Taeeun Ahn

The surface I, II, III - 3F

Artist Taeeun An creates new artistic values through various mediums, including sculpture, installation, performance, video, and mixed media, by researching and exploring human bodies.

<The surface I, II, III> 

Mixed media, dimension variable, 2020


She believes that the limitations of the human body are finite and finds hope from the skin that it can physically exceed. This work considers skin as a physical boundary separating the artist from the world and attempts to physically expand the body by removing it. For this work, she creates a mold with human figures and turns it inside and out to make the mold itself an object. Through the upside-down mold, the space around them is cast into the shape originally possessed by the human body, indicating that the internal and external distinctions of the body secured by one person disappear and become one another. Artist questions when the world that surrounds her is cast into a certain shape, whether it is hers or the world we live in. In the end, the answer she finds no longer distinguishes herself from the world, and defines the moment these two become one, our bodies would be free from physical constraints and gain freedom.

Byungchan Kim

Paranoid Paradise


Artist Byungchan Kim works on interesting episodes that happen around him and the stories he experiences himself.

<Paranoid Paradise>

 108 walking sticks, Japanese knotweed tea in the wooden plates, 2018 

One day, Dr. McRae finds Japanese knotweed around the house, is gripped by the fear that the terrible alien species will destroy his family, and kills his wife after suffering from paranoia, and eventually makes an extreme choice of killing himself. Like Japanese Knotweed, who came from Asia to England after hearing this strange incident, he said he felt a complex feeling whether this was a pity for the murderer who was terrified by the invasions of foreign species, or for this little migrant plant that left home and became a demon. The cane hanging on the wall is called the "Tiger walking stick," and the root of the dried Japanese knotweed is used as a material for this cane. It is said to have amazing power to pierce buildings. The couple's portrait is revealed by the red tea in the wooden frames in the middle of the exhibition hall and the artist hopes the tea can be a consolation to the tragic couple.


 Orange peels, dimension variable, 2017 

The work "Mine/field" goes back to the memories of the first CD he bought. In the early 2000s, he was fascinated by Korean hip-hop, which seemed cool and free in resisting a more oriented social system than pop songs, which were mostly filled with lyrics of love stories, and enjoyed it enough to memorize the lyrics of all the tracks on the album. At that time, there was a debate about what Korean hip-hop scenes were like in the U.S., but the musicians he admired often plagiarized music or talked about our lives in comparison to the life of Getto, the life of African Americans. Twenty years later, the boom of hip-hop has begun again in South Korea, Kim projected "Korean hip-hop" onto the orange seeds to see how it would change over time. Also, Kim's "Mine/field" got the idea from an episode in which the minefield was interpreted as a field of mine during the Korean War, which almost caused a catastrophe. He says these mistranslations are beginning to wonder more about what and how to accept between the fears of a miserable and terrible thing or vice versa, and whether the orange seeds they brought back more than two decades ago will bring about a catastrophe or new possibilities.

Gemini Kim

The way of ogeunse 오근세의 길

My neighbor's hair

Artist Gemini Kim focuses on exploring cities and certain places based on community activities. The starting point of the narratives in his work begins with certain events or placements, and people's daily lives and their psychological exploration, and these artistic studies unravel them into works of archive form, installation, video, etc.  

< Ogeunse peaches>

 67 peach jams and peach pickles, 6 x 6 x 6.5 cm, 2020

"The Way of Ogeunse" presents a video of the virtual character “Ogeunse" in the movie "Parasite" walking across Bucheon from Songnae to Guro, his current address. The artist finds out that the place where he lived for 15 years was about a hundred meters away from Ogeunse's home town in the movie so that Kim visits Ogeunse's birthplace, as well as his old friend's peach garden, form the artist’s old memories. The artist makes and displays peach jam and pickled peaches by himself, taking advantage of the feeling that he received as a gift from a friend of his memories.

<My neighbor’s hair> 28 installation work, hairs, glycerine, wood, papers, plastic bag. 2020

It is one of the "Hotelier2020" projects, which is an artist's "cleaning record" of hair gathering in a bathroom hole. The story is a project that began by arguing with the artist's roommate about cleaning the bathroom, and the work using hair collected by the artist from June to September this year, and the date on which these were collected is also displayed next to the work.

