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#fubar_expo 2k21 curator’s cut #05

A fubar festival logo in magenta and black horizontal stripes and cubes.
• 2021-10-08 FRI • 21:00 CEST • screening • online

The final Fubar video art evening [screened at the main “LIVE” session] is featuring the work:

  1. UMMTI-Collective : On translation (now…you got it?) [03’20”, 2020]
  2. Kit Young, Allen Moore, Mike Brown : Stolen Identity [03’43”, 2021]
  3. royb0t : Generation Loss [05’00”, 2020]
  4. JB Friquet : At the mountain of madness [05’08”, 2021]
  5. Eddie Lohmeyer : An Interval Among Death and Dream [05’17”, 2020]
  6. Thomas Valianatos : Dada Electronika_Live Cinema #01 [05’59”, 2021]
  7. PLUME : DISINTEGRATION (and life’s tenuous nature) [06’14”, 2021]
  8. Sabato Visconti : Cybergunk 2077 [06’21”, 2021]
  9. Joshua Albers : Stockpile [06’24”, 2019]
  10. FLAG/2021 : TBA [10’40”, 2021]

On translation (now…you got it?)


Collaborative work in which the sound modifies the way in which the poetic text and the image are displayed. He reflects on the difficulties and losses in translation processes between languages ​​and between media.

UMMTI-Collective
The research project created by Catalina von Wrangell, Julián Brijado and Esteban Gutiérrez was born from the collaboration proposal between the Faculty of Arts and Humanities of the Metropolitan Technological Institute of Medellín (Colombia) and the Frost School of Music of the University of Miami (United States). United). Since January 2020, the three artists – with different professional profiles – have worked on the piloting of an official agreement between the two institutions, based on familiarization with their individual production and the search for common themes. Starting from these two great pillars, they have dedicated themselves to the creation of collective works built sequentially and jointly. This report summarizes the first stage of the agreement, developed between January and May 2020. It begins with a brief introduction to the profiles of the artists, and later, it focuses on the works produced by the collective and their reflection on collaborative creation; guided by two common threads: transmedia translation, especially when it involves a distortion of information; and the intimacy of the creative process, affected by the context of collaborative creation.
https://vimeo.com/461112323

Stolen Identity


This is a live, collaborative video work that was made remotely, during the pandemic. We communicated via Zoom as I recorded our session; Allen in Chicago Ill, and myself in Berkeley, CA. Allen shared audio as he worked in his sound studio, spinning records he makes out of graphite. I sent his audio signal into my video glitch system so it could effect the video signal. My cameras were trained on a video sculpture I made of my friend Mike Brown. The mask of his face has video screens and robotics built into it.

Kit Young, Allen Moore, Mike Brown
Kit Young builds video systems that can be played in an improvisational way. He performs solo and collaboratively with other media artists. Though his work utilizes new media technique, his practice is grounded in the experimental cinema traditions of perception, awareness, social justice, and humor. He uses art as a means of restructuring reality to facilitate change. Kit has exhibited and performed locally, nationally, and internationally.
https://www.youngkit.com

Generation Loss


“Generation loss is the loss of quality between subsequent copies or transcodes of data.” This video illustrates the degradation of footage over 20 iterative VHS copies. Videos sourced entirely from personal footage in Phoenix, AZ, and Chicago, IL.
The title sequence is manipulated using analog gear (including Tachyonsplus Vortex Decoder and BPMC Fritz Decontroller). VHS copies filmed on a CRT using a DSLR camera, then compiled in Adobe Premiere Pro. Directed by bzzrk @ badtvlab.
Generation Loss appears originally off the royb0t album, Black Burst Generator (Thinkbreak Records, 2020), with an accompanying single featuring a remix by Coinhammer.”

royb0t
i am an audio and visual artist. i create glitches and breaks.
http://royb0t.net/

At the mountain of madness


Datamoshing.

