Davide Quayola
Pleasant Places, 2015

28 minutes, loop
Courtesy of bitforms gallery, New York

Pleasant Places derives its name from the first series of landscape prints produced in Holland in the seventeenth century. In direct dialogue with the work of Vincent Van Gogh, Quayola returned to the same countryside in Provence, 125 years later. Based on 3D-scanned natural scenery in southern France, the series consists of both hyper-realistic and highly interpretative computer-generated imagery.



Davide Quayola
Jardins d’Été #1, 2016

45 minutes, loop
Courtesy of bitforms gallery, New York

An homage to the the tradition of French Impressionism and the late works of Claude Monet, "Jardins d'Été" investigates the ways in which nature is observed, studied, and synthesized with and through technology. The gardens at the Château de Chaumont-sur-Loire serve as a point of departure, as Quayola employs an extensive technological apparatus to represent and abstract floral landscapes. 



Tone Bjordam
Critical Transitions, 2012

30 minutes, loop
Music by: Marten Scheffer, percussion by Arthur Bont 

Climate, forests, coral reefs, financial markets and even our minds occasionally reach a tipping point where they go through a radical transformation. Foreseeing such critical transitions or even noticing that they are unfolding is challenging as they are embedded in the omnipresent permanent flow of change.

Dazzled by myriads of such minimal motions, how can we see that they sometimes erupt into transforming change? Emerged in chaotic and turbulent transformation, how can we see where we are going? Science seeks universal early warning signals for critical transitions, but often we may only realize the world is not the same anymore in the hindsight.

The theory behind the project is a collaboration with ecologist, scientist and musician Marten Scheffer from The Netherlands and Norwegian artist Tone Bjordam. Original version is 30 min long and in HD (High Definition).

Finished July 2012. Premiere screening at ESA (Ecological Society of America) Conference 2012, 6th of August in Portland, Oregon, USA.



Refik Anadol
Fluid Structure, 2016

Data Painting,
Courtesy of the artist

Data Paintings is a site-specific work that turns the invisible patterns of wind in and around Boston into a series of poetic data paintings. By using a one-year data set collected from Boston Logan Airport, Refik Anadol Studios developed a series of custom software to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals throughout the year.

The resulting artwork is a series of four dynamic “chapters”, each using data as a material to create a unique visual interpretation of the interaction between the environment and the city. Each chapter brings different aspects of the data sets to life with distinct and varied painterly, emotive aesthetics, making visible the invisible beauty of wind as a natural phenomenon.



Jonathan Monaghan
Scroll, 2016

Computer animated 4k film, vertical
7 minute seamless loop
Ed 2/3, 1AP
Courtesy of bitforms gallery, New York

Scroll is a seamlessly looping video installation. We are presented with an endless column of plastic, architecture, fur, and fabric. Taking on organic qualities the structure repeatedly spores futuristic seeds, suggesting technology itself as a reproducing life form. Maintaining an unsettling ambiguity the work calls into the question the boundaries between technology and the natural.


Strata #2, 2009

HD single-channel video
7:30 Loop
Ed 3/6
Courtesy of bitforms gallery, New York

The subjects of Strata #2 are the gothic windows and architecture of two Parisian cathedrals: Notre Dame and Saint Eustache. The work was commissioned in 2009 by Arcadie and the Festival Némo, which hosted a premiere of the video installation inside the Saint Eustache cathedral. Informed by his experiences growing up in Rome, and spiritually detaching from the city's rich tradition in architecture, the work is rooted in geometry and the iconography of perfection. 


The Best Day, 2012

Single channel video
8 min loop
Courtesy of the artist

The four artists Tsong Pu, Chen Shun-Chu, Wu Tung Lung and Su Hui-Yu all resides in Xindian, so logic follows they called themselves Xindian Boys, the name the group worked under for their first exhibition, in VT Artsalon curated by themself. The four artists came from three generations, worked in different areas with different mediums, an unusual gathering. The similarity they all share is the life in Xindain, since the decision to collaborate the Xindian Boys gathered ever more frequently, they exchange criticism, and concept for their works, as well as little things in everyday life, such as looking after each others pets while they are away, giving other member a lift. It is this bounding in their daily life that offered a route for discourse into their first part of a series to come.

The Xindain Boys created a glimpse into their lives, moving the settings familiar to them into the exhibition space and guide the viewer on a tour. Through this journey we see the bound, watch them immerse in their work, and how after all the years of living, when each of them stride forward with their own work, together they retreat back to the essences of living. Within the works we can find the rare moments when individual lives align and then intersect; this happened at a point where age become irrelevant, it is boyish, unpredictable, and conflicting, but the attitude toward making things happen remains.


Ronen Sharabani
Ring, 2015

Single channel video
3:40 min loop
Courtesy of the artist

Ritual, struggle, faith, and politics take center stage in the work of artist Ronen Sharabani (Israeli, born 1974), not for didactic purposes but as the gateway for transformational experiences. Profoundly influenced by his experiences in his home country of Israel, Sharabani’s films and videos blend movement, performance, architecture, and light into intensely visual and sensory projects.


Geist.xyz, 2016

Single channel 4K video
Courtesy of the artist

A Ghost in the shell,
>dancing the procedural revolution<.

Algo vs rhythm =
0% organic /
100% processed *
(*Olive, Rose, Mauve and Electric Blue).

Serving suggestions:
Grid wrangling like a pharmacist /
Authentic apparition sequence;

Fake hacks realism,
Small wonders:
Sympathy demons / Uncertainty artifacts

: Synthetic ecstatic aesthetic means
Extended PLAY
Station NSFW.

Incrementally yours,