David Bowen

Tele-present wind

David Bowen is an artist from the United States and he creates works using device elements that primarily respond to real data from natural phenomena. He uses robotics, custom software, sensors, telepresence, and data to construct devices and situations that work with interfaces with the physical and virtual worlds and creates high-quality works that blend nature, mechanical engineering, and aesthetics.  

<Tele-present wind> 

 126 dried plant stalks with mechanical devices, dimension variable, 2018

<Tele-present wind> shows the stems of 126 tilting mechanical devices with thin and long plant stems moving in the same motion by the wind. The work begins with one that was set up in an outdoor space adjacent to the University of Minnesota's Visualization and Digital Imaging Institute in 2018. David set up a single dried stem on the accelerometer, and when the accelerometer detected movement as the wind blows, it is passed on to a group of mechanical devices installed in the exhibition space, and then the stems moved in real-time according to the movement of the outside wind. He also monitors and collects real-time data at remote and remote locations, and the system relays physical representation, the dynamic and fluid environmental conditions, in real-time, sublimating it into artwork.


Wavelengths of light

Mathieu le Sourd from France, who works under the name of Maotik, focuses on building an immersive multimedia environment and creating a generative visual. He also changes his perception of space, from creating animation by developing his own visual tools to creating algorithms, to creating a 3D world, and always tries new challenges.

<Wavelengths of light>

 AxiDraw V3/A3, 1 display, 1 joy stick, 2019

"WAVELENGTHS OF LIGHT" is an interactive installation created using microscopes that can observe tiny cells that cannot be seen by the eye, which began with the idea of increasing visitors' understanding of the material structure of atomic analysis, as well as the remarkable development of microscopes that develop day by day. Participants are invited to analyze the irregularity of particle structures using joysticks and construct various patterns under the microscope. 

The two-dimensional images captured in real-time by the microscope are used as a speed field that produces movements of fine digital landscapes projected on the wall, and by displaying these particles from different angles, people capture the position of almost all atoms and recreate the three-dimensional world.

Gijeong Goo x KKEKK

Tangible moment

구기정은 디지털 세상 속에서 표현되는 이미지들을 통하여 인간-기계-자연의 관계를 탐구하는 비주얼 아티스트이다. 주로 디지털 카메라와 같은 시각 저장 장치를 이용하여 실제에 기반한 경험을 디지털 세상 속에서 재현해내고, 이를 다시 실제 정보로 생산해내는 과정을 탐험하며 이와 닮아있는 증강된 현실성, 복잡한 사실성을 이해하기 위한 시도를 하고 있다. 

KKEKK는 잠재된 공상을 물리적으로 실현시켜 감각의 폭을 확장시키는 과정을 조형과 공간을 통하여 보여주며, 공상과 현실의 경계를 오가는 작업을 지속하고 있다. 일상에서 인공적으로 만들어진 것들이 인간의 육체로 할 수 없는 것들을 대체하는걸 보면서 인공물도 인간의 일부이지 않을까라는 의문을 갖기 시작했다.  인공물을 기존의 시각으로 보는 것이 아니라, 생명체를 보는 것 처럼 보고 공감하게 만들기 위한 작업들을 진행하였다. 

<Tangible Moment>

Screen, urethane, acrylic, Styrofoam, 2 speakers, 2 light boxes, LED light, OHP film, 2020

The work "Tangible Moment" is a collaboration between media artist Gijeong Goo and installation artist KKEKKK, inspired by Bucheon Art Bunker B39, which had been shut down due to a dioxin scandal in the past, changed its function to a platform in the culture and arts space. This work is a picture of what human imagination will look like if it breathes new life into machines that are now obsolete in a dystopian world. The two artists show video works, sound and sculpture work, and indirectly show images of the remains of artifacts left in space and seems to breathe new warmth into the modern age. They also show a new utopia-like world expanded through this work and a desire for visitors to have a flexible relationship throughout the world.

Sohyun Moon

Location Not Found 발견된 위치 없음

Sohyun Moon has continued her video work, interested in human desire fragmented by urbanization and industrialization. Under the theme of light, city, segmented body, and solitude, she twists or emphasizes the actual continuous motion of each object and the movement of the unique object, conveying the cross-section of harsh reality more tension through her video.

