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Digital Art

EDOUARD CABAY

born in Brussels, Belgium 1979 | lives in Barcelona, Spain

Edouard Cabay | Arte Laguna Prize

PERPETUAL UNKNOWNS, 2019

Sand, electronic fans, arduino
3.000x600x3.000 cm

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Water resources, the prediction and understanding of the dangers of nature, the identification and remediation of environmental problems, the detection of natural resources, the study of climate and environmental changes, knowledge of the subsoil, the science of our Earth : geology. This discipline has always been a fundamental element that has helped the growth and expansion of our settlements, to live and inhabit our world. But geology itself is equally influenced by us and the way it is inhabited. We are, in fact, knotted and connected. The work Perpetual unknowns analyzes this bond that closely unites us, through a digital art installation, in which the sand is moved by small fans and an architectural drawing reacts by reorganizing a settlement around it. Conversely, if a space is inhabited too densely on the drawing, it is the latter that influences the sandy landscape.
The seconds pass, the minutes pass, a continuous change.

Testo realizzato dalla studentessa Sulbie Osmani, Accademia di Belle Arti Santa Giulia di Brescia

ART COLLECTIVE FRAGMENTIN

born in Lausanne, Switzerland 2014 | lives in Renens, Switzerland

Fragmentin | Arte Laguna Prize

2199, 2016

Wood, acrylic, electronic components
200x20x300 cm

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The virtual world has the potential to transcend reality. It is truly another environment filled with vast, eternal and infinite possibilities. 2199 – the year in which people should live as in the science fiction film Matrix, where the virtual has become impossible to distinguish from the real reality – investigates and explores an intangible, abstract and immaterial world, comparing it simultaneously with what happens in the real, concrete and tangible environment.
After wearing appropriate helmets to see and connect with the impalpable place, the experience begins with a voice that welcomes three participants and invites them to look at certain specific points where there are textual instructions and, in turn, actually start some physical rotations of the chair where the users are seated. In this way, all users give life to the work and, without being aware of it, are engaged in a choreography.

Testo realizzato dalla studentessa Sulbie Osmani, Accademia di Belle Arti Santa Giulia di Brescia

VARVARA GRANKOVA

born in Moscow, Russia 1988 | lives in Moscow, Russia

Varvara Grankova | Arte Laguna Prize

@NENASILIE, 2018

Instagram, iPhone, print

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Violence has different forms, there is not only the physical one, but also the verbal one. Nanesilie is a project that wants to face this reality. It is an Instagram account where images of bodies are uploaded with writings showing offensive words spoken to the immortalized subjects. Phrases that permanently marked those who received them, causing pain. What this interactive project wants to do, is to create a diary where to show the wickedness and brutality of people, but at the same time, to demonstrate, to those suffering from these abuses, that they are not alone, that many other people are sharing their suffering. . For this reason, as well as to give comfort and support to the victims, there are also photographs of those who managed to transform the insults into something that the person would have liked to hear. Turn pain into strength. Psychological violence is too often underestimated, which is why the Nanesilie account was created, to give a voice to those who have none.

Testo realizzato dalla studentessa Giulia Saiani, Accademia di Belle Arti Santa Giulia di Brescia

LAI JIUN TING

born in Taipei, Taiwan 1994 | lives in Taipei, Taiwan

Lai Jiun | Arte Laguna Prize

UNDERSTAND_V.T.S., 2019

3D printing model, computer, composite media
200x120x200 cm

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Is there any other way for us to understand this world?

In this piece of work, it conducts the experiment in which the possibility of the cooperation between natural and artificial algorithms are assessed. That is, it tries out how well our brains(natural) work with AI (man-made).

The feature of neuroplasticity allows our senses to perceive the world in various ways in which we might see not with our eyes, but with skins or listen not through our ears, but through taste buds, to name but a few.

General skin vision relies on brain parsing pieces of information and shaping cognitions thereafter.

In this respect, I introduced an object recognition system — YOLO v3 You Only Look Oneto it, converting the results given by YOLO 3 into Braille reading system to thigh skin, and the other side converting pixel to motor on back directly.

