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- “Chuly ? Chuly”, Letta Shtohryn : The project Чули? Чули (Chuly? Chuly), translating from Ukrainian as “Have you heard? We’ve heard/Have you felt it? We’ve felt it”, merges performative video gameplay with choreography to delve into manipulative narratives and the embodiment of online personas. It engages with narratives shaped by human-led troll farms and AI, anchored in a speculative story from a woman who once saw giants. Her narrative, twisted by ChatGPT to reflect online misinformation tactics, indirectly guides the player through the environment, yet never reveals the discussed cave and giants. This work looks at today’s giants — enormous, planetary, interconnected, and mostly invisible entities; AGIs, pandemics, secret weapons, and disinformation itself; some engineered and run by humans, others self-materializing, shapeshifting.
By setting expectations for perfection with AAA-game-like realistic worlds, the project intentionally subverts these expectations by working with the limitations of inertial motion capture suits. The susceptibility of these suits to electromagnetic interference becomes a core part of the choreography. The dancer’s movements, distorted by the suit’s gradual calibration loss, create choreography that embraces digital imperfection, disentangling the digital persona from its body, and exploring errors as part of liveness.
Letta Shtohryn (UA / EU) works with XR, CGI, VR, machinima and video games.
Her academic background is in philosophy and photography. Letta is a PhD candidate in Digital Arts.
Currently she is based at Ars Electronica’s Founding Lab in Linz, Austria, where she explores embodiment, myth-making, and belief via XR.
In her work, Letta explores posthumanism, SFs, intuitive epistemologies, entanglements with machines, avatars, aliens, monsters, ghosts.
Recently, her works have been shown at the Ars Electronica festival (AT), Goldsmiths College, London (UK), Centre Pompidou (FR), Kunsthalle Exnergasse, Vienna (AT), MUZA (MT), Milan Machinima Festival (IT), Frieze Art Fair (NYC).
- “The End Product” Myriam Bleau & Pierce Warnecke : The End Product is an audiovisual performative meditation about our daily online experiences. It explores the particular rhythm of the constant data streams flooding our screens from a multiplicity of sources. The performance dives into a speculative reflection on the hidden mechanisms behind the overstimulating feed, who decides and controls the content, who profits from it, and who endures its effects.
As it follows a user’s scroll through their personal commodified feedscape, the piece deceptively blurs the performative codes between artists and audience, and their networked interaction, hinting at another presence behind the likes, the posts and the selfies.
With the support of the Canada Council for the Arts, the Auvergne-Rhône-Alpes Region through the SCAN grant, and L’Espace Gantner (Territoire de Belfort). Residency support from iMAL, Interstice, Sporobole and Recto-Verso.
Myriam Bleau is a digital artist and music composer based in Montreal. Her work includes audiovisual performances, installations, instrumental and electronic music compositions. Her hybrid practice questions musical performance as a codified manifestation and seeks avenues of subversion through the recontextualisation of elements of popular culture and tropes of music history. Her work has been acclaimed and presented internationally, including: Prix Ars Electronica (AT), Sónar (ES, HK), Transmediale (DE), Sonic Arts Award (IT), Elektra (CA), Mutek (MX, CA, JP, AR), ISEA (CA, KR), ACT (KR), L.E.V and LABoral (ES), Scopitone (FR), Café Oto (UK).
Pierce Warnecke is a multidisciplinary digital artist. His work, at the intersection of experimental music, digital art and video art, is influenced by the effect of time on matter: change, decay and disappearance. He collaborates with Frank Bretschneider, Matthew Biederman and Keith Fullerton Whitman. He has presented his performances and installations at Mutek, ZKM, CTM, Elektra, KW Institut, La Biennale NEMO, Sonic Acts, Martin Gropius Bau, MAC Montréal, Scopitone, LEV Festival, SXSW, FILE, etc. His music is published on raster (DE) and Room40 (AU); he is represented by DISK Agency, Berlin.
- “Muescence”, Clarice Calvo-Pinsolle : Muescence is a performance that uses organic elements to create an immersive soundscape. Water and dry earth play a central role in this experience. Water is gently poured over fragments of sandstone. On contact with the water, the earth releases air, triggering a change of state. This phenomenon is captured and amplified using hydrophones, then processed live.
The captured sounds are broadcast in octophony, creating a complex, immersive spatialization. Some of these sounds are transformed into drones and layers of sound that gradually unfold throughout the performance, enveloping the audience in an evolving sonic experience.
Clarice Calvo-Pinsolle is a visual and sound artist from the Pays Basque. After graduating from Villa Arson, École nationale supérieure d’art de Nice in 2016, she went on a residency in Colombia, then settled in Paris for a few years before moving to Brussels, where she is currently developing her artistic practice.
Her work is based on a desire to create hybrid environments, at the crossroads of sound, sculpture and performance. By blending organic, artistic and digital elements, she strives to create immersive, interactive installations through new landscapes and ecosystems.
Her practice is characterized by a constant back-and-forth between theoretical research and visual experimentation. She draws inspiration from scientific, physiological and/or psychological phenomena in order to divert or highlight them and create sound environments that act directly on viewers’ perceptions.
She regularly brings up the question of in-situ, and her pieces adapt to each location (spatialization of sound, temperature of the room, movement in the space, luminosity, etc.).
Her electroacoustic music practice also takes the form of live performances under the name Lamina.