<Location Not found>

# <We Suddenly Reach the Necessary Point>_ 1 min looping video _ 2020

# <And We Spend the Rest of Our Lives Seeking a Lost Moment>_ 1min looping video _2020

#<Complete Combustion> _5min looping video _2020

Location Not Found used Georges Bataille’s novel “L'Impossible.," which deals directly with eroticism, as the main motif, especially a phrase describing Bataille as "having both hands full of the body drowned," became the author's starting point. Inspired by Bataille, Moon creates an uncanny sense captured here either by drawing or using gel wax to set it up as a constantly moving being, showing its movements through her work. The unstable body floated around in the space she created, creating the spatiality of the new world, combined with the unrealistic image elements she had set up to make the showroom function as a Location Not Found.

Hyojin Yook

Portal : Ash bunker gate

Artist Hyojin Yook uses a medium of communication within the realm of art to unravel it in visual language, creating sculptures for visitors. The half-open door in the square, which has become the symbolic mark of the artist, represents the boundary and heterogeneous situation of any particular situation or reality, and she uses the work as a device to break down communication.

<Portal: Ash bunker gate> 

Metal works, crates, glasses, water, motor, two-channel speaker, neon, dimension variable, 2020

Her work in "Portal: Ash Bunker Gate" was inspired by the exhibition space where the former garbage incinerator seemed to have been given a new life. When she first faced the crane control room, where burnt garbage become ash, and she felt complicated emotions, thinking that machines could have been the owner of this place rather than people, and she thinks it may be a place that was regarded as a hate facility and a place of intense life for someone. 

She sets up several portals on the way to the crane control room to attract visitors as if they were entering a new virtual world through a tunnel and for the audience, she hopes that the invitation from a strange place can be a flashpoint where we can wake up new senses that we are not familiar with.


영원한 빛 - 슬픈 꿈 (Eternal Light - Sad Dream)

Artist Hanho uses light as a material to showcase a new type of work that combines painting and media, and acts around the world, including France, Germany, the United States, and China. The purpose of the project is to make the intersection of living in a given space of reality into a healing space through the welcome of light, time, and another space. His work combines the intense and impactful medium of Media Art with works that reflect the artist's own analog sensibility, hoping that visitors will rest through the work.

<영원한 빛 – 슬픈 꿈> Eternal Light - Sad Dream

Aluminium mirrors, four channel video projections, dimension variable, 2016

The work "Eternal Light - Sad Dream" is designed to comfort young lives who lost their lives in big accidents, expressing that the meaning of light is hope and also represents sadness and pain. For young lives who would have had hope for life until that last moment in a closed space, the light may approach in a sad way. The pieces of aluminum mirror mobile on the ceiling are embodied in the struggles of the dreams and ideals of the young creatures, and the images projected on the mobile are beautiful works that imply hope. Artist Hanho produced this work in the hope that it would comfort the light and heal those left behind.



Artist Seong Yoon Hong, who works under the name Y∞n1verse, calls herself a universe and expresses her worldview in various forms, including painting, video, performance, and installation work. Influenced by Western quantum mechanics and the spirit of oriental modality, she studies metaphysical patterns and their flow between small cosmos and large universes.  


Mixed media, dimension variable, 2020

<742Hz> is a positive meaning created through the supernatural and healing wavelengths of blue by implementing various mediums of blue light (742 Hz) that can have a good effect on the neck and lungs at a time when the mental and physical trials of "Corona Blue" are rampant. She distorted the image of a real dripping water drop and present it in the video, based on the chakra therapy of ancient India, which governs the energy system with certain frequencies, eucalyptus, and rapeseed lazuli, while blurring the boundaries of nature and man-made objects, and talking about the unity of the dual world.

*Chakra: This refers to the central part of the human mind that cannot be accurately identified from a material or psychiatrist's point of view, and is considered important in physical training conducted in some sects of Hinduism and Tantra Buddhism, and is believed to have a combination of mental power and physical function.