Besides, with the motor stimulating the skins, the experiment mentioned above in which we aim to test the collaboration between brains and AI is thus carried out. The system run by machine learning and human brains can generate a new neural network to identify words, texts, and pixels.

Plus, the fact that the weight of the object identification is easy to increase and update makes it easier for us to expand the database by including things from considerable open sources on the internet.

Thanks to the tremendous accessibility of it, we can help the blind expand their blind visions a kind of sense though may not be seen by them, it extends their senses that were beyond their limits. Hence broadens their world and makes it more palpable for them with this technology.

Furthermore, it has a remote-controllable robot that applies for the visual extension as an approach to exploring the world in real-time and produces new cognitive nerve with what camera captures.

As was mentioned earlier, the creation of new neurons in brains is the approach to realize data physicalization, plus the collaboration between AI (algorithms made by a human) and brains ( calculations conducted naturally by human brains), the world will thus be re-perceived by skins.

Eventually, we’ll be aware of signals, lives, selves and be able to feel, to learn, to practice, to alive.

While exhibiting, the installation leaves a philosophical question for people to contemplate upon: despite its multi-talents of collecting pixels, deal with and predicting messages, is the device skillful enough to perceive the existence of a non-pixelated world?

If we view the human brain as a machine that predicts stuff, it might turn out that the brain might function just as the device we exhibit: we are carrying out a virtual game conducted by computers, and thus we are not able to perceive, to grasp and to conceive what the world looks like.

However, we can still feel or sense the world since our bodies allow as to sense and to have feelings about our surroundings.

The fact is, we do live in the world. Therefore, the rejoicing, ecstasy, distress, helplessness, pain, exist all because of the world make us feel and sense.

KOHEI KIMURA

born in Hiroshima, Japan 1985 | lives in Berlin, Germany

Kohei Kimura | Arte Laguna Prize

HIBIKI, 2018

Aluminium, Acrylic
150x100x20 cm

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Kohei Kimura’s work, created mainly in aluminum and acetate, uses three main elements: gravity, matter and sound.

The artist’s aim is not only to create a conceptual or aesthetically enjoyable work, but to generate a real experience for the viewer, making it inclusive and stimulating.

The sounds produced become from simple to warm and welcoming, very similar to the games played during childhood, which, like smells, bring you back to that period, stirring your mind and creativity.

Observing this work almost thinking of being in front of a scientific instrument and finding oneself instead in front of an inclusive and exciting artistic production.

Testo realizzato dalla studentessa Lorenza Romeo, Accademia di Belle Arti Santa Giulia di Brescia

FEI LI

born in Heilong Jiang, China 1988 | lives in London, United Kingdom

Fei Li | Arte Laguna Prize

CNY/USD, CNY/EUR, CNY/RUB, CNY/GBP, 2019

50×30 cm

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Four laptops are arranged horizontally in a row, technological objects that are presented to visitors as a metaphor, with the aim of focusing attention on the cultural relationship, but from the point of view of financial systems. Sound stands as the main protagonist of Li Fei’s practice, who wants to give us a clear and defined idea of ​​how certain computer programs work. The observer, intrigued, is captured within the work not only visually, but also the auditory perception becomes of fundamental importance. We note, in fact, how the exchange rate data work is identified by a particular sound vibration, distinct for each single computer, while the monetary framework between two different countries reflects the trend of the economic situation on the lit and active display, combining the price and time on an online trading chart.

Testo realizzato dalla studentessa Lorenza Romeo, Accademia di Belle Arti Santa Giulia di Brescia

ANDREEA MEDAR AND MĂLINA IONESCU

born in Targu-Jiu, Romania 1980 | lives in Targu Jiu/Timisoara and Bucarest, Romania

Andrea Medar | Arte Laguna Prize

HYPERCUBE, 2020

See through mirror, surveillance cameras, projectors
200x150x150 cm

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Andreea Medar and Malina Ionescu, polyform artists, have collaborated together in the realization of many artistic projects of different kinds, ranging from installations to land art, from performance to environments. Hypercube (2020) is a work that could be defined as a hybrid, a digital art installation in which the public takes an active part. In fact, visitors can enter the structure, where their image will be projected in real time inside a room located in Romania, a sort of white cube on the walls of which what happens in the Hypercube in Venice will appear. At the same time, what happens inside the room in Romania will be shown on the screen in the exhibition. This work recounts the profound reflection matured by the artists regarding instant communication that today we are all used to living. This sort of prototype of a teleportation machine underlines the illusory power that technological means have and the alienation that can be experienced even during a banal video call, through the use of a real fiscal space that is distorted, thanks to a game of mirrors and projections, to the point of becoming something metaphorical and ethereal.

