was only recently that made his debut as a solo artist with the project “Digital Recollection”, that he hopes to be presented public, for the first time, in /’fu:bar/ festival.
He is using glitching as an approach to describe the subjective nature of memory and the process of recollection. Being at the borderline between analog and digital, he is using mainly old analog lenses and in-camera effects. His work is based in storytelling and can be described as poetic and nostalgic.
https://www.instagram.com/digitalrecollection/

God is in the Moire
3 min and 17 seconds audio visual piece from the Visual Album, dream_logs by ethereal_interface released by Circuit Church 2020. A collaborative piece using creative coding, video hardware feedback, modular audio and video synthesis plus poetry which explores the concept of technology as a spiritual experience.

ethereal interface
ethereal_interface is the audio visual duo consisting of Sky Goodman and William Randall. Randall and Goodman began collaborating in late 2017 after discovering each other’s art online. Goodman began the collaboration by sending video art to Randall, who then created sonically as a reaction to the video, doing away with the classical notion that video is supposed to accompany a song like a traditional music video or vice versa. The idea in ethereal_interface is that visuals and sound can intertwine, interweave, and inform each other simultaneously and that there is no hierarchy when it comes to any form of art—all elements present in the work remain equal.
https://www.instagram.com/skynaomigoodman/

Incomplete
“Incomplete” uses Generative Adversarial Networks (GANs) to semantically synthesize photographic images from a series of label maps that are first rendered from open-source software Blender. The process produces images that are as photographic as they are inexact. The result is a series of images that simultaneously attract and repulse: remnants of familiarity in a blanket of digital debris.

Dalena Tran
Dalena Tran (b. West Valley City, UT 1992) is a media artist, creative director, and educator living and working in Los Angeles, CA. Her research-based practice reinterprets applications of traditional art forms with emerging digital technologies through hybrid mediations. Engaging various media forms as semiotic storytelling, she investigates the everyday confluences of language and expression; presence and immateriality; voyeurism and surveillance; urbanism and hegemony; play and pause.
https://dalena.me

Alpha Covid Wave
Screen capture of the speech of the President of the French Republic Emmanuel Macron. Modifying the code via Audacity, selecting and editing the best passages. Music by Glitch artist Mathieu St-Pierre.

Clarke Drahce
• Training at the Geneva University of Applied Arts
• Training at the School of Beaux Arts de Versailles
• Fashion photographer since 20 years
• Speaker on the theme of lighting as a means of expression
• Co-author with René Bouillot of “Portrait Photographique” Dunod editions
• Author of 6 educational films on light published by Elephorm (more than one
million views on Youtube)
• Filmography: Colette, a woman so free
• France 3 TV”
http://www.clarke-drahce.art/corrupt_transfert.html

Jupiter Gale
The vessel scanning and cataloging worlds from this universe and alternative realities!
Jupiter Gale is a photographic project conceiving landscapes as art pieces. A project that references aspects of impressionist paintings merged with results of a circuit bent camera.
Each piece is a photography taken by an obsolete digital camera with its circuit purposefully altered. This is a glitch aesthetics technique called circuit bending: the circuit board inside the electronic device is modified to create unexpected results not originally designed for. Its like reconfiguring the DNA of the camera and it starts to see and capture from alternative realities.
The music from the piece “”Entering Jupiter’s Rings”” is authoral and is part of an album to be released soon”

Txchidu
Artist based in Brasil and passionate about making art out of obsolete electronic devices.
I’m a former graphic designer that stopped making ‘art’ for others and started making art for me. Of course I got poor because of that. Depressed? Equally! But that’s the artist life huh?
https://www.instagram.com/jupitergale

Cache Scratch Fever Dream
CSFD is an evolving real-time visual effect network that ingests multiple audio sources and dynamically deconstructs video input.
The spine of the design revolves around a frame cache of up to 6000 images, and each input controls the playback speed and direction of a randomized moment in the constantly recording buffer memory. Not only that, but audio signals control hundreds of parameters and switching logic to keep the experience interesting to both the audience and the artist.

World Wide Basement Vibes
Analog & digital glitch artist based in Minneapolis, MN who is actively developing tools for and techniques for TouchDesigner and VHS era analog video bending.
My most current output is a self oscillilating visual experience 100% controlled by incoming audio signals.
https://youtube.com/channel/UC6tGnaTGhnj7PdBsIWBhqvw

Dialectic
Datamoshing & Frame Buffering using a custom made flicker system with variable control. All done real-time in one take.

Jason Bernagozzi
Jason Bernagozzi is an artist whose work examines and critiques the codes embedded within the psyche of media culture. His work uses the real-time features of video and electronic media as a way to engage with interdisciplinary concepts as a dialogical system of emerging languages. He is particularly interested in the potential of non-human agents as collaborators in the artistic endeavor as a way to explore new concepts that exist outside the sphere of human assumption and logic.
http://www.seeinginvideo.com

Raw Data
The work is influenced by the business model known as Surveillance Capitalism. The manipulation of images, the defects of repetition is intended to mimic the behavioural data that makes up the raw material input which feeds Surveillance Capitalism.

Jaime Cleeland
I am a filmmaker/musician. Many of moving image works have been screened at film festivals. I release music under the name Ethnomite Pux.
https://jaimecleeland.org/

TUE 05.10. 18:00 [online lecture] Andrei Jay [US] : Myth and Magic of Analog and Digital

There is a lot of mythology out there in creative circles about supposed inherent qualities of Analog and Digital signal systems. I thought it would be neat to dispel some of the old myths and then build up some new ones based on a more mathematical approach. In this talk we will talk about the actual inherent differences between analog and digital signals, try to understand in what ways are human perception systems analog or digital, look at the history of analog and digital computing from stonehenge to water clocks, and finally try to figure out if reality is analog or digital!

Andrei Jay has a degree in mathematics which means you should take anything they say that isnt directly mathematical with a grain of salt.  They have at various times in their life been a farmer, fork lift operator, dog walker, computer repairperson, heavy metal guitarist, and a fake psychologist to make people feel uncomfortable (for science, not recreationally).
andreijaycreativecoding.com

TUE 05.10. 20:00 [online workshop] Amanda Stojanov [US] : Make your own game in Unity from a first person (subjective) glitch art & feminist perspective [60’]


This will be a beginner friendly workshop in Unity that begins with a presentation on glitch art and the theory of glitch feminism coined by Legacy Russell. In this workshop, we will examine artworks and theories that critically engage with glitch and glitch aesthetics. I will discuss how glitch feminism theory is rooted in cyberfemism theory and how that has influenced cyber feminist art-making and our perceptions of embodiment and the “historically constituted body” within a networked-society. During the presentation I will present a series of artists working in glitch and cyberfeminism as well as show my own work with the voidlab collective from 2015-2017 and where that collective project is now and how it’s carried my work forward.

The projects I will focus on from voidlab (https://projects.dma.ucla.edu/voidlab/) are Decentralizing the Web a year-long UCLA grant-funded series of panels and talks and Feminist Climate Change: Beyond the Binary Exhibit presented Ars Electronica by voidlab and sponsored by UCLA.

Active from 2015 to 2017, voidLab was an intersectional feminist collective for women, non-binary, gender nonconforming, trans and queer people to express individual identities through art and technology. Projects, actions, and reflections accumulated from this temporary community now live in an archive available in PDF and printed format.

The Unity Workshop will be at the beginner level showing how to make a first-person perspective game that can be hosted on the web. We will discuss what Unity is, a short interface introduction, and a basic tutorial using provided assets and glitch effects.

* Registration optional (until Oct 5th 19:00CEST):https://cloud.formatc.hr/apps/forms/JmgkH5HRETW3sG2C

Amanda Stojanov is a media artist who investigates how innovations in communication technologies affect perceptions of identity, agency, and visibility, emphasizing concepts of embodiment and the “historically constituted body” within a networked-society. Her work has been shown nationally and internationally in venues such as the Hammer Museum, Los Angeles, and Ars Electronica, Linz. Her work has also been featured in publications like Artillery magazine, The New York Times, and The Associated Press.