Felicie d'Estienne d'Orves

Martian sun series: Continuum 

Martian sun series: Sol 24h39min, 2019 

Eclipse II

펠리시에 데스틴 도르브는 프랑스를 베이스로 활동하는 그리스 출신의 예술가로 천체물리학 및 지각과 인식의 과학 뿐만 아니라 광학 및 음향 과학에 집중하며 몰입형 설치작품, 필름, 퍼포먼스 등 현실에 대한 현상학적 접근법을 사용한다. 이번 B39에서 선보이는 작품 <Martian sun series>와 <Eclipse II> 는 천체물리학, 자연광 주기 연구와 관련해 우주에 초점을 맞추어 만든 작품들이며, 특히 Martian sun series는 오랫동안 외계 생명체에 대한 과학 연구의 출발점이 되어온 태양계의 네 번째 행성인 화성에 대한 연구를 기반으로 만들어진 작품으로, 태양계 외의 행성에 인간이 아닌다른 생명체의 흔적을 발견해내는 것에 큰 흥미를 둔 펠리시에는 최근 파사데나의 칼텍/제트 추진 연구소 (Caltech/Jet Propulsion Laboratory)와 파리의 화성 기후 데이터베이스 프로젝트 (Mars Climate Database Project/Jussieu)의 과학자들과 협력하여 화성 일몰을 중심으로 더욱 구체적인 연구를 진행하고 있다.  

<Martian sun series: Continuum>

 HD display, frosted glass, computer, 130 x 40 cm, 2019

Continuum, one of the Martian Sun series works on Mars, tells the story of continuity between the state of consciousness, from existence to non-existence to the endless cycle of life and death. The work depicts a landscape based on the image of "Red Planet," a popular name for Mars taken by a NASA probe. The landscape of Mars, realized by the artist as a work, shows the sky gradually changing from orange to blue sunset, and on the contrary, the blue sky turns red on the earth for about an hour.

<Martian sun series: Sol 24h39min> 

3 Bas-relief, steel, motorized LED, elec tronic, 115 x 75cm, 2019

The three Bas-relief works of Martian sun series are a true depiction of images of three Mars sites measured according to the height of the sun in a survey by Mars Climate Database Project/Jussieu. Motorized lighting lasts for 24 hours, 39 minutes, 35 seconds, the average sunlight time on Mars, and each of the relief works is a U.S. probe landing point, Gusev Crater (Spirit, 2004-2010), Endeavour Crater (Opportunity, 2004), and Chryse Planitia (Voking1, 1976), each of which is located at different latitudes on Mars.

  <Eclipse II>

Painted aluminium disc of 1.45m and video projector, 2012 

Eclipse II depicts a lunar eclipse in which the moon enters the shadow of the earth and the moonlight is temporarily obscured, with a large black-and-white disc hanging from the wall and the light emitted from its periphery allowing visitors to experience the feeling of being in space. This interaction of shading and light evokes the limits of human perception and the limits of a continuum between times. Like the subtle projection and composition of light created by the writer, she explores the view that controls the viewer's gaze and the process behind the form.

Jeongho Park


Based on the work of transforming an object into sound, Jeong Ho PARK creates works by combining musical elements such as pitch, tone, and sound length through experiments using large amounts of data and 3D graphics.  


 C++, Open Frameworks, 2 Web Cam, MacMini, iPad, Projector, Sketch Papers

The work SketchSynth is a real-time interactive installation that transforms the sound of a hand drawing into music. Sketched pictures are entered in real-time by webcam, and the algorithm produces all the elements of music in real-time. As the performance progresses from left to right, the position of the vertical direction of the sketch corresponds to the height of the sound, and then it produces a sound continuously. In addition, sketches are also distinguished by color, which is separated by each tone and played back. These basic technical ideas were inspired by Daphne Oram's early Ormics (1957) technology design principles, and the artist creates works by adding his own upgraded and unique skills. Artist Park says that the process of painting is like creating a visual structure over time, and like this process, he hopes that visitors can imagine musical features indefinitely through his work.

Meuko! Meuko

x NAXS corp

Ghost Island : Innervision

타이페이를 기반으로 활동하는 무코!무코!는 실험적인 음악 프로듀서이며 뮤지션이다. 그는 타이페이를 기반으로 하는 비주얼, 설치미술 그룹 NAXS corp와 공동으로 즉흥적 요소가 가미된 공연을 펼쳐나간다. 도교의 신들과 불교의 의식이 공존하며, 열대의 습도, 콘크리트 블록을 둘러싼 녹지의 도시 풍경을 그려낸다. 

