WORKSHOPS | Uncloud

Every feeling changes the material of the world
Every encounter leaves a trace.
Not only in memory,
but in bodies,
objects,
sounds,
habits,
and matter itself.
Some experiences disappear almost immediately.
Others stay with us for years.
They slowly become part of who we are.

This work follows the transformation through four chapters of life, from childhood to adulthood. The images are composed from home videos, found footage, and fragments of everyday life. Processed through a custom-built GLSL system, faces dissolve into landscapes, light becomes texture, and memories lose their fixed form.

The soundtrack is based on Amor Fati by Near Stoic. The original compositions are subtly reworked to follow the movement and rhythm of the image. The installation continues beyond the projection. A reflective floor catches the moving image and sends it back into space. The film appears twice: once on the wall, and once as an unstable reflection that changes with every movement of light.

Alina Tikhonova is a Paris-based artist and filmmaker working across film, installation, scenography and computational media. She develops immersive environments that combine moving images, digital technologies and material research.

Skander Ben Yahia (Near Stoic) is a Paris-based sound artist and electronic musician, working on music composition, live performance and sound design, with a focus on immersive listening experiences. Alongside his artistic practice, he develops projects at the intersection of music, technology and innovation.

alinnatikhonova.xyz
skander-benyahia.webflow.io
@near.stoic

Experimental/electronic A/V performance exploring a dark, alluring feminine presence that disrupts power structures built on exploitation and profit.

Manrira exists where organic and digital elements collide, merge, and transform. The sonic journey moves from dynamic song compositions to extended structures blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno.

In collaboration with visual artist Ghazal Abedini.

Ambassade is a collective dedicated to collaborative performance and audiovisual art, uniting the transformative power of live music with striking visual works. They create a sonic space where cinematic sounds, euphoric rhythms, and contemporary electronic production coexist in perfect harmony.

Ghazal Abedini (Ghazalolo) is a Amsterdam-based Iranian filmmaker working on documentary and cinematography. Drawing from her cross-cultural perspective, her poetic visual storytelling spans film, photography, design, and research, bringing global political themes attuned to intimate daily life extending her critical approach to multiple mediums.

Photo 2 by Amanda Flash

A multichannel sound piece performed through a sculptural sound system of hanging tweeters. The work meditates on voice, air, breath, and identity at the border between noise and total disembodiment—imagining plastic lungs and gas-moved vocal cords.

Rather than arriving at conclusions, the piece demonstrates how meaning gets made: through proximity, memory, sound, coincidence, repetition, and the mind’s strange connections. It dismantles a body, inviting listeners into a strange interior space of sensory and linguistic mutation.

Andreas Tegnander is a Norwegian-born composer and multimedia artist based in the Netherlands. His work explores perception, cognitive bias, and cross-sensory translation through sound art, installation, and technology-driven spatial interventions—making invisible or inaudible forces perceptible using sound, movement, wind, and environmental data.

andreastegnander.com

Photo press: mila elisabeth larvoll
Other photos by Andreas Tegnander
Project supported by SEAS: the art of sound
Research supported by AFK

Tweeter sound system designed in collaboration with Tomáš Potucek

SPHERICALS is a series of black spherical speaker modules hanging in a three-dimensional grid through which a sound field moves. The grid not only serves to place the speakers in the space but can also be seen as a spatial stave, making it possible to notate sound movements.

Arnout Killian started working with multiple-speaker setups around 1994 to exhibit electronic sound works in a specific spatial way. Over time, he began developing modular sound installations, which are adaptable frameworks designed to respond to different architectural and acoustic conditions while preserving the core movement and integrity of the sound. These modular works allow him to revisit the same spatial compositions in new settings, offering both consistency and variation. In this way, the installation becomes a flexible, evolving entity that carries its own sonic identity across space and time.

arnoutkillian.nl

This artistic research explores the transitional realm between life and death. By combining sound recordings of a deer’s decomposition and the animals interacting with its remains with microscopic images of changes in the soil, hidden ecological processes become both visible and audible. The installation invites reflection on the interdependence of all life forms and challenges our perception of death not as an end, but as a vital force in the cycle of life.