Amanda holds a BFA in Design from Monmouth University and an MFA in Media Arts from UCLA. She is currently an Assistant Professor of Digital Media at Monmouth University, NJ, and is co-lead director of the IDM Research Lab.
amandastojanov.com

TUE 05.10. 23:00 [online screening] #fubar_expo 2k21 curator’s cut #02 [~60’]


The second night of Fubar video screening evenings [which can be found at the main “LIVE” session] will bring us the following work:

1. Thomas Jourdan : analog Not analog [02’52”, 2021]
2. Joe Gilling : Spectres of the New Realm [03’42”, 2021]
3. Constant Voisin : hakuba [03’46”, 2021]
4. Andre Perim : Rust in peace [07’04”, 2021]
5. Andrei Jay : Prism Rain [13’11”, 2021]
6. Paloma Kop : Magnetic Field Recordings [24’43”, 2021]

analog Not analog
analog Not analog is a live coding system for visuals. Based on openFrameworks and Clojure. The aNa visualization server can mix generative code fragments with different inputs channels in real-time: a WEB cam, a microphone, movie files, image sequences, a joystick or Open Sound Control messages. The visualization server is written in C++ and the OpenGL shading language.

Thomas Jourdan
I have been working with graphical algorithms since the 80s. For the first time I was able to use a drum plotter during my training. At that time you had to develop the algorithms yourself. Since then I am fascinated by generative methods, procedural textures and evolutionary strategies for computer graphics. Now I’m working on a software somewhere between digital media, glitch art and live coding.
https://metagrowing.org/

Spectres of the New Realm
Custom 6.1 surround sound array. Projected visuals.
Spectres of the New Realm is an intense and immersive experience which combines sonified data, near-defunct audio/video, and saturated human voices. The work illuminates the hidden world of digital culture. Data mining. Bots. Fake news. Information overload. Documentation obsession. All-encompassing noise, crackle, bleeps, and voices fill the space. A means of reviving dead media. An awakening to the future.
Spectres of the New Realm documents a state of modern living. Digital culture today is overwhelming and heavily saturated with information. The human brain was primitively not built for the vast cataloguing of digital data as it does now. The audio/visual piece reveals the hidden mechanics which mediate our everyday virtual interactions. It bombards the viewer with striking colours, shapes, and textures. The piece questions what the future means now, when we have effectively lost our ability to rationalise futurity though our fetishization of archaic aesthetics and total psychological immersion within the virtual.

Joe Gilling
Joe Gilling is an audio artist based in Brighton UK, known for works exploring the collision between technology and life.
Joe currently works on a variety of audio/visual projects which exploit technologies and define what it means to be human today. Whilst studying digital music and sound arts in 2018, Joe began releasing commercial digital music projects online and took on bespoke commission proposals for advertising campaigns. His approach to sound is influenced by a broad spectrum of styles, often resulting in the creation of music which adheres to no single genre.
https://www.joegillingmusic.com/

hakuba
Shot during a drive in Hakuba. i-frames were altered through python, then processed through Signal Culture’s Frame Buffer. Then, the result was imported into Davinci Resolve and re-processed with a trail effect, before getting color-graded.

Constant Voisin
Born in France, in 1996. After studying cinema for two years, I went to Japan in 2016 and started to make experimental films while learning the basics of filmmaking around the director Sono Sion. I participated to the series “ami.exe”, a narrative work including glitch art. To me, the medium is a way to express the alteration of memories and perception.

Rust in peace
Basically the work was made throughout digital deterioration and databending. Multiple consecutives copies were made using the chroma-key effect until the original image became unrecognizable and gave way to new possiblities.

Andre Perim
Andre Perim is a Musician/Multimedia Artist with a critical view of the relations between society and technology in the digital era.
https://www.andreperim.com

Prism Rain
6 video mixers and 18 video cables connecting them in an intricate lattice of neuromorphic engineering. no external video inputs were used in this project, all structures were discovered in the signal flow using various wipe patters, color correction, and geometrickal displacements. music made using a kurweil k2000, several VSTs, and amphibian songs.

Andrei Jay
Andrei Jay is a mathematician, video artist, educator, and soft/hardware designer. Andrei’s main focus is on de-emphasizing the consumerist nature of technology based art and artistic and educational communications by designing open source video synthesis systems, working heavily with “e-waste” and “dumpstered” components, and hosting a wide variety of free and donation based pre-recorded and live workshops and tutorials. Andrei’s secondary focuses include the study of nonlinear dynamics and iterative feedback systems in digital and analog signal processing chains, emergent behavior and complex systems, and analog digital hybrid video signal systems as spatio-temporal research tools Andrei would prefer no pronouns if at all possible but ‘they’ works if you absolutely require one.
https://andreijaycreativecoding.com/

Magnetic Field Recordings
Vector synthesis using Oscilloscope Graphic Artist, Phosphorm, and modular synthesizer, rescanned from Leader oscilloscope using a digital camera. Combined with footage shot Brooklyn, upstate New York, Chicago, and Central Asia from 2015-2020. Sounds were produced using the same signals used in the oscilloscope, combined with radio receivers and processed through granular resynthesis and effects. The resulting composition is a hybrid space combining the environment’s imagery and solar radiation with electronically produced signals and transmissions. We scan through various morphing geometric forms and drifting radio signals, exploring the harmonics and textures.

Paloma Kop
Paloma Kop is a video and sound artist using feedback, electronic hardware, and hybrid media processes to produce compositions, installations, and performances. She deconstructs the boundaries between material space and electronic space, and is interested in the universalities between natural phenomena, computing, and chaos. She holds an MFA in Electronic Arts from Alfred University and has performed at venues such as Ibrida*Pluri Festival, Transient Visions Film Festival, and Ambient Church.
https://palomakop.tv/

THU 07.10. 18:00 [online lecture] Crash-Stop [IE] : Ethical Dilemmas [60’]

Looking at the ethical dilemmas facing artists working on line in relation to:

1a) sourcing material (copyright, privilege and narrative ie. what use is the material put to) remix culture and its discontents – should art be free for all (creative commons)

1b) with reference to the stealing and reuse of Rosa Menkman’s work as an nft, my own brush ins with copyright, implications of big corporations datasets being used to train ai, gpt2 and 3 etc (one rule for the big corporation one for the poor)

2) lets all get paid:

Nfts, blockchain and copyright, stealing art to make money, burning down the planet to make money (Bitcoin, block chain and nfts) with reference to LRBY as an alternative or not. Its chilling effects in online communities and implications for open source software and the creative commons

3) materials and privilege, the cost of making art and the machines its made on (exploring newer arguments over the switch in consumer electronics from lead based solder and non lead solder and the subsequent shortening of equipments life)

4) the implications of where you put your work and how you desseminate it (open platforms and the fediverse vs closed walled gardens of instagram and facebook) Peertube vs Youtube, access to networks (covering the overhead of html5 vs html and newer ideas such as gemini space on limited bandwidth)

5) Other themes will be covered.

Crash-Stop – I gave up traditional media after downloading images from a cheap digital and becoming fascinated with how they had become inadvertently glitched. My work is based on forcing software, hardware and codecs to function in unintended ways, through hex editing, sonification, misinterpretation, circuit-bending and the exploitation of hardware flaws found in older computers when mismatched with obsolete operating systems. As well as my own video I use a variety of found sources including VHS, out of copyright silent movies, government information films, ad-breaks from satellite television and footage of modern politicians – I treat the internet as an environment to work within, comment upon and as source material. I use and endorse open source software and publish my work under creative commons as CC BY-NC-SA 4.0.
crash-stop.blogspot.com

SAT 02.10. 18:00 [online performance] Crash-Stop [IE] : Mantissa [45’]

Mantissa was a self observing and self generating video creation script, This version of Mantissa,
Performance , uses a basic shell script to record and glitch the desktop via two webcams pointing at the screen , creating a feedback loop but also allows for interaction via other windows that are called up via terminal shell creating an ever changing kaleidoscope of images and collisions , in a human and computer based interaction using the desktop as a performance tool, user choosing what to display and fighting against or working with what the shell script is creating. Sound is generated via skipping loops and hex editing in real time or pre-recorded and played when appropriate.