<Ghost Island: Innervision>

 VR Installation

The controversial term Ghost Island hints at anger and emotional alienation, reflecting the artists' insecurity and inability when confronting their survival structure. In the meantime, this work captures the possibility to become primitive, wandering, and transcendent and floats on the border between myth and reality from a viewpoint of a wandering spirit. Using the senses of beasts to travel through the post-utopia ruins constructed by desires and technologies, the artists seek for and imagines the cyber-consciousness intertwined evolved from “beasts-human-divinity.” They also attempt to transform "Ghost Island" into a sci-fi intertwined evolved from “beasts-human-divinity.” They also attempt to transform "Ghost Island" into a sci-fi fable for contemporary post-Internet society.

Innervision is the VR installation version of the Ghost Island series, which integrates dream writing, soundscape collecting, 3D scanning technology, electronic noise, and digital sculpture. The artists attempt to convert chaotic urban street views and information space into a virtual landscape in the Realtime 3D Engine. The Ghost Island series spans a variety of time and space, including music albums, audio-visual performance, virtual reality installation, and online experiences to create possibilities of experiences beyond the geographical framework.

Sabrina Ratte

Radiance III, IV, V, VI

Sabrina Ratte is a Canadian artist based in Paris who uses a wide range of mediums, including video, animation, installation, sculpture, audiovisuals, and performances. Her work focuses on the creation of architectural elements and surreal backgrounds beyond the fine boundaries between virtual and physical domains. In addition, she uses the rhizomatic process to show the process of shape transformation as if the roots of a plant are stretched out through the video, adding glitch and plasma effects to the author's unique color palette to immerse the audience.

<Radiance III, IV, V, VI, > 

4 Print, 4 High-resolution videos, 3min loop for each video, 2018  

The work "Radiance Series" presents an abstract scene in which 3D animation, combinations of images, and digital manipulation show paint-painted textures and organic forms, as well as print work and four looped together. She hopes to savor her presence intension based on her limited experience in the indiscriminate and vast real world, rather than force her to move toward a clear answer through the somewhat vague augmented reality she realizes. She hopes that through the seemingly vague augmented reality she creates, visitors are able to notice their presence intension based on limited experience in the indiscriminate and vast real world, rather than trying to force their way toward a clear answer.

Hideo Iwasaki

Culturing <Paper>cut 


Hideo Iwasaki is a bio-artist and biologist who focuses on the mixed relationship between philosophy, history, culture, and aesthetic science views, and has established a research institute called MetaPhorest, which studies aesthetics and biological art, and serves as director.  

<Culturing <Paper>cut> 

3 square transparent plates, 24.5x24.5cm each, 1 pedestal, 120 x 50 x H100 cm, fluorescence lamps,, 1 projector, 2020

The work Culturing <Paper>cut aims to critically reconsider and reconstruct the narrative style of scientific research papers or articles by aesthetically sublimating them. Thus, he seeks to explore the possibility of forming a Mobius band-like to naturally link scientific and artistic acts. He observed *Cyanobacterium's behavioral and physiology paper to proceed with the project and cut out sentences with subjective elements found here from the paper, and also found organic shapes resembling bacteria and abstract patterns that could represent the shape of life. Then, in the paper left behind, only a graph of the numbers that could be objectively judged remained, which it says represents the practice of "science should be objective" cultivated by numerous researchers.

*Cyanobacteria: photosynthetic bacteria with chlorophyll.


  2 glass jars, tubes of artificial cells, 2 altars, two videos, 1 projector 

The "aPrayer" project is an attempt to reflect on the way humans view life by drawing the collateral line of artificial cells and microbes. The project was initiated to reconsider the "life span" of artificial/synthetic cells, and most people are unaware that artificial cells also have life. But these tiny microbes are not only around us, but also in our bodies, which are made up of about 3.7 billion cells, more than ten times as many bacteria as this, and they are essential elements of our bodies.
Although they are considered simple organisms in humans, we humans do not actually produce a single cell of microorganisms, and within this alternative, humans are trying to challenge the artificial cell sector on behalf of microbial production. To proceed with the project, the artist buried a microbial that actually died in the ground, erected a monument on top of it, and held a ceremony.
The two jars currently on display contain samples of bio-media works containing microbes from artists who participated in the project. The samples include from exhibitionist Hideo's " Culturing <Paper>cut," Adam Brown's "[ir]reverent: Miracles on Demand" at the Japan Media Art Festival in Mirikan, Tokyo, and famous bio-artists Dr. Oronkatz and Dr. Einat’s “Victimless Leather”, who was raised by artificially cultivating ear-shaped clones with living human skin cells, Giulia Tomasello’s “Future Flora”, Georg Tremmel (BCL)’s “Resist /Refuse”.