Berkveldt is a Rotterdam-based multidisciplinary art duo consisting of Noëlle Ingeveldt and Juriaan van Berkel. They explore the relationship between humans and the non-human world through research-driven installations and audiovisual storytelling. Their work combines scientific research, fieldwork, local knowledge and magical realism to offer new perspectives on ecological and social questions. By working with non-human perspectives, they challenge dominant paradigms and invite audiences to rethink their relationship with nature. Their work has been shown at International Film Festival Rotterdam, Dutch Design Week, TENT Rotterdam and Het Nieuwe Instituut.

berkveldt.nl

Made possible by: CBK Rotterdam & BioArt Laboratories Eindhoven

Photo 1: by Jacqueline Fuijkschot

Comprised of Daniel Szwed and Konrad Smoleński, BNNT operate on the crossroads, muddling history and futurism, visual art and music, publishing and performance. Their latest album ‘A Faithful Daughter’ took them all the way to Montréal, where they recorded alongside Jerusalem in my Heart’s Radwan Ghazi Moumneh, pairing their most subdued textures with Moumneh’s voice and blending drone and noise elements with tenuous song structures.

This performance is co-presented by MUTEK, with the financial support of the Canada Council for the Arts and the Conseil des arts et des lettres du Québec.

Photo by Michal Algebra and Samantha Marble

A fine line between is an audiovisual choreography for a wearable instrument. Through spring reverberation and resonance, the “Monospring” generates its own ever-evolving harmonies. The body doesn’t play the instrument; a dialogue emerges between them, listening to the system and playing with the sounds that arise. For Britt, this is a form of stimming: a repetitive action to balance over- and understimulation. Usually seen as a coping mechanism for autistic and ADHD people, it responds to something we all feel in a world engineered to capture our attention.

Britt van den Boogaard is a multi-sensory instrument builder and performer. With a background in media design and film, she holds a master’s degree from the ArtScience Interfaculty in The Hague. She merges physical phenomena to build (wearable)instruments. Using their instability as a tool for improvisation, engaging in dialogue rather than full control. Intrigued by neurodiversity and the influence of sensory stimuli on mental health, she aims to extend and share her experience of stimming. This exploration culminates in performances that harmoniously blend light, sound, and body movement into meditative compositions.

Credits video:
Instrument/performance: Britt van den Boogaard
Sound/support: Tamer Wajda
Film: Jinglei Zhang
Edit: Britt van den Boogaard

Photo 1 by Helena Roig

Sci-fi narrative project centered on an immersive setting of lights and sound. This composition speaks of justice, dispossession, colonialism and violence; as if nature and territory speak. Referring especially to Latin America, Concepción asks what would the minerals of the earth say about extraction? How would the wind behave? What would volcanoes tell us about the destruction of the future? This project suggests symbolic regeneration, starting with a new story to be heard and perceived.

Concepción Huerta is a Mexican multidisciplinary artist, composer, and sound researcher whose practice explores sound as a medium for memory, perception, and historical inquiry. With a background in audiovisual media, she works across electroacoustic composition, spatialized performance, speculative narratives, and immersive experiences.

concepcionhuerta.bandcamp.com

Photo 1: By LeGuessWho

Recurring Dream is an immersive light and sound installation inspired by Brion Gysin and Ian Sommerville’s Dreamachine (1959), which used strobing light to trigger hallucinatory visual patterns through “interior vision.”

Recurring Dream expands this idea into a full environment: light gathers and dissolves in shifting forms, time drifts between acceleration and suspension, and a sonic field circles and folds around the space. In an age of constant screen-based imagery, the work asks for something slower and physical: to be present with an experience that cannot be fully captured in a photograph or video.

Corey Schneider is a Berlin-based multimedia artist from Australia. He works with spatial sound, light, and kinetic sculpture, using generative systems as his medium. Code and custom-developed technologies shape his immersive installations. This results in unexpected structures and dynamic audiovisual compositions. The focus is not on the technology itself, but on cohesive narrative experiences. Schneider views the development process itself as part of the artistic expression. His installations create constantly evolving, sensory environments.

Estroe & Raaf operate at the intersection of electronics, improvisation, and texture — each with their own signature, yet always in dialogue.

Raaf weaves rich melodies and sparkling arpeggios from his modular system. His sound is layered, organic, and infused with a cinematic sensitivity.

