Partant du "Jardin des délices terrestres" de Jérôme Bosch, l'exposition THE GARDEN OF DIGITAL DELIGHTS rassemble une sélection d'artistes vidéo et nouveaux médias qui explorent les nouvelles frontières du monde numérique et numérisent la réalité grâce aux nouvelles technologies. Les pièces vidéo sélectionnées représentent différents éléments du monde réel (nature, paysage, êtres vivants et humains), transformés et recréés dans le domaine numérique ; une sorte de cosmogonie numérique de l'existence.

Suivant le triptyque de Bosch, les œuvres sont présentées à travers une installation qui rappelle la structure physique et l'apparence du triptyque original, et sont divisées en 3 groupes : l'un est consacré à la nature (comme un nouvel Eden) et à l'impact initial du monde numérique sur la réalité "analogique", avec des œuvres de Miguel Marino (AR) et de Studio Above&Below (UK) ; une deuxième section est consacrée au "jardin des délices numériques" avec des œuvres de Flavian Berar (UK) et Paulo Arraiano (PT) ; un troisième groupe d'œuvres est consacré aux nouvelles formes d'hybrides et de chimères numériques créées par la révolution hyper-technologique, représentées par Sandrine Deumier (FR) et Geriko (FR/BE). En face des installations en triptyque, on trouve la projection vidéo de l'œuvre de Cy Tone (IT) : un univers déformé, une sorte de version numérique du globe représenté sur les panneaux extérieurs du chef-d'œuvre de Bosch qui représente "La création du monde".

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Above&Below (UK)

TERRAIN - 1.50 min

Sound credits: Einar Fehrholz

Above&Below was founded by media artists Daria Jelonek and Perry-James Sugden. Currently  based in Somersethouse London, their collaboratively practice focuses on interactive and  speculative projects, based on hands-on research at the intersection of art, technology and our  environment. The artists aim to wire unseen connections together to create new experiences  which they believe can change human behaviours for better interactions with our environment.  The duo is specialising in the field of sustainable futures in which emerging technologies and code  have the potential to improve our planet’s well being.

Above&Below’s artworks were exhibited and screened at cultural institutes such as Royal  Academy, ICA London, the PhotoPhore - Spazio Ridotto Venice, Royal College of Art, Hima Art  Space Shanghai and International Shortfilm Festival Oberhausen. They have been given talks  about the intersection of art, design, technology and the environment at cultural and tech  institutes such as London Design Festival, Retune Festival Berlin, V&A London, Microsoft Research  Cambridge, Imperial College, Royal College of Art, WIRED Japan.

studioaboveandbelow.com

The CGI shortfilm Terrain was completely shot on an iPhone – taking this possibility as a starting  point to explore how we perceive reality in our surrounding. The film shows three different spaces  and hybrid objects that were formed within them. As camera tracking and machine vision  capacity evolves, ABOVE&BELOW questions how can we use the terrain between the digital and  physical world for new interactions between human, machines and places around us to create  new ways of communicating.

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Paulo Arraiano (PT)

Sensorial Divinities – 5.43 min

Paulo Arraiano is a visual artist based in Lisbon who has extensively explored the natural fluidity  of life, under the visual austerity of technological media. He has participated in several  exhibitions, both solo and collective including Dimora Artica [Milan]; Hawaii-Lisbon [Lisbon]; Pivô  (S.Paulo); Museu d’Historia da Catalunya (Barcelona); Art Rotterdam [Rotterdam]; Cidade das  Artes Museum [Rio de Janeiro]; MAH Museum [Azores]; Quartier General, Centre d’art  Contemporain [La Chaux-de-Fonds]; Aeroplastics Contemporary [Brussels]; Petra Gut  Contemporary [Zurich]; TAL Gallery [Rio de Janeiro]; ArtRio [Rio de Janeiro]; Pena Palace  [Sintra]; Forty/Forty [Warsaw]; Galeria Graphos [Rio De Janeiro]; Museu do Côa [V. N. Foz Côa;  Hifa, Harare International Festival Of Art [Zimbabwe]; Cãmara Municipal do Porto [Porto]; Museé  d’Art Moderne [Luxembourg], Scope/Miami Basel [Miami]; National Building Museum  [Washington DC]; P28 [Lisbon] among others. Paulo Arraiano has also participated in several  artist residency programmes, such as Walk&Talk [Azores]; Transforma [Torres Vedras]; LAC [Lagos] among others. He is represented in both public and private collections such as CAC  Málaga Museum, [Spain]; Luciano Benton Collection [Italy]; Quartier-General Arts Center  [Switzerland]; Museu de Angra do Heroismo [Azores]; Sztuki Zewnetrznej Foundation [Poland];  Pestana Group [Portugal]; Fundação D. Luís / Museum Quarter [Portugal]; MARCC Museum  [Portugal]. Paulo Arraiano has a degree in Communication by ISCEM [Lisbon], and studied Visual  Arts at Ar.Co - Centro de Arte e Comunicação Visual [Lisbon]. He is also co-founder of re_act  contemporary, art laboratory and residence program based in the Azores Islands and no.stereo,  an independent Artist-run platform.

pauloarraiano.com

Sensorial Divinities functions as an apparatus for a new spirituality. During five minutes images  of nature and technology are merging, while a voice recites what unconsciously resembles a pre paradigm change mass - “Transforming society and reality as we know it in the present moment,  we are spectators of a precise moment where fiction... magic are becoming science facts. The  arrival of the internet of things...”.