Testo realizzato dalla studentessa Lorenza Romeo, Accademia di Belle Arti Santa Giulia di Brescia

LORENZO PAPANTI

born in Pontedera, Italy 1989 | lives in Ponsacco, Italy

Lorenzo Papanti | Arte Laguna Prize

AI COMPLETION_1, 2020

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Through a smartphone application, the artist’s original idea takes shape: wanting to replicate in serial form and amplify a representative shot of an urban residential nucleus. Doors, windows, jambs and railings are repeated diagonally, almost taking the shape of a staircase. A cluster of openings with related frames, panels, beams and architraves, repeated in sequence, strike the eye of the beholder, fantasizing about the urban core and its inhabitants behind it. Doors and windows allude to the life that hides behind these openings, to the residents who daily populate urban centers, spokespersons for the typical noises and smells of inhabited areas. Achievements by man, anthropological elements characteristic of artificial construction, which have been repeated throughout history with successive stratifications. A world in the making, from generation to generation, leads the visitor to meditate on the passage of time, on the continuous transformation of the living landscape and the habits that evolve. A type of art that knows how to grasp the novelty brought by technology, without forgetting the origins; the house we live in speaks of us, tells us who we are and where we come from and the doors depicted and replicated, refer to the invitation to enter, to the welcome.

The colors of gray, almost ferrous, are the masters, with reflections of lights and shadows. Repeating details seem to confuse the eye, only to then find ourselves in front of a serial and systematic order.

Testo realizzato dalla studentessa Laura Pintossi, Accademia di Belle Arti Santa Giulia di Brescia

VYACHESLAV TISHIN

born in Kuybyshev, Russia 1979 | lives in Samara, Russia

Vyacheslav Tishin | Arte Laguna Prize

INVERSION OF THE WATERMELON LINE, 2015

Collage, mix media, web services art
120x68x2 cm

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A mixed technique on wood fiber, with nine short sentences that refer to the visual and unitary composition. A white background with vibrant rectangles, a cork panel, a mute screen, from which no sound is coming, is all immersed in profound silence, together with the last square of gray paper. The three bright red lines are ascending and, obliquely, branch off from left to right passing over the underlying geometric shapes. The artist concentrates mainly on the next act, during which he chooses an anonymous person in a text chat on the web and starts a dialogue, sending, to each random answer of the recipient, one by one the nine utterances, and, at the end , inviting her to the link of the original collage. Tishin Vyacheslav’s goal is to analyze and understand the different types of reactions that the interlocutor assumes, his openness to learning and the communication process that occurs with these excerpts of conversation.

Testo realizzato dalla studentessa Lorenza Romeo, Accademia di Belle Arti Santa Giulia di Brescia

BOROU YU

born in Changchun, China 1994 | lives in Long Is City, United States

Borou Yu | Arte Laguna Prize

RHINO, 2020

Live camera, projection

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The performance is made by this staff: Directed by Xiaoxing Sun (assistant professor at the Tianjin Academy of Music), screenplay by Eugene Ionesco, projection design by Anna Borou Yu, Production by Yajiao Cai (teacher at the dance academy of Beijing), artistic management lesson at BDA Sound by Xiangyun Guo, photography by Xiangyun Guo. The performance, on the other hand, is made by the Beijing Dance Academy. This work is structured as an interactive projection and sound design for the Rhino play, a metaphor of uncertainty and fear, key elements of a pandemic era. Multimedia becomes an integral part of the performance, no longer a means or an intermediary, but a protagonist. In fact, the actors leave the stage space, communicating with the audience.

Testo realizzato dalla studentessa Mariavittoria Crescini, Accademia di Belle Arti Santa Giulia di Brescia