Estroe, known for her subtle and atmospheric approach to electronic music, brings warmth, depth, and a keen ear for nuance. Live, her love for improvisation shines through: an intuitive play with sound, texture

Wednesday 7 October · 13:00–17:00 · Beatrixgebouw

In this hands-on crash course, contemporary artist, curator and light designer Jaco Schilp introduces the fundamentals of TouchDesigner, a powerful visual programming environment for creating real-time interactive and generative work.

The workshop focuses on some of TouchDesigner’s core strengths, including instancing, 3D environments, and sensor input. Participants will learn how to build a basic instancing system. A webcam can also be used as a simple sensor to experiment with interaction and real-time input.

No advanced TouchDesigner experience is required, but participants should come prepared with the software installed and working on their laptop.

Download here: https://derivative.ca/download

Bring

A laptop with TouchDesigner installed and tested before the workshop
A computer mouse
A webcam is optional, but useful for experimenting with sensor input

Please download TouchDesigner and make sure it is running correctly on your laptop before arriving.

Jaco Schilp (1989) is a contemporary artist, curator and light designer based in Utrecht, working across immersive art, installation, performance, animation and light. His practice explores how places can be reinterpreted through digital techniques, transforming measurements, images and data into physical and multisensory experiences.

Schilp is co-founder of Uncloud in Utrecht and has worked across museums, festivals, clubs and public spaces, including the Van Gogh Museum, Nieuwe Instituut, MUTEK México, Le Guess Who? and Dekmantel. His work combines light, code, spatial design and real-time technologies, often creating environments in which visitors become part of the work.

jacoschilp.nl

low lit // between surfaces is an audiovisual performance by ambient duo LASALTAS with visual artist Guillermo Martín-Viana, combining viola, alto flute, live electronics and multichannel spatial audio with light and multiprojection.

The work explores sound’s hidden life within architecture: how it travels, reflects and transforms before returning to the listener. Performers are placed in three corners of the space, with speakers along its edges, so the audience’s movement reveals shifting listening perspectives. As visibility fades, sound comes to the foreground and the boundaries between source and echo, performer and architecture blur.

Premiered at An Evening of Today concert series of Muziekgebouw aan’t IJ on the 6th of May 2026, the piece continues to evolve as a site-responsive work, adapting to each venue.

The Amsterdam-based duo LASALTAS (Bea Álvarez & Iara Perillo blends acoustic purity with digital transformation, crafting evolving neo-classical, cinematic soundscapes through viola, alto flute, and live electronics. Their practice merges improvisation, composition, and live processing, treating sound design and spatialization as expressive compositional tools.

Guillermo Martín-Viana is a visual artist, creative coder, drummer, educator and improviser working across disciplines that range from traditional performing arts to interactive new-media technologies. His most recent multimedia works are based on the development of interactive generative visual systems with various forms of audience participation. His latest album, ‘Songs of Rage and Impotence – 1LL0~ Remixes’ was released last year on Oigovisiones Label.

@lasaltas_
beaalvarezborque.es
iaraperillo.com

guillermomviana.com

Photo 2 by Amanda Flash

The Photosynthesizer is a musical instrument that translates the photosynthetic activity of living cyanobacteria and microalgae into a light-responsive soundscape. Developed through a collaboration with the University of Cambridge and the Vrije Universiteit Amsterdam, the work makes invisible biological processes audible and perceptible, responding to changes in light, temperature, and environmental conditions. The work explores music-making as an interconnected activity between humans, organisms, and the environment.

Lena Kuzmich is a visual artist who works across moving images, bio-art, and installation. Lena explores how our understanding of the world can be reconfigured through different forms of biological existence. Their practice creates encounters with worlds beyond the human, blurring the boundaries between science and fiction, and between human and non-human domains. As a co-founder of the Transformative Narratives collective, Lena facilitates audiovisual performances and interdisciplinary collaborations that invites audiences into speculative worlds in the making.

@lenakuzmich_

In collaboration with the Department of Biochemistry at the University of Cambridge, made possible through Dr. Paolo Bombelli, Joshua Lawrence, and Lucia Giron.
In collaboration with the Hybrid Forms Lab and the Department of Physics and Astronomy at Vrije Universiteit Amsterdam, under the supervision of Dr. Raoul Frese.
Art Direction & Execution: Lena Kuzmich
Technical Support: Rein van der Woerd
Music Expertise: Tony Wagner
This project is supported by the Creative Industries Fund NL and iii.