Crash-Stop – I gave up traditional media after downloading images from a cheap digital and becoming fascinated with how they had become inadvertently glitched. My work is based on forcing software, hardware and codecs to function in unintended ways, through hex editing, sonification, misinterpretation, circuit-bending and the exploitation of hardware flaws found in older computers when mismatched with obsolete operating systems. As well as my own video I use a variety of found sources including VHS, out of copyright silent movies, government information films, ad-breaks from satellite television and footage of modern politicians – I treat the internet as an environment to work within, comment upon and as source material. I use and endorse open source software and publish my work under creative commons as CC BY-NC-SA 4.0.
crash-stop.blogspot.com

WED 06. & THU 07.10. 20:00 [online workshop] Teuta Gatolin [HR] : Wordy Workshop [150’]

This workshop approaches language and literature through generating texts from “raw” data found in online archives, code, old manuals, pop-ups, or simply gathered in a diary-like format from various sources on the internet that one encounters during everyday browsing.

Starting from Kenneth Goldsmith’s idea that “the internet is to literature what photography was to painting”, this workshops attempts to ask what would happen to literature if it embraced this change, instead of resisting it? What could we imagine with this new literature, what forms would it take, who would it speak for, what relationships would it make?

The first part of the workshop is a short overview of literary theory and base terms in semantics and semiotics that refer to language – such as common literary forms, stylistic devices, signifier/signified relationship, semantic satiation, communication noise etc. – just to get a bit of a grip on what things make up language and writing.

We’ll look at works that used words in experimental ways, such as Mallarme’s poetry, Joyce’s Finnegan’s Wake, stream-of-consciousness and asemic writing, Laurie Anderson’s performances or Tim Etchell’s billboards. We’ll also look at ways of relaying messages that differ from the ways we use language today – such as the quipu notation made out of knots, or epithets in Homer used as mnemonic devices.

In the second part of the workshop, we’ll make experimental poetry by glitching parts of found text with online OCRs and text-to-speech synthesisers, collaging screenshots of archival material, bouncing sentences between online translators until their meaning fritzes, using erasure methods to make a new text out of an old one,  or roaming the internet and our computers for inspiring dialogue boxes, variable names, ads and pop-ups that we can use as “raw” material in our literature-making.

If there are ghosts in these machines, we’d like to ask them how they feel about penning some sonnets with us.

* No pre-registration necessary

Teuta Gatolin (1993) is an intermedia artist based in Croatia, currently interested in  storytelling ecology, the ways narratives about nature are constructed, the subversive potential of mythological tricksters, and considering technology as one of the companion species to humans. Her work is often process-oriented, spawning iterations of itself that are then realized with other fabulators. She also collaborates on intermedia performance projects, often with the contemporary dance community in Zagreb.

She had three solo exhibitions, and many group shows, so, for a while, her work inhabited Pogon, Vladimir Nazor gallery, Hall V. of the Nikola Tesla Technical Museum, GMK gallery, Lipa memorial Centre, Greta gallery, the internet and other places. These works have taken the shape of installations, text,  collections of objects, workshops, letters, costumes, virtual spaces and a range of mixes, mashups and negotiations between them. She studied New Media Arts at the Fine Art Academy, and Journalism/Media Studies at the Faculty of Political Sciences, both in Zagreb, Croatia.

She often distrusts the white box but enjoys making it darker. She’s good at finding objects lost in the streets. She likes to linger around exits and entrances. If she weren’t an artist, she’d be an archivist.
teutagatolin.wordpress.com

* Important:

Workshop is switched to ONLINE – no pre-registration necessary!

WED 06.10. 23:00 [online screening] #fubar_expo 2k21 curator’s cut #03 [~60’]


The third night of Fubar evening video screenins evenings can be found at the main “LIVE” session button && will feature:

1. 0bapek, /KU8I/, Sascha Kümmel, NCOUNTERS collective : If I Was A Human Being [05’30”, 2020]
2. Lívia Zafanelli : Superfície de Ataque [05’34”, 2021]
3. Eric Souther & Andrew Deutsch : Exponential Growth [13’06”, 2020]
4. crash-stop : Safe as houses [33’23”, 2021]

If I Was A Human Being
If I Was A Human Being is experimental audiovisual research about existential myths and human’s relationship with nature and time. It is a collaborative work which consists of Sascha Kümmel’s dance and choreography, music by Kubilay Öztürk(/KU8I), and Baris Pekcagliyan(0bapek)’s videography and visuals, manipulations generated by code. If I Was A Human Being plays around the concepts of transformation, destruction, and reconstruction. In the process, we researched for ancient human-like gods and their relationship with dance which is an ancient practice itself. The protagonist comes into a time circle where she explores what it means to be a human by doing this ancient ritual. During this ritual, she is going through a transformation process including a lot of destruction, creation, and re-creation. The techniques in the work vary from displacements in time and/or space, data moshing, morphing and pixel sorting on video pieces in addition to 3D creations created with code.

0bapek, /KU8I/, Sascha Kümmel, NCOUNTERS collective
Baris Pekcagliyan is a lens-based artist and a programmer who was born in Ankara/Turkey in 1991. His current work shaped by visual experiments which he plays with the idea of perception of space and time. In his works, he explores the unconscious mind inspired by his reflections from psychoanalytic, spiritual, philosophical concepts and their relationships with myths, nature and personal experiences. To shape his stories, he mostly uses his photographs and videos in an altered space and time by using lens-based techniques, in addition to digital creations made by code. He had a degree in B.Sc Computer Science from Bilkent University in Ankara/Turkey, and he received a degree in M.A Photography from UE in Berlin/Germany where he has been continuing his works.
https://www.barispekcagliyan.com
https://www.instagram.com/0bapek/
https://www.instagram.com/hicbapek/
https://www.instagram.com/ku8i44
https://www.instagram.com/carumcarvis/
https://www.ncountersberlin.com/

Superfície de Ataque
The glitch method used on this work was the classic manual datamosh process of removing the key-frames with avidemux. After that, I filmed the screen and added some distortion with the stabilization tool on the video edditing program. This is a video that also explores surveillance and appropriation of image and sound, which is the main focus of my production and research as a visual artist.

Lívia Zafanelli
Visual artist, industrial designer and researcher. Graduated in Graphic Design (Pontifical Catholic University of Paraná, Curitiba, 2014), specialist in Visual Poetics (School of Music and Fine Arts of Paraná, Curitiba 2018), and master in Film and Videoart (Postgraduate Program in Film and Videoart at the State University of Paraná, 2021).
The subjects investigated in his academic research and artistic production are related to appropriation, error, nature, violence and surveillance.
https://liviazafanelli.com/

Exponential Growth
The exponential growth of the human race, capitalism, and climate change reveals a system on the brink of failure. The ongoing global epidemic COVID-19 has tipped those scales into the red, putting millions at risk. This crisis has made it clear that America needs to rethink its economic practices and nationalize health care. COVID-19 has become the glitch in our system that requires us to step back and question the frameworks we have in place. To consider new pathways for future political, social, and economic realities.
The glitch was created by creating a virtual network for streaming video out and back into the same system. The glitches occur by throttling the networks bitrate and creating a feedback loop by taking the in back to the out. These glitches are similar to slow internets effects on streaming services like Netflix. Streaming services claim they provide you with 4k HD video, and the pixels within that resolution are present; however, they downsample your images based on your connection speed. I cannot help but make correlations to the promises of capitalism and the bootstrapped picturesque life of exponential growth and prosperity.