*Artist Hideo was keeping samples and told the above-mentioned artists that he agreed to present them at the festival and that he was looking forward to the exhibition.

Ryoichi Kurokawain

in s.asmbli

Japanese artist Ryoichi Kurokawa is a true poet of the transformative cinema, lyrically transfiguring the analog representations of perceived nature into digital streams of vertiginous imagery & emotion.  

<in s.asmbli> 

360 VR video, stereo sound, duration: 06’40”

The architecturally crafted precision of his sensitively synched fragmentary images placed side by side on our retina, tends to displace 

the persistence of blurred memory under the effect of boundless luminosity. Audio and visual concordance is key in Kurokawa’s works. He considers both the audio and visual 

element as different vectors of a unique piece and insists that they have to flow together to enter a collision at the same time. 

As can be viewed from his works, Kurokawa states that nature is his principal source of inspiration. All of his works lie in this notion of hybridization. Between analog and digital, but also between time and space, the full and the fragmentary, the simple and the complex, the reactive and the contemplative, the auditory and visual.

Concept, direction, composition, programming: Ryoichi Kurokawa
Producer: Nicolas Wierinck
VR Consultant: Estela Oliva
Co-production: LOXOSconcept (Matera 2019), MUTEK, Scopitone/Stereolux, TodaysArt
Produced by Studio RYOICHI KUROKAWA

Atlas V

Gloomy Eyes

AYAHUASCA Kosmik Journey

Atlas V operates Europe's largest premium VR, 360, which seeks immersion with audiences by utilizing new technologies, unique visual aesthetics, and immersive designs from an interactive installation using Machine Learning in AR and VR. They have contributed to numerous keynotes and workshops such as Sundance Lab New Frontier, MIT, NYU, Oculus Connect, Tribeca Storyscape, IDFA Doc Lab, and AdWeek New fronts. In addition, several projects have been screened in Venice Mostra, Sundance, Peabody, Tribeca, SXSW, Sheffield, Teluride, Cannes, Busan, Sitges, etc., and the most award-winning VR company in the field of new media.

<Gloomy Eyes> 

VR-trilogy in 6DoF & 3D real-time. Running time: 8 min

The narrated work by actor Colin Farrell, "Gloomy Eyes," is a three-part animation set in a village flooded with darkness that tells the story of the sun who feels empathetic and hides in humans and decides not to work again. The dead who awoke from the grave control the speed of daily life by the collision between man and zombie. This fantastic diorama induces visitors to dive deep into the stories of a zombie boy, a melancholy boy, and a human girl Nena who dares to play with love. 'Gloomy Eyes' is a joint VR work by Ryot x Atlas V x Vive x CNC x ARTE x Rhone Alpes Cinema x 3dar, led by Dir. Jorge Teresao x Fernando Maldonado. Also, they won the Best VR Experience award at the Annecy International Animation Film Festival (2019) and won the Best Storytelling Award at SXSW (South by Southwest Festival, 2019).

<AYAHUASCA Kosmik Journey>

VR with interactive 3D CGI Running time: 12 min

The AYAHUASCA Kosmik Journey is a virtual reality film in which participants immerse themselves in the vision triggered by *Ayahuasca dosing. Different perspectives will reveal new perspectives and ways of understanding, prompting each virtual journey to tap into inner tranquillity and experience freeing oneself once in space travel.

* AYAHUASCA: Ayahuaasca is a substance containing hallucinogenic ingredients, which means 'stem of spirit' in the Anes region. It is a hallucinogen that the Indians of the Amazon have been using in religious ceremonies for thousands of years.



Cxlso is a French-born media artist who is currently based in Seoul.  