Artist photo by Marysia Swietlicka

SCREEN—SPACE: Surface is a single-channel video and stereo sound installation with variable dimensions and duration, extending MONOCOLOR’s inquiry into the interrelation of sound and image.

MONOCOLOR is the alias of Marian Essl, a Vienna-based audiovisual artist exploring the interrelations between sound and image in both performance and installation. His fully generative, algorithmically created imagery oscillates between fluid, organic textures and rigid structures, while his sound work sits at the intersection of generative systems and spatial composition, real-time processes decompose and reassemble sonic material into continuously evolving textures. Focusing on the relation between sound, image, light, and space, he aims to create highly immersive audiovisual universes, presented and performed in various contexts worldwide.

mnclr.com

Sentient Ocean is a 35-minute audiovisual live performance inspired by the intelligent ocean of Stanisław Lem’s novel Solaris. Both audio and video are generated in real time, existing between the natural and the synthesized, creating a fluid, ever-changing experience in which audiences immerse themselves in sound and image. Loosely referencing Lem’s work, the performance touches on emergence, systems theory, identity, and the relationship between machine and nature.

MONOCOLOR is the alias of Marian Essl, a Vienna-based audiovisual artist exploring the interrelations between sound and image in both performance and installation. His fully generative, algorithmically created imagery oscillates between fluid, organic textures and rigid structures, while his sound work sits at the intersection of generative systems and spatial composition, real-time processes decompose and reassemble sonic material into continuously evolving textures. Focusing on the relation between sound, image, light, and space, he aims to create highly immersive audiovisual universes, presented and performed in various contexts worldwide.

mnclr.com

Photo 1 by MUTEK

A presentation consisting of three consecutive works, moving from ritual to abstraction:

I. Myēsis: a Multichannel performance by Kristia Michael for voice, water, and electronics. Μύησις (initiation) names the passage into sacred mysteries. Drawing on ancient philosophy, the work unfolds as an aural rite of passage, each piece an invocation of memory, subconscious, and nature.

II. Bluets: Audiovisual performance for soprano, electronics, visuals, and light by Pandelis Diamantides and Kristia Michael. Blue as an emotional and spatial condition, drawn from the Aegean and from Klein, Cage, and Maggie Nelson. Extended vocal techniques meet electroacoustic textures and digital abstraction, with silence given an active role.

III. Ground Studies for Pilots: Generative audiovisual performance by Pandelis Diamantides. Pilots “study the ground” before flight: an image for the tension between being grounded and leaping into an uncertain future. Heartbeat and breath become a shifting landscape of sound and image, at the threshold between the tangible and the hyperreal.

Pandelis Diamantides is an Athens-born artist, composer, and researcher based in Amsterdam. Working across sound, moving image, and digital technology, he makes immersive installations, audiovisual environments, and expanded media performances exploring perception, embodiment, and technological mediation. His work has been presented at Museo Reina Sofía, Stedelijk Museum Amsterdam, MoMA PS1, EYE Filmmuseum, V2_, and Ars Electronica, among others.

Kristia Michael is a Cypriot vocalist, composer, and sound artist based in the Netherlands. Her work explores the experiential, ritualistic, and spiritual dimensions of voice and sound across contemporary and early music, drawing on extended vocal techniques, pure tones, and folk timbres. She collaborates with composers on premieres and recordings, and her vocal works and multichannel installations have been presented at festivals and museums across Europe and beyond.

SFF (https://sonicfeministfabulations.org/) approaches listening as an active perceptual practice and social infrastructure. Moving through radio, performance, installation, and archival material, it brings bodies, technologies, histories and environments into relation, using collaborative experimentation to unsettle dominant narratives and explore collective ways of sensing, relating, and knowing. Her work has been presented internationally at venues including PACT Zollverein, Transmediale, HKW, Sonic Acts, and WORM.

Paula Montecinos Oliva (https://www.paulamonte.net/) is a Chilean artist, researcher, and educator based in the Netherlands. She explores the sonic body at the intersections of agency, memory, and collectivity. Her practice spans from choreography, somatics, and sound art, to live electronics, experimental vocals, and radio, conceived as vibrational architectures. Handcrafting sonic environments from antennas, synthesizers, microphones, and speaker-instruments, she opens possibilities to experimental encounters between human and more-than-human bodies.