Eric Souther & Andrew Deutsch
Eric Souther is a new media artist who draws from a multiplicity of disciplines, including anthropology, linguistics, ritual, critical theory, and New Materialism. He develops video instruments that investigate technological & cultural ecologies, agency, and emergence. He looks for new ways of seeing beyond the seductive qualities of an image, and to find unseen connections that help us understand our digital and non-digital existence. His work takes many pathways, which include single-channel video, interactive installation, projection mapping, print, virtual reality, and audiovisual performance.
Deutsch was born in Keene, NH, and received his BFA in Video Art and Printmaking from Alfred University in 1990. He obtained his MFA in Integrated Electronic Art from Rensselaer Polytechnic Institute in 1994. Since 1998 Deutsch has released over 14 CDRs of solo electronic music on his Magic If Recordings label. Each Magic If edition showcases his experimental music and graphic art and is distributed exclusively in the United States by Anomalous Records.
https://www.ericsouther.com/
https://www.alfred.edu/academics/faculty-staff/profiles/deutsch-andrew-w.cfm

Safe as houses
Using the desktop and ffplay and ffmpeg to create a feedback loop between movable windows and pre-prepared video.

crash-stop
Artist living and working in rural Ireland.
https://crash-stop.blogspot.com/

THU 07.10. 18:00 [online performance lecture] Paul Hertz [US] : Loss, Gain, Nurture, Sustain [30’]

This hybrid work consists of a short generative game and a longer lecture. The game is played online just before the performance. It generates a tiling pattern and graph that determine the order of the short, previously written texts. The texts are derived from a combinatorial process where 4 verbs (lose, gain, nurture, sustain) are crossed with 4 topics (friendship, history, grief, ecology) and 4 glitch processes (TBD). The texts are displayed in the determined order in a version of my “glitchSort” app that applies the glitch processes as I read the texts and share the screen from my app. The tiling pattern also has an interpretation within a long-running performance as Ignotus the Mage, a dysfunctional fortuneteller who only sees the present. As part of the performance, I will improvise a “reading” of the pattern as if telling the present of the /’fu:bar/ Festival itself.

Paul Hertz is an independent artist, printmaker, and curator working with algorithmic processes. He earned a BA in Fine Arts from Brown University (1971) and an MFA in Time Arts from the School of the Art Institute of Chicago (1985), where he was a Fellow of the Center for Advanced Studies in Art and Technology. From 1971 to 1983, he lived and worked in Spain. He taught courses in the theory, practice, and art history of new media at Northwestern University (1995–2004) and at the School of the Art Institute of Chicago (2011–2018).

Hertz’s curatorial work includes Second Nature (1999) for the City of Chicago’s Project Millennium, all.go.rhythm (2015) and glitChicago (2014), all at the Ukrainian Institute of Modern Art in Chicago, and Imaging by Numbers (2008) at the Mary and Leigh Block Museum, Northwestern University. His project La Finca/The Homestead (1995), one of the earliest exhibitions of art on the WWW, was exhibited at Northwestern University and the Universidad Politécnica de Valencia, Valencia, Spain.

Hertz has exhibited his archival pigment prints and interactive installations at numerous international media festivals, conferences, and symposia. His large scale glass mural “A Chance Encounter of Measure and Continuity” (2016) is featured in the headquarters of the National Science Foundation, Alexandria, Virginia. His recent virtual reality installation, “Fools Paradise,” toured international venues (2017–2020) and can be downloaded at http://dimoda.art/. He lives and works in #Chicago.
paulhertz.net

WED 06. & THU 07.10. 20:00 [online workshop] Teuta Gatolin [HR] : Wordy Workshop [150’]

This workshop approaches language and literature through generating texts from “raw” data found in online archives, code, old manuals, pop-ups, or simply gathered in a diary-like format from various sources on the internet that one encounters during everyday browsing.

Starting from Kenneth Goldsmith’s idea that “the internet is to literature what photography was to painting”, this workshops attempts to ask what would happen to literature if it embraced this change, instead of resisting it? What could we imagine with this new literature, what forms would it take, who would it speak for, what relationships would it make?

The first part of the workshop is a short overview of literary theory and base terms in semantics and semiotics that refer to language – such as common literary forms, stylistic devices, signifier/signified relationship, semantic satiation, communication noise etc. – just to get a bit of a grip on what things make up language and writing.

We’ll look at works that used words in experimental ways, such as Mallarme’s poetry, Joyce’s Finnegan’s Wake, stream-of-consciousness and asemic writing, Laurie Anderson’s performances or Tim Etchell’s billboards. We’ll also look at ways of relaying messages that differ from the ways we use language today – such as the quipu notation made out of knots, or epithets in Homer used as mnemonic devices.

In the second part of the workshop, we’ll make experimental poetry by glitching parts of found text with online OCRs and text-to-speech synthesisers, collaging screenshots of archival material, bouncing sentences between online translators until their meaning fritzes, using erasure methods to make a new text out of an old one,  or roaming the internet and our computers for inspiring dialogue boxes, variable names, ads and pop-ups that we can use as “raw” material in our literature-making.

If there are ghosts in these machines, we’d like to ask them how they feel about penning some sonnets with us.

* No pre-registration necessary

Teuta Gatolin (1993) is an intermedia artist based in Croatia, currently interested in  storytelling ecology, the ways narratives about nature are constructed, the subversive potential of mythological tricksters, and considering technology as one of the companion species to humans. Her work is often process-oriented, spawning iterations of itself that are then realized with other fabulators. She also collaborates on intermedia performance projects, often with the contemporary dance community in Zagreb.

She had three solo exhibitions, and many group shows, so, for a while, her work inhabited Pogon, Vladimir Nazor gallery, Hall V. of the Nikola Tesla Technical Museum, GMK gallery, Lipa memorial Centre, Greta gallery, the internet and other places. These works have taken the shape of installations, text,  collections of objects, workshops, letters, costumes, virtual spaces and a range of mixes, mashups and negotiations between them. She studied New Media Arts at the Fine Art Academy, and Journalism/Media Studies at the Faculty of Political Sciences, both in Zagreb, Croatia.

She often distrusts the white box but enjoys making it darker. She’s good at finding objects lost in the streets. She likes to linger around exits and entrances. If she weren’t an artist, she’d be an archivist.
teutagatolin.wordpress.com

* Important:

Workshop is switched to ONLINE – no pre-registration necessary!

THU 07.10. 23:00 [online screening] #fubar_expo 2k21 curator’s cut #04 [~60’]


The fourth evening of Fubar video art [at the main “LIVE” session] is featuring the following:

1. CRTCL, Pianu : CRTCL/Klavier – Low Noise [04’22”, 2020]
2. SUPERFICIES MÍNIMAS. Authors : Marielasandía, SN0WKAP, GAB0 SEGURA : Brok3n-Machin3s [04’33”, 1]
3. Giorgos Gargalas : Riot Strike Riot [04’43”, 2021]
4. nilson carroll : me with and without my brother [07’39”, 2020]
5. ellis laurens : DiDySC – Digital Doom [10’18”, 2021]
6. Victor Tetaz-Josse : Lisières (En: edges/margin) [27’20”, 2021]

CRTCL/Klavier – Low Noise
I used a lot of stuff here – Photogrammetry, 3dsmax/Vray, After Effects, Modulation, Pixel sorting and so much other. It reperesents my 1,5 year stay in the beautiful Austrian Alps. Cheers to the beautiful people of Innsbruck and Stubaital. The video is very personal and it’s recorded, edited and modified only by me.

CRTCL, Pianu
I’m a 3d generalist based in Bulgaria. Strong interest in VFX and unique visual styles. Founder of Terraformers, a small creative studio that I made with couple of friends 6 months ago and now looking for financing/clients. The track is made by my fellow man Pianu (https://www.youtube.com/user/MrLonenol) with whom we created this piece that we hope you will enjoy.
https://pesh.portfoliobox.net/

Brok3n-Machin3s
Inspired by the movement and shapes of industrial machines. As well as in robot movies like Metropolis. We did a really crazy drum and base to accompany the results of the glitch experimentation. We wanted to create a colorfull video of the emotions and fantasy arund the concept of Broken Machines.