JB Friquet
“Born in 1983 in Mulhouse, France, he studied film and art editing at the Institute of Broadcast Arts in Louvain-La-Neuve, Belgium. He officiates on Belgian television as editor and director. Now he works as a freelancer for various audiovisual production companies.
In 2014, he discovered glitch art, which launched him in a new way and many experiments. He wonders through his art through the famous paradigm “it was better before?”. Child of analog, its present is digital.”
https://www.instagram.com/jbfriquet/

An Interval Among Death and Dream


An Interval Among Death and Dream is an experimental glitch machinima that explores altered states of consciousness through aesthetics of error. Employing sensual expressions of datamoshing, An Interval Among Death and Dream evokes a haunting journey through the Bardo in traditions of Tibetan Buddhism: an existential state that lies between death and rebirth, consciousness and unconsciousness, spiritual transcendence and hallucination, ego and its dissipation. Here, footage of pristine landscapes has been captured from gameplay in Red Dead Redemption 2 (Rockstar, 2018) and corrupted to produce a continuously unfolding glitch sequence in which mountain ranges and meadowlands implode upon each other in violent abstractions. The material strangeness of glitch reinforces this spiritual wandering into the unknown. Glitch techniques often play with continual cycles of data’s destruction and generativity, between a gestalt image and abstract forms that underlie familiar interfaces. Similarly, the Bardo as a liminal state among the corporeal and metaphysical negotiates among reality and intermediate realms of being. Through bliss and apprehension, An Interval Among Death and Dream considers glitch aesthetics as a form of spiritual abstraction, one that elicits technically mediated altered states through the perpetual corruption and generation of data to produce the novel and unexpected.

Eddie Lohmeyer
“Eddie Lohmeyer is an Assistant Professor of Digital Media at the University of Central Florida. His research explores aesthetic and technical developments within histories of digital media, with an emphasis on video games and their relationship to the avant-garde. His book Unstable Aesthetics: Game Engines and the Strangeness of Modding is now available through Bloomsbury Press. Using deconstructive approaches such as glitch, physical modifications to hardware, and assemblage, his installations, sculpture, and video have been exhibited both nationally and internationally, most recently at 1308 Gallery at the University of Wisconsin, Ground Level Platform (Chicago, IL), the Yeltsin Center in Yekaterinburg, Russia and the 2021 Milan Machinima Festival.
Drawing from occult mysticism, Zen Buddhism, and art history, Lohmeyer’s art explores the intersections among human perception, digital technologies, and modes of spiritual abstraction. Through experimental film, video installation, sculpture, and interactive methods, his media interventions aim to reconsider our habitual encounters with digital technologies through uncanny and often transcendent interfaces and screens. The playfully ironic encounters with these strange media forms unveil normal attitudes and perceptions toward digital technologies that have become a mundane co-extension of our bodies, while questioning knowledge frameworks in contemporary networked culture through which we perceive and sense the world.”
https://vimeo.com/eddielohmeyer

Dada Electronika_Live Cinema #01


“This video focuses on the cinematic narrative time and handles in real time, the frame rate of certain sequences of Antonioni’s movie “La Aventura” (1961). The aim of the project is to create an audio reactive, live cinematic narrative with the use of live visuals and electro music. The artwork in its final form is presented via live audiovisual performances, using audio reactive live visuals.
Antonioni’s narrative is experimental and abstract, without beginning and end in its structure. It is as if it continues indefinitely. It borrows from neorealism the narration of circumstances, but its characters express an inner world that is reflected in their environment. For Deleuze, naturalism or poetic realism has the psychological time, the uncertainty, wandering and ambiguity. By using live electronic sounds, I intended to influence all these “emotional textures” and the sense of psychological time, infinite time (dead time, according to Deleuze) emerging from Antonioni’s film.
Made with “Touch designer” & “Fragment flow” software.
Electronic music, live Improvisation & live visuals created by Thomas Valianatos, ©2020-21.