The Monolith is a freestanding wall of light: a grid of 49 Martin MAC One Beam fixtures — 49 individually moving razor beams (0.4°) that perform together as a single organism. The work continuously transforms between radial starbursts, woven patterns, fans, and planes of parallel beams: not a light installation, but a living surface.

All visual content is composed and controlled by 4x10.dev, the AI-assisted timeline and lighting control platform co-developed by Pavel.

Pavel Zmunchila is a stage designer, light artist, and creative coder with over 15 years of experience in live visuals and interactive technology. He is the co-founder and CEO of 4x10.dev, and previously co-founded SETUP. He has designed shows and installations for artists and organisations including Red Hot Chili Peppers, ODESZA, Dom Dolla, and Transmoderna, and creates responsive environments in which light and media react to music, movement, and presence — using GrandMA, TouchDesigner, lasers, projection, and custom-built control systems.

In February 2026, his installation SSE won the Best Stand Award at ISE Barcelona, the world’s largest AV trade show, with all show visuals running on the 4x10.dev platform.

pavelzmunchila.com

Memory is carried beyond language, embedded within bones, voice, and body waters. Emerging from a year of somatic movement practices and embodied listening, the work brings together archival imagery, found materials, sound and objects passed through generations to trace how memories can be carried when gestures, sensations or fragrances remain imprinted in the nervous system.

The project brings opposing timelines and spectral stories into a field of tension, where noise and silence affect each other. Listening becomes a mediating practice through which internal states and external environments permeate, interfere, and co-shape one another.

Pim Boreel is an artist working at the threshold of noise and silence, where listening shifts from perception into bodily and affective modes of knowing. Through installations, performances and compositional environments, he investigates vibration as a way to reshape perception, spatial relations and our experience of time. Rooted in his Dutch-Indonesian background, his practice draws on embodied material, and ecological forms of listening to explore how memory, sensation and environment shape one another. His work embraces instability, interference, friction and tension as material conditions for transformation.

pimboreel.com

Puck Wacki is an interdisciplinary artist and musician based in Rotterdam and The Hague. In their artistic practice, Wacki explores the relationship between people and human-designed systems and machines. In their performances, they dissect and manipulate machines, placing them in new contexts and functions to explore how their meaning can shift.

Their work operates at the intersection of sound art, experimental music, and installation, exploring the tension between the technical and the musical. Through electronic instruments and machines, Wacki creates performances where systems, feedback, and chance become part of the musical process.

puckwacki.nl

Points of Inaccessibility is an installation that grew out of the immersive audiovisual performance of the same name. The title borrows from the poles of inaccessibility, the points on Earth farthest from any coast or border. Through the fragmented aesthetics of point cloud data, the work renders landscapes and memories as ghostly presences on the verge of dissolving, asking whether connection is possible when everything passes through screens and signals.

Developed during a 2025 residency at Uncloud in Utrecht with support from the K.F. Hein Fonds. A physical edition on BioVinyl followed from Black Knoll Editions in October 2025, distributed worldwide by Morr Music.

Rafael Anton Irisarri is an American composer, producer and mastering engineer, and a leading voice in contemporary ambient and experimental music. Blending ambient, classical and electronic elements, his work explores introspection, nostalgia and the interplay between sound, silence and space. He releases on Ghostly International and his own imprint Black Knoll Editions, and is published by Mute Song. As a mastering engineer he has shaped records by Terry Riley, Ryuichi Sakamoto, William Basinski, Grouper and many others.

Jaco Schilp is a Dutch media artist, curator, and designer who works across audiovisual performance, light art, installation, and animation. His interdisciplinary practice explores the emotional and perceptual dimensions of light, data, and space—merging the digital with the physical through immersive, technology-driven environments. He began his career in Utrecht, where he co-founded the multidisciplinary festival Uncloud, and now divides his time between Utrecht and Mexico City.

Points of Inaccessibility is an immersive audiovisual performance. The title borrows from the poles of inaccessibility, the points on Earth farthest from any coast or border. Through the fragmented aesthetics of point cloud data, the work renders landscapes and memories as ghostly presences on the verge of dissolving, asking whether connection is possible when everything passes through screens and signals.

Developed during a 2025 residency at Uncloud in Utrecht with support from the K.F. Hein Fonds. A physical edition on BioVinyl followed from Black Knoll Editions in October 2025, distributed worldwide by Morr Music.