SUPERFICIES MÍNIMAS. Authors: Marielasandía, SN0WKAP, GAB0 SEGURA
At Superficies Minimas we develop audiovisual shows where the techniques of video mapping stand out, the construction of figures and the ingenious intervention of spaces. We create high-impact experiences customized to needs of the client. We create interactive montages, glitch art and 2D animation.
https://instagram.com/superficiesminimas

Riot Strike Riot
These 3 videos are part of my audiovisual installation entitled “Riot Strike Riot” which is based on the political repression and social disorders of recent years with a focus on Greece, but also with influences from abroad. The installation has presented from a subjective point of view, the socio-political image of today through audiovisual digital media, interactive systems, and objects. Videos and audio files were manipulated trying to combined in aesthetics of electroacoustic music and video art. Basically technique was digital video and sound editing. (The link of the installation is here: https://vimeo.com/530094571)

Giorgos Gargalas
George Gargalas works as an audiovisual artist and performer in combination with a wide range of artistic media.
​Focusing on sound, his work explores the relationship between contemporary music creation with video art, installations and performance. Working with topics such as human-computer interaction, political art and sound sculpture, his pieces are framed in a wide range of conceptual art with aesthetics from electro-acoustic music and video art. In his installations spectators are aimed to actively participate in the artwork through interactive tools such as microphones and motion sensors.
https://giorgosgargalas.tumblr.com/

me with and without my brother
me with and without my brother is a short experimental video exploring isolation and separation between brothers using original, real-time Super Mario 64 and Super Mario Bros. 3 audiovisual corruptions.
Using wildly unpredictable real-time ROM corruptions, the process of making this footage was intense, and felt entirely hands-on. As I spent hours and days within the first few moments of Super Mario 64, I grew to understand its fragility, and learned to be patient with its mysterious signs.

nilson carroll
nilson carroll (he/him) is a barista-poet, ROM hacker, and queer video game artist based in Rochester, New York. He is a champion and curator of anti-fascist, feminist, pro-affection new media and games, and is the founder of DIY queer art games collective swampbabes. nilson holds an MFA from Visual Studies Workshop, and has participated in screenings and performances internationally, including Mono no Aware, the Milan Machinima Festival, Croatia’s Fu:Bar Glitch Festival, and Broken Screen in Buenos Aires. Capricorn/Scorpio Rising
https://nilsoncarroll.com/life_sux.html

DiDySC – Digital Doom
Different metaprompts were processed by machine learning systems to create AI-generated visualisations. Then, the images produced were combined as video files, exported, morphed and edited altogether. An AI-inspired voice-over guides the viewer through reflections about representation of the AI’s self-consciousness, opens an immersive and mixed-media metaverse and performs a virtual presentation of machine learning glitched perceptions’ exploration –

ellis laurens
i was born and raised in France. then I spent my childhood in Abu Dhabi, my teenage years in Casablanca, and I came back in South of France to begin my studies in a literary preparatory class. i just got a cinema license in Paris where i am currently entering a master’s degree in visual arts. i was always interested in experimenting different creative processes in order to produce hybrid mixed-media artworks. i have been working with digital interfaces for a few years now, but there is so much more to learn and create.
https://laurensellis.wixsite.com/neurasthenique

Lisières (En : edges/margin)
The piece is divided in three videos that are meant to be displayed simultaneously on three walls and a two points soundtrack. The videos should be placed such as one can’t see two of them at the same time. One of the speakers should be in the center and the second one away from it as far as possible in the room. The first one is used for the main line of sound, whereas the second one is only here for reverb and resonance.
When it comes to the treatment of the videos, it mainly came down to datamoshing loops of approximately 10 to 20 seconds in on themselves in order to create a chain of reaction that would try to destroy completely each videos in the long run. After a few tries, I selected the most interesting parts of the glitched out videos and reversed them to create seamless loops that could be displayed indefinitely. The sound piece is also a loop, that was made through a granulation synthesis process based on the sound of a car passing by. I went for a destructive way of making, recording as I played the car sample as an instrument. I then edited the best parts for them to form kind of a narrative that would play with the videos. Each loop (sound and video) has a different length so that there would never be the same association of sound and image for each given spectator. The smallest loop is 15 min and the longest about 40.
{The url you’ll find bellow is an excerpt of 5 min of only the video and sound work, I’ll also put a link to my website where you’ll be able to see some photos of the installation}

Victor Tetaz-Josse
Born in Paris in the midst 90’s, I grew up in Lyon where I had my first encounter with art through music and filmmaking as a teenager. Shortly after high school I left to Grenoble University for a bachelor’s degree in performing art and a master’s degree in cinema. After a few years of “conventional” filmmaking in uni I began getting obsceced with “experimental” sound works and video, which made me engage in a second master’s degree in Nantes’s school of fine arts where I focus on photography and video art. My main subjects of work are currently liminal spaces and the search for ghosts, which I explore by pushing the limits of every medium I use. Hence, the appeal for glitch art when it comes to digital video. Through the accumulation of corrupted video loops I am on the search for glimpses and prints of parralel realities that could’ve existed once but got lost in the making.
https://victortetaz.com/

FRI 08.10. 18:00 [online performance lecture] sonda57 [SI] : OVERGLUED / PRELEPLJEN [45’]

A PERFORMANCE LECTURE ON IMPERFECTIONS, DEFECTS, FAULTS, UNEXPECTED AND PERSONAL, HUMAN, SOCIETY MALFUNCTIONS
Miha Horvat – sonda57 je pravni zastopnik Ustanove Fundacija Sonda, iniciator garažnega galerijskega projekta EX-garaža, ustanovni član Transnacionalne gverilske umetniške šole ter odgovorna oseba za interdisciplinarni laboratorij GT22.
https://www.facebook.com/media/set/?set=a.10212104026194658&type=3
FRI 08.10. 20:00 [online performance] Mike Richison [US] : Electo Electro: Whitewash [30’]

“Electo Electro: Whitewash” is an interactive installation and performance that combines music, news footage, and politics. It consists of iMacs, iPads, custom software (Max MSP Jitter), and projections. Performers and participants can remix political footage from the January 2021 insurrection in a structured sixteen beat loop.
Mike Richison is a multimedia artist and an Assistant Professor at Monmouth University in New Jersey where he teaches motion graphics. He employs a variety of approaches including sculpture, graphic design, and interactive video. His work utilizes found objects such as turntables, voting booths, and scavenged video clips as well as the Max MSP Jitter programming environment. Mike has exhibited at Figment NYC and Art in Odd Places (New York); and Peters Valley School of Craft and Morris Museum (New Jersey). His projects have received attention in outlets such as Leonardo, Noisey (Music by VICE), FACT Magazine, Hyperallergic, WABC-TV Channel 7 News New York, and The Washington Post. Before moving to New Jersey in 2007, he lived in the Detroit, Michigan area for several years.
http://www.mikerichison.com
FRI 08.10. 23:00 [online screening] #fubar_expo 2k21 curator’s cut #05 [~60’]