Thomas Valianatos
Thomas Valianatos was born in Athens and attended Athens School of Fine Arts, receiving a B.A. in Painting in 2003 and a M.A. in Digital Arts in 2006. The body of his work ranges from 2d & 3d animation works and comic book art works to electronic music composition and live audiovisual performances (1998-2020). Since 2010 he has been teaching as Lecturer (Permanent Lecturer, since 2020) at the Department of Audio & Visual Arts of Ionian University, in both to undergraduate and postgraduate students, academic art, 2d/3d animation, digital illustration, non linear narratives and Live Visuals. His artworks, in the form of original comic book art, digital prints, live electronic music, videos and live audio & visual performances, have been exhibited both nationally and internationally at various international festivals and art exhibitions and in various publishers and advertising films in Cinema & TV, including the 10th European and Mediterranean Young Artists Biennale, ZKM, National Museum of Contemporary Art (Athens, EMST), Michael Cacoyannis Foundation (MCF), ARTATHINA, Athens Digital Arts Festival (ADAF), Cambridge Science Festival, Splice Festival, LPM Live Performers Meeting, Synch Festival, China VISAP, Athens Science Festival, Athens International Comics Festival.
https://vimeo.com/thomasvallianatos

DISINTEGRATION (and life’s tenuous nature)


All three videos make use of corrupting the file via manipulating the raw data in a hex editor. ‘STRUCTURES/DISINTEGRATION’ is filmed by me driving around different highways in Houston, TX with an overlay of public domain crash test footage. “Transmission #1” is publicly available footage that i glitched and stitched together in a video editing software. The music for both was written, recorded, and produced by me.

PLUME
Born In the United Kingdom but currently residing in the United States. Concrete, technology, industry, and the nature of how easily it can all come apart is what fascinates me, and inspires the work I do.
http://joehancock95.com/

Cybergunk 2077


Works were created by finding, isolating, and farming glitches in a Day 1 release of Cyberpunk 2077 on a Nvidia GTX 1080 GPU. These glitches were all generated “naturally” and captured using the game’s Photo Mode.

Sabato Visconti
Sabato Visconti is a Brazilian new media artist and photographer based in Western Massachusetts who began experimenting with glitch in 2011 with the help of a defective memory card. Since then, Sabato has sought to interrogate imaging practices that have become absorbed by digital processes, hybridized media, online networks, and machine intelligence –technologies that have also enabled apparatuses for social conditioning, mass surveillance, and necropolitics, through works that captures the plight of the subject in the face of environmental turbulence driven by systems designed to fail and malfunction.
https://www.sabatobox.com/

Stockpile


Re-rendered 3D scan data captured with a Microsoft Kinect and custom code written with Processing.

Joshua Albers
Joshua Albers uses computers to poke at how reality is constructed and perceived. His recent work explores the poetic potential of re-purposed consumer hardware such as 3D sensors and GPS devices. His work, Leaves, was included in PixelsFest 2020 in Yekatarinberg, Russia, and recently presented at the FATE 2021 conference in the panel, “Integrating Digital Instruction into the Foundation Curriculum.” Albers completed his MFA in New Media Arts from University of Illinois at Chicago in 2013 and a BFA at Missouri State University in 2004. He currently teaches computer animation as Assistant Professor of Art at Missouri State University.
https://joshuaalbers.com/

FLAG/2021


Mentor: Sky Goodman; Artists: Teuta Gatolin, Bojana Vojvodić, Kristina Pongrac, Bojan Asanovski, Ian Keaveny, Denis Mikšić; Producers: Dina Karadžić, Vedran Gligo
https://formatc.hr/flag-2021

GLI▏TCH A ▝RT — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — GLITCH A▛T — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — G▁ITC▚▀ ART — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — G▗LITC▞▞ ▞▚RT — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — GLI▔▔H ▀RT — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — GLI▕TC▘ ART — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS —

/'FU:BAR/

GLITCH ART FESTIVAL

GLI▏TCH A ▝RT — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — GLITCH A▛T — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — G▁ITC▚▀ ART — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — G▗LITC▞▞ ▞▚RT — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — GLI▔▔H ▀RT — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS — GLI▕TC▘ ART — ZAGREB × ONLINE — 2k23 ~ 24/7 — EXPO × EVENTS —