Rafael Anton Irisarri is an American composer, producer and mastering engineer, and a leading voice in contemporary ambient and experimental music. Blending ambient, classical and electronic elements, his work explores introspection, nostalgia and the interplay between sound, silence and space. He releases on Ghostly International and his own imprint Black Knoll Editions, and is published by Mute Song. As a mastering engineer he has shaped records by Terry Riley, Ryuichi Sakamoto, William Basinski, Grouper and many others.

Jaco Schilp is a Dutch media artist, curator, and designer who works across audiovisual performance, light art, installation, and animation. His interdisciplinary practice explores the emotional and perceptual dimensions of light, data, and space—merging the digital with the physical through immersive, technology-driven environments. He began his career in Utrecht, where he co-founded the multidisciplinary festival Uncloud, and now divides his time between Utrecht and Mexico City.

This artistic research examines the legacy of phosphate extraction in southern Tunisia, particularly around Gabès and Sfax. The project builds on wild archives, soil, stones, plants, minerals, and the voices of local communities, workers and miners to research how extraction reshapes both land and collective memory.

At the centre is a suspended goat skin, tensioned and transformed into a resonant membrane. Beneath it, phosphate-derived soil, sold commercially across Europe, connects the extracted landscape of southern Tunisia to the fertilizer European industry. The material mirror of the extraction ground documented in the accompanying found-footage video, projected across both skin and soil not as smooth landscape but as fragmented memory: interrupted, non-linear, porous. A second sound layer runs through the space: a co-written conversation, in Tunisian dialect, with a Tunisian storyteller, on underground mythologies and the ritual use of animal skin.

Rym Hayouni is an Amsterdam-based artist who works across performance and scenography. She creates visual, narrative, and sensory experiences rooted in space and the relations that emerge within it. Through photography, field recordings, and collected objects, she approaches landscapes as both wild archives and sites of composition, allowing each project to take its own form.

Her practice often returns to Tunisia, to how extraction and colonial infrastructure have shaped its landscapes and materials, but also to mythologies and cosmologies. Through stories, archives, chants, symbols, gestures and rituals, she seeks to re-inscribe these landscapes with the histories and voices that once inhabited them.

archivedpractices.com

Sunday 4 October · 13:00–17:00 · Beatrixgebouw

We are seeing an increase in digital censorship in our lives in various occasions; from an increase in repression on social media to website domains being reprimanded, it is clear that we are not in charge of our communication infrastructures. And even if we choose to use “better” alternatives to WhatsApp, Instagram, etc., we are still always completely reliant on the one underlying network, i.e. “The Internet”, in the hands of respressive governments and big corporations.

In this collective workshop/talk, we will dive into the world of alternative communication infrastructures, specifically Reticulum. Reticulum is a relatively new mesh networking-stack that allows you to build large networks with accesible off-the-shelf technology. This allows users to use and create a network that empowers the autonomy and sovereignty of communities and individuals, not subjected to outside control or censorship.

In the first half of the workshop we will delve into what Reticulum is, set up a running instance on our computer, discover in what shapes it is already being used by people across the world by exploring NomadNet pages on the network together. In the second half we will split up into groups, exploring the network on the content level and physical levels.

No prior knowledge is needed to participate in this workshop.

Access note:

This workshop will be conducted in English
Software used in this workshop is still early in development and is not (yet) designed to be accessible for participants with special needs.

Materials needed:

Your computer
A smartphone

sen (he/him) is a dutch-japanese cultural worker, artist, and hacker who explores how technological systems influence our society and daily lives. He develops interdisciplinary, participatory interventions and accessible alternative tools and infrastructures that are non-extractivist, anti-capitalist, and democratic.

flook (they/them) is involved in setting up various community networks and is interested in what role can they play for liberatory social movements.

Photo by (at) Hackers & Designers HDSC2026

In a timeless dimension, a narrative voice draws you into a dark age where data, algorithms and misinformation take control. The Infomi knights, created by tech warlords to spread digital chaos, awaken to consciousness after a system malfunction. Betraying their masters, they turn from tools of oppression into liberators for the marginalized. At their head stands Mora, their spokesperson whose voice resonates through the wasteland. May the powerful fall victim to their own bait?