<Han vision>

Running Time: 20 min

He has been inspired by the eternal contradictions of mankind in pursuit of love in a selfish society, and “Han Vision”, presented at the showcase, is a VR work that condenses material residues from permanent cultural shocks in Korea and pieces of digitized human memory in the work of exploring poetic virtual audiovisuals.

Guillaume Marmin


Guillaume Marmin is an artist from France who pursues new synesthetic forms of work between images and sounds, rhythms, contrast, and moving motion. His works experimentally use all kinds of mediums, such as mapping 3D sculptures and buildings, projection of photography and screen printing, movement of human flesh, and smog, and also create works through collaboration with architects, musicians, and lighting designers.

<Anger & Hope>

 2 acryl boxes, wooded box, haze machines, 60 x 60 x 180 cm, 2019

"Anger & Hope" symbolizes Pandora's Box of escapees with contrasting meanings and refers to the fact that it continues to hover in our time. The purpose of this work was to give physical form to sound frequencies provided in three dimensions through light speed, so that the lines of the light move, the images and sounds merge into one medium, and it was as if the projected shadows of light were actually alive and real.

Concept & design: Guillaume MARMIN
Music: Philippe GORDIANI

Novi_sad + Isaac Niemand

IIC - International Internal Catastrophes

Novi_sad(본명 Thanasis Kaproulias)는 그리스 올림피아에서 살며 일하는 사운드 아트 기반의 미디어 아티스트이다. 피레우스 대학에서 경제학을 전공한 그는 2005년부터 순수하게 실천을 통한 학습(learning by doing)으로 창작을 이어나갔다. 

<IIC - International Internal Catastrophes>

Single channel video with stereo sound, Directed by Novi_sad,  Filming + Cinematography by Isaac Niemand, Edited by Novi_sad + Isaac Niemand, Music by Novi_sad 

IIC is a handcrafted project by Novi_sad + Isaac Niemand. The Audio + Film material had been captured in Iceland and it was transformed into Audio-Visual mirages. In this project, they develop a visceral, dense, and profound Optico-Sonic framework, through which they are triggering the inner senses and enhancing the evolution/development of rare cultural ostentation, built on mythical crescendos, slow-motion deliriums, overwhelming visual energy, hyper-beauty, elegance; and of course, tension.

IIC transforms interpretation into experience, one that the audience is sensing rather than viewing/listening, one that makes them sweat rather than look/hear.

IIC fosters dissonant elements, tempered by an emphasis on layered exaggerations, which are capable of causing acutely synaesthetic reactions. Multi-layered epic abstract soundscapes, delighted with elegiac optical nuances and the profound sequential exploration of the notion of the terms ”collapse-rebuild-isolate-take off…” and so on, are the core, generative and fundamental force of this project. Amalgamated with entirely unique dynamics, IIC is immersive, outrageous, and extreme in its approach to the geometrical construction and demonstration of the composed sounds and visual parts.



Daniel Iregui is a Montreal-based New Media artist who creates interactive sculptures, immersive spaces, and architectural interventions using technology as both a tool and aesthetic.

In 2010 Daniel founded Iregular, a now renowned interactive content creation studio. Daniel runs the studio and acts as Artistic Director for all projects. Iregular has produced over 40 interactive installations and won more than 30 prizes for its innovative works, including the grand NUMIX prize awarded to the piece DELETE in 2017.



ANTIBODIES was initially created during the pandemic-induced lockdown as an interactive web experience. For a period of time, all social gatherings were transformed into video-conference calls. ANTIBODIES mimics this phenomenon and creates a never-ending virtual get-together everyone around the world can join at any time. It invites people to make facial expressions while software tracks these gestures and responds with overlaid patterns and sounds. So far, more than 10,000 people from 48 different countries have taken part. For reference, you can access the web experience here: www.antibodies.webcam

As lockdown measures progressively eased, ANTIBODIES accompanied that change and developed into a physical installation for public spaces. Precisely tracking the face of multiple people in a public space is a hard endeavor. To achieve this, the piece uses CURSOR, a cutting-edge technology we have been developing for 4 years. By using computer vision, machine learning, and artificial intelligence, CURSOR is able to track big crowds in very large areas through several tracking features. One of them is a powerful face-tracking attribute, and it is the one used for ANTIBODIES’ physical adaptation, which consists of one immersive experience for indoor spaces and another architectural projection for outdoor settings.