The final Fubar video art evening [screened at the main “LIVE” session] is featuring the work:
1. UMMTI-Collective : On translation (now…you got it?) [03’20”, 2020]
2. Kit Young, Allen Moore, Mike Brown : Stolen Identity [03’43”, 2021]
3. royb0t : Generation Loss [05’00”, 2020]
4. JB Friquet : At the mountain of madness [05’08”, 2021]
5. Eddie Lohmeyer : An Interval Among Death and Dream [05’17”, 2020]
6. Thomas Valianatos : Dada Electronika_Live Cinema #01 [05’59”, 2021]
7. PLUME : DISINTEGRATION (and life’s tenuous nature) [06’14”, 2021]
8. Sabato Visconti : Cybergunk 2077 [06’21”, 2021]
9. Joshua Albers : Stockpile [06’24”, 2019]
10. FLAG/2021 : TBA [10’40”, 2021]
On translation (now…you got it?)
Collaborative work in which the sound modifies the way in which the poetic text and the image are displayed. He reflects on the difficulties and losses in translation processes between languages ​​and between media.
UMMTI-Collective
The research project created by Catalina von Wrangell, Julián Brijado and Esteban Gutiérrez was born from the collaboration proposal between the Faculty of Arts and Humanities of the Metropolitan Technological Institute of Medellín (Colombia) and the Frost School of Music of the University of Miami (United States). United). Since January 2020, the three artists – with different professional profiles – have worked on the piloting of an official agreement between the two institutions, based on familiarization with their individual production and the search for common themes. Starting from these two great pillars, they have dedicated themselves to the creation of collective works built sequentially and jointly. This report summarizes the first stage of the agreement, developed between January and May 2020. It begins with a brief introduction to the profiles of the artists, and later, it focuses on the works produced by the collective and their reflection on collaborative creation; guided by two common threads: transmedia translation, especially when it involves a distortion of information; and the intimacy of the creative process, affected by the context of collaborative creation.
https://vimeo.com/461112323
Stolen Identity
This is a live, collaborative video work that was made remotely, during the pandemic. We communicated via Zoom as I recorded our session; Allen in Chicago Ill, and myself in Berkeley, CA. Allen shared audio as he worked in his sound studio, spinning records he makes out of graphite. I sent his audio signal into my video glitch system so it could effect the video signal. My cameras were trained on a video sculpture I made of my friend Mike Brown. The mask of his face has video screens and robotics built into it.
Kit Young, Allen Moore, Mike Brown
Kit Young builds video systems that can be played in an improvisational way. He performs solo and collaboratively with other media artists. Though his work utilizes new media technique, his practice is grounded in the experimental cinema traditions of perception, awareness, social justice, and humor. He uses art as a means of restructuring reality to facilitate change. Kit has exhibited and performed locally, nationally, and internationally.
https://www.youngkit.com
Generation Loss
“Generation loss is the loss of quality between subsequent copies or transcodes of data.” This video illustrates the degradation of footage over 20 iterative VHS copies. Videos sourced entirely from personal footage in Phoenix, AZ, and Chicago, IL.
The title sequence is manipulated using analog gear (including Tachyonsplus Vortex Decoder and BPMC Fritz Decontroller). VHS copies filmed on a CRT using a DSLR camera, then compiled in Adobe Premiere Pro. Directed by bzzrk @ badtvlab.
Generation Loss appears originally off the royb0t album, Black Burst Generator (Thinkbreak Records, 2020), with an accompanying single featuring a remix by Coinhammer.”
royb0t
i am an audio and visual artist. i create glitches and breaks.
http://royb0t.net/
At the mountain of madness
Datamoshing
JB Friquet
“Born in 1983 in Mulhouse, France, he studied film and art editing at the Institute of Broadcast Arts in Louvain-La-Neuve, Belgium. He officiates on Belgian television as editor and director. Now he works as a freelancer for various audiovisual production companies.
In 2014, he discovered glitch art, which launched him in a new way and many experiments. He wonders through his art through the famous paradigm “it was better before?”. Child of analog, its present is digital.”
https://www.instagram.com/jbfriquet/
An Interval Among Death and Dream
An Interval Among Death and Dream is an experimental glitch machinima that explores altered states of consciousness through aesthetics of error. Employing sensual expressions of datamoshing, An Interval Among Death and Dream evokes a haunting journey through the Bardo in traditions of Tibetan Buddhism: an existential state that lies between death and rebirth, consciousness and unconsciousness, spiritual transcendence and hallucination, ego and its dissipation. Here, footage of pristine landscapes has been captured from gameplay in Red Dead Redemption 2 (Rockstar, 2018) and corrupted to produce a continuously unfolding glitch sequence in which mountain ranges and meadowlands implode upon each other in violent abstractions. The material strangeness of glitch reinforces this spiritual wandering into the unknown. Glitch techniques often play with continual cycles of data’s destruction and generativity, between a gestalt image and abstract forms that underlie familiar interfaces. Similarly, the Bardo as a liminal state among the corporeal and metaphysical negotiates among reality and intermediate realms of being. Through bliss and apprehension, An Interval Among Death and Dream considers glitch aesthetics as a form of spiritual abstraction, one that elicits technically mediated altered states through the perpetual corruption and generation of data to produce the novel and unexpected.
Eddie Lohmeyer
“Eddie Lohmeyer is an Assistant Professor of Digital Media at the University of Central Florida. His research explores aesthetic and technical developments within histories of digital media, with an emphasis on video games and their relationship to the avant-garde. His book Unstable Aesthetics: Game Engines and the Strangeness of Modding is now available through Bloomsbury Press. Using deconstructive approaches such as glitch, physical modifications to hardware, and assemblage, his installations, sculpture, and video have been exhibited both nationally and internationally, most recently at 1308 Gallery at the University of Wisconsin, Ground Level Platform (Chicago, IL), the Yeltsin Center in Yekaterinburg, Russia and the 2021 Milan Machinima Festival.
Drawing from occult mysticism, Zen Buddhism, and art history, Lohmeyer’s art explores the intersections among human perception, digital technologies, and modes of spiritual abstraction. Through experimental film, video installation, sculpture, and interactive methods, his media interventions aim to reconsider our habitual encounters with digital technologies through uncanny and often transcendent interfaces and screens. The playfully ironic encounters with these strange media forms unveil normal attitudes and perceptions toward digital technologies that have become a mundane co-extension of our bodies, while questioning knowledge frameworks in contemporary networked culture through which we perceive and sense the world.”
https://vimeo.com/eddielohmeyer
Dada Electronika_Live Cinema #01
“This video focuses on the cinematic narrative time and handles in real time, the frame rate of certain sequences of Antonioni’s movie “La Aventura” (1961). The aim of the project is to create an audio reactive, live cinematic narrative with the use of live visuals and electro music. The artwork in its final form is presented via live audiovisual performances, using audio reactive live visuals.
Antonioni’s narrative is experimental and abstract, without beginning and end in its structure. It is as if it continues indefinitely. It borrows from neorealism the narration of circumstances, but its characters express an inner world that is reflected in their environment. For Deleuze, naturalism or poetic realism has the psychological time, the uncertainty, wandering and ambiguity. By using live electronic sounds, I intended to influence all these “emotional textures” and the sense of psychological time, infinite time (dead time, according to Deleuze) emerging from Antonioni’s film.
Made with “Touch designer” & “Fragment flow” software.
Electronic music, live Improvisation & live visuals created by Thomas Valianatos, ©2020-21.
Thomas Valianatos
Thomas Valianatos was born in Athens and attended Athens School of Fine Arts, receiving a B.A. in Painting in 2003 and a M.A. in Digital Arts in 2006. The body of his work ranges from 2d & 3d animation works and comic book art works to electronic music composition and live audiovisual performances (1998-2020). Since 2010 he has been teaching as Lecturer (Permanent Lecturer, since 2020) at the Department of Audio & Visual Arts of Ionian University, in both to undergraduate and postgraduate students, academic art, 2d/3d animation, digital illustration, non linear narratives and Live Visuals. His artworks, in the form of original comic book art, digital prints, live electronic music, videos and live audio & visual performances, have been exhibited both nationally and internationally at various international festivals and art exhibitions and in various publishers and advertising films in Cinema & TV, including the 10th European and Mediterranean Young Artists Biennale, ZKM, National Museum of Contemporary Art (Athens, EMST), Michael Cacoyannis Foundation (MCF), ARTATHINA, Athens Digital Arts Festival (ADAF), Cambridge Science Festival, Splice Festival, LPM Live Performers Meeting, Synch Festival, China VISAP, Athens Science Festival, Athens International Comics Festival.
https://vimeo.com/thomasvallianatos
DISINTEGRATION (and life’s tenuous nature)
All three videos make use of corrupting the file via manipulating the raw data in a hex editor. ‘STRUCTURES/DISINTEGRATION’ is filmed by me driving around different highways in Houston, TX with an overlay of public domain crash test footage. “Transmission #1” is publicly available footage that i glitched and stitched together in a video editing software. The music for both was written, recorded, and produced by me.
PLUME
Born In the United Kingdom but currently residing in the United States. Concrete, technology, industry, and the nature of how easily it can all come apart is what fascinates me, and inspires the work I do.
http://joehancock95.com/
Cybergunk 2077
Works were created by finding, isolating, and farming glitches in a Day 1 release of Cyberpunk 2077 on a Nvidia GTX 1080 GPU. These glitches were all generated “naturally” and captured using the game’s Photo Mode.
Sabato Visconti
Sabato Visconti is a Brazilian new media artist and photographer based in Western Massachusetts who began experimenting with glitch in 2011 with the help of a defective memory card. Since then, Sabato has sought to interrogate imaging practices that have become absorbed by digital processes, hybridized media, online networks, and machine intelligence –technologies that have also enabled apparatuses for social conditioning, mass surveillance, and necropolitics, through works that captures the plight of the subject in the face of environmental turbulence driven by systems designed to fail and malfunction.
https://www.sabatobox.com/
Stockpile
Re-rendered 3D scan data captured with a Microsoft Kinect and custom code written with Processing.
Joshua Albers
Joshua Albers uses computers to poke at how reality is constructed and perceived. His recent work explores the poetic potential of re-purposed consumer hardware such as 3D sensors and GPS devices. His work, Leaves, was included in PixelsFest 2020 in Yekatarinberg, Russia, and recently presented at the FATE 2021 conference in the panel, “Integrating Digital Instruction into the Foundation Curriculum.” Albers completed his MFA in New Media Arts from University of Illinois at Chicago in 2013 and a BFA at Missouri State University in 2004. He currently teaches computer animation as Assistant Professor of Art at Missouri State University.
https://joshuaalbers.com/
TBA
tba
FLAG/2021
Mentor: Sky Goodman; Artists: Teuta Gatolin, Bojana Vojvodić, Kristina Pongrac, Bojan Asanovski, Ian Keaveny, Denis Mikšić; Producers: Dina Karadžić, Vedran Gligo
https://formatc.hr/flag-2021
/’fu:bar/ 2021 ARTISTS & WORK