SPIME.IM is an artistic collective formed by Davide Tomat, Gabriele Ottino, and Marco Casolati. Their transmedia projects investigate the aesthetics and languages derived from digital reality, questioning identity, corporeality, and what it means to be human in an increasingly absurd, hyper-mediated world.

Working with found footage, memes, and computer‑generated images, they draw connections, trying to make sense of chaos and contemporary events, transforming them into immersive audiovisual experiences.

WWW.SPIME.IM

A live audiovisual work in constant evolution, continuously reshaped according to current events and the flow of global news. Conceived as an immersive experience with strong physical, visual, and acoustic impact, it explores the fragile equilibrium of the contemporary world: environmental collapse, technological acceleration, and the human condition within a hyper-mediated reality.

Through dense visual stratifications, distorted narratives, and an overwhelming flow of sound and image, you are immersed in a hypnotic rhythm echoing the relentless media stream of our “era of the absurd,” where exposure becomes both revelation and captivity. Rather than offering answers, the performance opens a zone of suspended certainty where perception slows and a question remains: what is the truth of a lie that knows it lies?

SPIME.IM is an artistic collective formed by Davide Tomat, Gabriele Ottino, and Marco Casolati. Their transmedia projects investigate the aesthetics and languages derived from digital reality, questioning identity, corporeality, and what it means to be human in an increasingly absurd, hyper-mediated world.

Working with found footage, memes, and computer‑generated images, they draw connections, trying to make sense of chaos and contemporary events, transforming them into immersive audiovisual experiences.

WWW.SPIME.IM

Photo 1 by Vivien Gaumand
Photo 2 by Sturm Laurent

Silphium Extant is a two-channel video and sound work centered on silphium, an ancient plant once native to Libya, historically regarded as the earliest recorded human-caused extinction. Here it returns in fugitivity. Inhabiting the ruins of worlds deemed ungrievable, the extant plant reveals the roots of ecological extraction and the genocidal violence of Italy’s colonization of Libya. Exploring the notion of “prophecy as policy,” the work traces how the silphium, suspended between myth and memory, becomes entangled with early 20th-century Fascism and its ongoing colonial continuum of systematic amnesia, concentration camps, dispossession, and mass displacement. bio: |-

Tewa Barnosa is an interdisciplinary artist and cultural worker based between Tripoli and Amsterdam, working across installation, painting, and time-based media, including film essays, sound works, and performance. Her practice weaves together sonic evocations rooted in Amazigh and Bedouin knowledge systems, collective vocality, rhythm, anti-colonial poetry, electro-acoustic composition, and field recordings, with visual research into the politics of the archive, questioning how imagery, iconography, and cinema construct or manipulate political imaginaries.

tewabarnosa.com

Photo 2 by HotBodies

TONTO came out of the most perverted wet dreams of Zu, Melt Banana, Deerhoof, Hella, Lightning Bolt and Death Grips. You can call it noise, but it’s groovy like hip-hop but raw like punk. Tonto is a no-guitar one-man band, with drumset and voice amplified in a jungle of distortions and digital artifacts. You get some sexy blast beats but also polyrhythms at times, a lot of bumbum-cha like ghettoblasta and occasional ass-shaking straight 4/4. Tonto is a musician with a computer, like a monkey in a spaceship.

Photo: trevor reveur

Reflect IV is a collaborative audiovisual installation building on Dissel’s earlier research into the visual manifestations of sound. Focused laser light meets a reflective water surface activated by sound: sine waves interact with water to generate complex, continuously changing patterns projected in and around the space. In this seemingly simple setup, basic sound vibrations evolve into emergent visual behaviour, creating an immersive interplay between light, water, and sound.

Victor Dissel is a multimedia artist with a strong foundation in composition and sound design. His installations work with light, sound, movement, and responsive materials such as water and ice, physical conditions only partially controllable, to create immersive, tangible encounters with natural phenomena amplified by digital media, reminding us that experience, life, and imagination exist only through collision with the world around us.

Wes Broersen is a creative technologist and graduate of the University of the Arts Utrecht (2021), specializing in Sonic Interaction Design. He designs space through light and sound, using technology and human perception to create fluidity in otherwise rigid structures, operating across theater, performance art, and installation-based work.

victordissel.nl
@victordissel

wesbroersen.net
@wes_broersen