Are we creating digital immortality or could we become digitally immortal in a Google cloud of  souls?

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Flavian Berar (UK)

Engines of Creation - 5.45 min

Flavian Berar is an architectural designer, artist and storyteller based in London. Flavian is a  graduate of the Bartlett School of Architecture and employs film, 3D animation and visualisation  as part of his design methodology, bringing together the realms of the physical and the digital,  whilst mediating between the real and the fictional. He is interested in the shift of the human  condition in the coming era and enjoys speculating about the direction architecture might take.  As an aspiring architect, Flavian is equally eager to materialise and build his visions. flavianberar.com

Engines of Creation is an architectural essay film that responds to the existential threats posed  by climate change, artificial intelligence and nanotechnology, exploring potential new directions  that architecture might take, reacting to and against these potent forces. Located in the heart of  Europe, within the neutral, yet hostile territories of the Swiss Alps, the project begins as an  alternative Future of Humanity Institute, trying to depart from the corporatist approach of the  institute with the same name at the University of Oxford. The building is anchored to Mount Titlis  or The Hill of Angels as William Wordsworth called it in the 18th century in a poem with the same  name, programmatically reconciling the religious and monastic past of the site with the present  condition of the Alps, a landscape host of various research and technological testing grounds. At  this mythical research laboratory, Citizens of Nowhere gather to shape our Post-Anthropocentric  interplanetary future, the building slowly evolving over a long period of time.

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Cy Tone (IT)

JOSEPH K - 5.52 min

Sound credits: Emiliano Comollo

Alberto Cittone, aka Cy Tone, is a 36 years-old industrial and graphic designer from Turin, Italy. He studied Graphic Design at the European Institute of Design and defines his work as “evidence,  experiments, results”. After a 6 years old career as industrial designer he became a creative freelance designer. He feeds on 3D modeling, rendering and Photoshop working with various  agencies in Turin, but his main interested is the production of creative and artistic images and  videos.

behance.net/cytone

“All subjects are Copyright-free, everyone can use them as he/she/it prefers, we don’t give a  f**K. Culture is a human heritage not a mass production tool”. So reads his manifesto,  demonstrating a strong attitude to the social and knowledge of the new-media world, focused on  networking and open-source. Image manipulation has seen by the artist as an enrichment and  growth, a new creative purpose.

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Sandrine Deumier (FR)

Pink Party - 18.00 min

Sandrine Deumier is a French author, video artist and performer. With her dual philosophical and  artistic training, Sandrine Deumier constructed a multifaceted poetry focused on the issue of  technological change and the performative place of poetry conceived through new technologies.  Using material from the word as image and the image as a word vector, she also works at the  junction of video and sound poetry considering them as sensitive devices to express a form of  unconscious material itself. The process of writing and the mobile material of the image function  as underlying meanings of reflux which refer to the real flickering and to their reality transfers via  unconscious thought structures. Her work consists mainly of texts, digital poetry, multimedia  installations and audiovisual performances in collaboration with composers. sandrinedeumier.com

The digital animation Pink Party is a mechanical ballet set in the era of cyborgs and artificial  human behaviors. Comprised of several scenes, Pink Party combines indistinctly cybernetic  chimeras, humanoids and objectified humans with reversible identities and behaviors. Each scene  depicts a disturbingly prefigurations of artificial humanity.

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Geriko (FR/BE)

Anvil - 3.41 min

Sound credits: Lorn

Geriko is a duo of young directors and visual artists Franco-Belgian bringing together Hélène  Jeudy and Antoine Caecke. Passionate about European and Japanese comics, science-fiction  films, contemporary drawings and typography, they feed these fields to the universe they are  building for many years.

vimeo.com/geriko

In the film Anvil, we are in the Year 2100 when, in an effort to combat overpopulation, the  postmortem social network "Anvil" is released. Right from birth, people receive a robot for their  daily needs – cleaning up, games, education, social and sexual life – until the day it signals the  end of their right to live on Earth. The robot then follows his owner to one of the Anvil facilities,  activating the machine that will end the citizen’s days. During this transition, the body is  destroyed and a part of the robot is recycled as a server/funerary urn. Anvil invites us on a  journey through the eyes of a young woman in her final moments on earth.

Miguel Marino (AR)

Registro #10 - 3.00 min

Registro #131 - 1.27 min

Miguel Marino grew up in Mar del Plata, Argentina and currently resides in Buenos Aires.  miguelmarino.tv

The video series Registros is an exploration of faux memories suspended in time, short fragments  of places de-voided of context, narrative and closure. The series contains interventions on video  and analog & digital photography. Registros started in 2013 as an unintentional collaboration  between Miguel and his father, an intervention over two of his father’s 30-year-old 35mm  photographs of Patagonia. A collage between his past and the artist’s present that evolved into a  ongoing exploration over different mediums.