0bapek, /KU8I/, Sascha Kümmel, NCOUNTERS collective” [DE] : If I Was A Human Being [2020]
acidgender [DE] : A New Error [2020]
AFALFL [FR] : Matière Noire [2021]
AK Ocol [PH] : Nonspace_panorama [2019], Panorama_data landscape [2019], Data Landscape: Burning House [2021]
Aleksandra Pieńkosz [PL] : neurapink I-II, phototropism I-II [2020]
Ali [MX] : Body Snatchers [2020]
Ali Kerem Öner [TR] : Rare Moments of Seasonal Depression Doesn’t Always Suck – 12 [2021]
Allison Tanenhaus [US] : Breathing [2020]
Analog Whole [AT] : Empty Window [2021], Geometry of Compressed Time – 02 [2021], Geometry of Compressed Time – 01 [2020]
Andre Perim [BR] : Rust in peace [2021]
andrei jay [US] : Prism Rain [2021]
Ani Haze [BR] : Pixel Bahia [2021], O Baba [2020]
Anna Christine Sands [US] : Erasures 1&2 [2021]
APIACOAB – Mathieu Petot [FR] : She’s Poetry [2021], Hail to the Youth [2021], Life is Blurry but you Have to Hurry [2021]
Apofenica [BR] : Carcere (السجن) [2021]
Aristeidis Koutoulogenis [GR] : Digital Recollection [2021]
ASaltyBunion [US] : Rose.png [2021], Mosque.png [2021], Lighthouse.png [2020]
b00 [HR] : bl1nk [2021]
Bernizeck/Glitchachu [BR] : last will and testament (tragichronical) [2021], surveillance – vigilância [2021], ape’ing into the digital (digital stairway) [2021]
Bob Georgeson [AU] : Perfect Users meet dadaland collective: [2020], Philosophy [2021]
bobby pharaoh / fugitive dream recovery [US] : sheep in the big city [2017], четыре из пяти лезвий [2018]
Brendan Downs [US] : When Streets Are Empty [2021]
Caleb Foss [US] : Binary [2021]
Cheng Daoyuan [TW] : Trigger, Later [2021]
Chepertom [FR] : When it comes to glitch I like it RAW. [2019]
Chernobyl Apple [AR] : Disoriented [2021], Glitch self portrait [2021]
Chester Wade [FR] : Spectral Delusion [2021]
Cian Clesham [IE] : Antagonist [2020]
CIPOTE [CA] : NEVER HOME [2021]
Clarke Drahce [FR] : Circuit Bending [2019], Emmanuel Macron speaks to French people [2021], Alpha Covid Wave [2021]
Constant Voisin [JP] : hakuba [2021]
crash-stop [IE] : Safe as houses [2021]
CRTCL [BG] : Crtcl x Rare Visions x Pianu – Ab Intra [2018]
CRTCL, Pianu [BG] : CRTCL/Klavier – Low Noise [2020]
Cruel Coppinger [UK] : pixelSNUFF [2020]
cyberart_by_justin [US] : BLANK BEAUTY [2020]
Dalena Tran, Ash Koosha (music) Hirad Sab (additional software, tooling, & type) [US] : Incomplete [2021]
DE GHOST : music, ENO : visuals“> [CH/US] : DE GHOST – Luxe [2021], DE GHOST – Axis [2021]
DerelictCountry [IE] : One’s Self – Episode 15 Opening Sequence [2021]
Devis Bergantin [IT] : Giants [2021], Giant 1&2 [2021]
Diego Ramos [BR] : Behind the Mask [2020]
Eddie Lohmeyer [US] : zen_glitch [2021], Altar of the Bargain Bin [2021], An Interval Among Death and Dream [2020]
Ehtesabian-Lichty (NPTeam), Negin Ehtesabian [IR] : Googled Earth [2021]
ellis laurens [FR] : “SCAN_ERR-“OX27”; (UNRELIABLE SOURCE)” [2021], DiDySC – Digital Doom [2021]
Eric Souther & Andrew Deutsch [US] : Exponential Growth [2020]
Ermano Bančić, Lavoslava Benčić (montaža i zvuk) [HR/SI] : Promenada [2021]
Esteban Gutiérrez [CO] : Isolation landscepes [2020]
ethereal_interface modal_plane [US] : God is in the Moire [2020]
Evankelos [GR] : Pixel Warz! [2021]
Eyal Gruss [IL] : xx17n [2021], 219.366 [2020], Take on me deeply [2021]
F_lse_no [CA] : End of vision [2021]
FLAG/2021 Mentor: Sky Goodman; Artists: Teuta Gatolin, Bojana Vojvodić, Kristina Pongrac, Bojan Asanovski, Ian Keaveny, Denis Mikšić; Producers: Dina Karadžić, Vedran Gligo [HR/US/IE] :
forevermidi.com [IT] : Virtual Gallery: AI and Glitch Art in Virtual Reality (web browsers friendly!) [2021]
Francesco Seren Rosso [IT] : Monolith [2020], Distorsion [2021], Rosa [2021]
Giorgos Gargalas [GR] : Riot Strike Riot [2021]
H. C. Turk [US] : KK Of The Seven Glitches [2021]
Hecate, MedusaHurricane, Volpina [HR] : Secret Mission [2021]
hyp0cr173 [RO] : Glitchet [2021]
Ian Grant [US] : I Put the Wind in the Window gazing Fairy Fountain Mix [2020]
Idontcalculate [RS] : Baptised in binary [2021], Baptism in binary [2021]
Iqra Iqbal [PK] : Deceptive Dimension [2021]
IVPITER_IR [US] : EXO/REVELATION/NEPHILIM [2021]
Ｊａcɘ [MT] : Glitch City [2020]
Jaime Cleeland [UK] : Raw Data [2021]
Jason Bernagozzi [US] : Dialectic [2019]
Jawek Kwakman [NL] : Glitchart 0 by Jawek kwakman [2021], Glitchart 02 by Jawek kwakman [2021]
JB friquet [BE] : A Study in Pixel var 670 [2021], UNKNOWNterritoriers [2021], At the mountain of madness [2021]
Jean-Michel Rolland [FR] : Entropy:Boccadasse [2020], Entropy:Zellige [2020], Presence [2021]
Jerry Galle [BE] : AGITSENT [2020]
Jia-Rey Chang [US] : Fragments [2021]
Joe Gilling [UK] : Spectres of the New Realm [2021]
John Bumstead [US] : Untitled [2021]
José Irion Neto [BR] : PGF_Glitch_1 [2021], PGF_Glitch_2 [2021], PGF_Glitch_3 [2021]
Joshua Albers [US] : Aspartame [2021], Stockpile [2019], Excavator RGB [2019]
