This kinetic work falls somewhere between conventional notions of sculptural art and performance – producing what can be considered a real-time physical animation.

It is a mechanical flower-like composition of translucent life-size casts of human body parts, impaled onto their internal robotic mechanisms.

The animated machine’s resemblance to nature relates to alchemy and the first science fiction novel, Frankenstein, by Mary Shelley.

Loud exhalations from valves, the rattle of relays, and the clattering of pistons produce a hyper-modern accompaniment to the music of Strauss.

Karol Radziszewski, Ivo Nikić, and Piotr Kopik perform inside a club amidst a set designed and created by themselves, which changes and expands during the performance.

Their art locates itself on the border of edginess. The artists are singing shanties – it sounds innocent, although their practice, which falls somewhere between the idea of forming a band and the first rehearsal, evoking the unpretentious practice of singing in the shower, leads to an exaltation of freedom in expression.

In their frenetic performance, played out as if without a plan or prior preparation, the artists play off authenticity and spontaneity – the somewhat romanticized yet convivial songs that are sea shanties have been transformed here without embarrassment into songs full of sincerity, energy, glamorous exoticism, and pure expression.

The Third Scroll is a musical composition for six string instruments.

The artist used a fifteenth-century compositional technique, taking advantage of the fact that sheets of music can be read normally – from left to right – or in mirror image, illuminated from behind and read backward.

Thus, the composition can be performed in its untransformed form and in retrograde (after transformations).

Furthermore, the original and retrograded scores played simultaneously create a polyphonic passage.

A multi-part exhibition for which the starting point was an academic textbook of the same title, which presents methods for processing aerial and satellite images and radar and lidar scans.

The artist transformed the images and photographs in the book by hacking the methods described there. During the exhibition, those images were displayed on CRT TVs and accompanied by objects and printed graphics.

This appropriation-adaptation of a scientific publication is an ironic variation on the methods of interpreting spatial data.

This short animation, combining 3D technology and live shooting, transforms the reality around us. It depicts a space in which distortions take place, in a slide show playing with human perception.

This humorous and anxiogenic short is inspired by quantum theory and particle superposition and gives rise to new types of relationships between objects and their physical properties.

The camera captures precious moments of disturbed image interpretation, playing with human expectations and habits regarding physical phenomena and chemical and biological processes.

A talk by Michel Scroggins – a member of a legendary Single Wing Turquoise Bird group that originated in the 1960s and was creating light shows to accompany rock concerts.

It later evolved into an innovative multimedia unit that made improvised compositions of images projected in real time.

The talk was preceded by a screening of excerpts selected by the artist from films in which the group Single Wing Turquoise Bird performed:

The Baby Maker, 1969, 04:05
Light Show, 1969, 04:00
Invisible Writing, 2011, 47:00

This work combines the author’s two passions – music and racing. He created an installation imitating an autodrome – a track lined with vinyl records for cars armed with gramophone needles.

Users could operate the cars using consoles straight out of a car simulator arcade when sitting in the driver’s seat.

The cars drove over sections of tracks recorded on vinyl, each time creating a new, unique soundscape close to noise music.

The performer moves around the stage in a skin-imitating, heavily restraining costume with a web of metal ropes and iron hoops attached to it. A network of stretched ropes transmits her struggles through space.

In this human-inhuman conglomerate, the artist negotiates her position with the machine, forming a single organism, as their presence marks the physical and sonic space.

Documentation of a noise gig performed by two completely different personalities – Reksio666 from Wrocław and Cywil999 from Łódź.

In a brutal and extreme guitar performance, they use samples from cartoons and children’s TV programs in the sound and visual layers.

The Dog Shreds duo explores and transforms the universes and portrayals of dog characters such as Reksio, Pankracy, and Ferdinand the Magnificent on Polish television.

A dreamy and hypnotic visual-sound performance, which uses spinning replicas of Dreamachines – hallucinogenic installations from the 1960s, a computer, an electronic hurdy-gurdy, and an electric guitar, combines medieval music inspiration with microtones and electronics in a noise sound layer.

A delirious, poetic, and anti-narrative image of the artist’s state of mind.

Having been hit by a deer when visiting Japan’s Nara Park, the artist is transferred into a 3D world, in which he experience some new adventures one by one while moving between the crumbs of reality, images of computer games and symbols formed by traditional Japanese beliefs. In the Prefecture of Nara, the deer has long been considered a “sacred” animal. Until 1637, killing a deer was punishable by death. After World War II, deer were stripped of their “divine” status, but they are still considered cultural treasure of the Land of Cherry Blossom.

A sphere incubator populated by thousands of earthworms, a hypothetical habitat for an unknown colonizer, and an electric chair armed with a VR helmet – a vision of spreading life beyond Earth.

Relying on a simple green box special effect, Shota Yamauchi transfers his image into the two-dimensional reality of his own iPhone’s screen, where the self can be represented by a blue point that travels along the Google Maps-demarcated route. As a Pokémon trainer, he traverses the map in search of Magikarp and Pokéstops and collects points for every kilometer he covers.

Shota Yamauchi, who features himself in the works he designs, reflects on various modes of self-representation in the world of intuitive interfaces. Apps, games, and social media afford opportunities to create various selves all at once.

The artist records the image directly from his phone’s screen to trace and monitor the migrations of his own identity in the virtual world. He tracks the route of an ongoing race in which the avatar tries to anticipate and outpace the artist’s thoughts. He runs a race against himself, as he plans and monitors his actions in time.

The vision divided into multiple screens, the screen of the showroom and the screen of the viewers’ smart phone. There were several perspectives of the live-video, one direction is that audience look into the fake head from outside, another visual viewpoint is from the backside of the head and actually “the friend” can go out of the white box and get into crowd.