jrdsctt [US] : mushroom blue [2021]
karisman [TR] : Elevations #1 [2020], Fascade [2020], Orbital Iterations [2021]
Katie Hallam [UK] : The Beautiful Error [2019]
Kit Young, Allen Moore, Mike Brown [US] : Stolen Identity [2021]
knop / 11korp [BR] : 361705245 [2021], 366727214 [2021], 373821169 [2021]
Kodandi [US] : The Long Haul (Continued) [2021]
Koebane [IT] : IDentify Me [2021]
Kristine Snodgrass [US] : Series: Femmeglitch Title: NP 6.12 [2021]
Lavoslava Benčić [SI] : Deep Gittered Age [2021]
layer ll [BR] : NFT SHAMAN (flow version) [2021]
Letsglitchit [US] : Chemicalbending [2020]
Lívia Zafanelli [BR] : Superfície de Ataque [2021]
malimanever – Maša Žekš [SI] : Adoption [2021]
Maria Arkhipova [RU] : EYFPO CYNOC (“Enjoy Life”) [2021]
Mark Klink [US] : Head 005.2 [2021], Head 0013.3, Head 0013.5.1 [2021]
Marllus Bisceglia [BR] : circle – my gosh [2021]
Marsidinian [RO] : wonderwalk [2021]
Massimo Magee [UK] : The New Cool [2020], The New Cool [2020]
Mathias Jansson [SE] : The glitch silent series horror movie tribute 1&2 [2019]
miksitz [HR] : hydra73 [2021]
miksitz , zid.buke [noise.wall] / denis miksic, kruno jost (2006) [sound]; ian keaveny [HR] : lunapark2020 [2021]
Mila Gvardiol [RS] : 1. Sea Side / Sea Side [2021]
Mindfulness For Machines [NZ] : Growth [2021]
mingkurray [US] : Processed Forms 1&2 [2021]
Mirna Udovčić [HR] : HATCH LEAKS II [2021]
Monica Améndola [MX] : Abyssus abyssum invocat [2021]
Nataša Devčić [HR] : Čudne ribe/ Weird fishes [2020], Experiment 1 [2020], GLITCH NOISE [2021]
nilson carroll [US] : me with and without my brother [2020]
NMTArts [**/US/BR] : BLESSED/CURSED [2021] w/ GAC, atmosphère translucide [2021], Inside The Mirror [2021] w/ Velter’s Ward
Oliver Behrmann [ES] : Modofocoide [2021], Glitch Video Performance [2020]
p_en.gee [US] : Corrupted Tiles [2016], crunchy_succulents [2018], clover [2018]
palermoalvapore [IT] : CRN_SUNSET_disk1-6 [2021], mgn_disk1-6 [2021], quarantenawave-disk1-6 [2020]
Paloma Kop [US] : Magnetic Field Recordings [2021]
paranthre, velvet-bites [SK] : Human Experiment [2021]
Pascal Audet [CA] : Spectres sur Internet [2017]
Patrick Lichty [US] : New Memory Rescue [2017], Confinement Spaces [2020]
Paul Beaudoin [EW] : Endlessly Falling Backwards [2021], Chapter 4.000 – The Old Blind Crow (Dream Sequence) [2021]
Paul Hertz [US] : Noiz Series One [2020]
Pierre Gervois [US] : The Inner Life of Cryptopunks II [2021]
PLUME [US] : DISINTEGRATION (and life’s tenuous nature) [2021]
PMPope [US] : #4 is New Drainland Glitch [2017]
pongpong [HR] : Sequence 01-02 [2021]
raphael.ars / Distopia [BR] : Better Reality Island 3 [2021]
Ras Alhague [PL] : corpus christi, ecstasy [2021]
Riitta Oittinen [FI] : Lighting above time and place (The Pavilion of Myllyharju, Loviisa, Finland). Photo: Loviisan kaupunginmuseo, original photo by Esko Aaltonen ca. 1900). Photo editing by Riitta Oittinen. Licence: CC BY 4.0. [2019]
Robert B. Lisek [CZ] : SIBYL [2020]
Robert Hruska [CZ] : Lines&Shapes [2021]
Roopesh Sitharan, Mohd Hafizuddin, Mohd Yusof [MY] : Tessellation [2020]
royb0t [US] : Generation Loss [2020]
Sabato Visconti [US] : The Capybaras of Ipaussu [2021], Cybergunk 2077 [2021]
Safa [IR] : Parasite [2020]
Samantha Blumenfeld [KR] : The Burden of Spring Cleaning When You Haven’t Left Your House In Months [2021]
scwfilms [US] : Girl Looking to her Right [2021]
sepulchre [HR] : Triptych [2021]
Sherwin Altarez Mapanoo [PH] : Dissolved into an Avalanche of Fears [2021], Glitchy Collage Series, Digital Crayon Portraits
snk [HU] : no more noise [2021]
stAllio! [US] : Dead Feed [2021], xfield [2021]
stevenvsnothingness [US] : The Past Echoes in Waves [2021]
SUPERFICIES MÍNIMAS; Authors: Marielasandía, SN0WKAP, GAB0 SEGURA [CR] : Brok3n-Machin3s [1]
Terrafold Design [HU] : Lines 3D [2021]
Teuta Gatolin [HR] : images from an encyclopedia/slike iz enciklopedije [2021]
Thomas Jourdan [DE] : analog Not analog [2021]
Thomas Valianatos [GR] : Dada Electronika_Live Cinema #01 [2021]
tokyo_nomad_ [JP] : Industry [2020], Tour de France [2020], Cyclops [2021]
tomk.dingus [AU] : Glitch Music Videos 2020-2021 [2021]
Toni de Paula [BR] : Toni de Paula confronts his pictures, imbued with powerful sensations [2021]
trsctr [FI] : Untitled Red [2020]
Txchidu [BR] : Jupiter Gale 1&2 [2020]
UMMTI-Collective [CO/US] : On translation (now…you got it?) [2020]
Valeria Vicente, Paulina Olea [MX] : Lo inaudito [2020]
Victor Tetaz-Josse [FR] : Lisières (En : edges/margin) [2021]
World Wide Basement Vibes [US] : Cache Scratch Fever Dream [2021]
ZL0 [RU] : Digital Clouds [2021], Fall [2021]
Zsolt Mesterhazy, Bjørn Magnhildøen; ˜zsolt, BrowserBased.org, Noemata.net [NO] : Portable Eye Wash Set [2021], Eye Wash Events [2021], Cursed Image [2021]
Λαιν [CR] : Society [2021], Sweet Paranoia [2021], Ignited (Ready, Able) [2021]