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2025 Glitch Film : Session #3&4/Forms&Oscillations
This event is part of the Glitch Film from the Fubar Archive event on Mondays, December 22 & 29 2025, both starting at 5 PM @ Klub MaMa Zagreb.
In addition to the video screenings, visitors will have the opportunity to explore the parametric data structure and diverse multimedia content of the Fubar archive (join here), which will be made available to the wider public in the coming period as an interactive archive of recent digital experimental art.
ERRONEOUS COMPOSITIONS
On Monday, December 29 from 5PM to 9PM, artists and curators Petra Belc and Ingeborg Fülepp will present their archival collection, and will host a discussion with the audience and artists in two sessions, at 6.30PM and 8.30PM (CET).
5pm — selection by Petra Belc [68’55”]
The first program emerges from a search for cinematic memories, dreams and film theory within the realm of glitch art. Cinema, however, turned out to be almost neither the reference point nor the adversary here — drawing on transmuted archive fragments, software logics and digital errors, these works establish glitch not as an opposition but as a mode of thought and research in its own right. In recognising the ubiquitous digital image as the dominant contemporary “reality”, the films in this program engage contemporary human experience through a self-confident post-cinematic travail de la forme, pushing us to rethink the notion of experimental cinema beyond its twentieth-century frameworks.
Somfay [CA] : A Portrait Of The Artist At Work [2023, 00’10”]xkprx [PL] : Robot Fairy Tales [2024, 02’13”]Milo Masoničić [ME] : Kids Forever [2024, 05’25”]Dalena Tran [US] : Incomplete [2021, 03’30”]Paul Beaudoin [EE] : from here to there [2023, 05’53”]Bob Georgeson [AU] : The Colour of Dreams [2022, 02’39”]Paul Echeverria [US] : Mobile Devices [2022, 05’22”]Thomas Valianatos [GR] : Dada Electronika_Live Cinema #01 [2021, 06’00”]Constant Voisin [JP] : hakuba [2021, 03’47”]tojeira.visuals [PT] : Analog Faces in a Digital Past [2022, 05’31”]Gino Battiston [AR] : Beware Spamart [2023, 01’45”]Claude Heiland-Allen [GB] : Flaking Out [2022, 09’41”]Henrique Cartaxo [BR] : Seascapes & Shores [2022, 04’59”]Sabato Visconti [US] : Ecco the Dolphin: Hauntologies [2022, 06’14”]toutramada [PT] : niilismo digital (digital nihilism) [2022, 05’09”]Baron Lanteigne + Derek Piotr [CA] : Grunt [2018, 00’38”]
Somfay [CA] : A Portrait Of The Artist At Work [2023, 00’10”]
The scene was composed in Blender, and individual elements were then rendered separately. Many of the elements were then processed via analog video equipment (modified and unmodified). The individual elements were then composited together to form the complete scene, and filmed from CRT.
Somfay is a Canadian music producer, DJ and visual artist creating expressive psychedelic amalgams of past, present and future through the lens of lucid dreams and synesthesia.
xkprx [PL] : Robot Fairy Tales [2024, 02’13”]
Compilation of original short videos and digital animations from 2023-2024. Video montage features custom-created content interwoven with glitch art aesthetics.
xkprx — I am a self-taught artist exploring interactions with technology and various digital media. My works focus on human form and abstraction, with an emphasis on deconstructing familiar elements. I use software and programming techniques to create dynamic compositions that balance on the edge of experiment and discovery. In my projects, inspiration from CRT TV aesthetics is often visible, introducing a retro visual energy. Cats are also a frequent motif in my works, giving them a unique character and element of humor, bringing a touch of warmth to the technological reality.
Milo Masoničić [ME] : Kids Forever [2024, 05’25”]
Synopsis: “Kids Forever” is an experimental essay film that explores childhood through a montage of scenes featuring children from various films. The film creates a narrative about childhood by blending clips from classic and contemporary movies. The selected scenes depict children wandering, some appearing neglected, and others joyful. “Kids Forever” highlights the universal experiences of childhood that transcend time and culture, evoking a melancholic emotion that often forms at an early age and carries into adulthood.
Milo Masoničić was born in 1994 in Podgorica and he lives in Podgorica. He completed his undergraduate and specialization studies at the Faculty of Dramatic Arts in Cetinje. He published two novels and made a couple of experimental short movies.
Dalena Tran [US] : Incomplete [2021, 03’30”]
“Incomplete” uses Generative Adversarial Networks (GANs) to semantically synthesize photographic images from a series of label maps that are first rendered from open-source software Blender. The process produces images that are as photographic as they are inexact. The result is a series of images that simultaneously attract and repulse: remnants of familiarity in a blanket of digital debris.
Dalena Tran — Dalena Tran (b. West Valley City, UT 1992) is a media artist, creative director, and educator living and working in Los Angeles, CA. Her research-based practice reinterprets applications of traditional art forms with emerging digital technologies through hybrid mediations. Engaging various media forms as semiotic storytelling, she investigates the everyday confluences of language and expression; presence and immateriality; voyeurism and surveillance; urbanism and hegemony; play and pause. She is an editor for FLAT Journal. More recently, Dalena held a visiting professorship at Ohio State University teaching courses in Moving Image, Internet Art, and Sound and Image. She earned her MFA from University of California Los Angeles, and a Bachelor of Arts in Film and Media Arts at the University of Utah. Dalena’s work has been featured at Assembly Point, STRP, O FLUXO, Adult Swim, Nowness, and Gallery Platform LA; with audiovisual performances at New Forms Festival, MoMA PS1, & ICA London.
Paul Beaudoin [EE] : from here to there [2023, 05’53”]
Using archival film footage of the housewife of the 1960s, the film explores the fantasy of a woman who wishes to escape what many thought was the dream.
Paul Beaudoin is a globally recognized interdisciplinary artist working fluidly with paint, sound, text, and video. He lives in an area of Estonia which was formerly occupied by the Soviet military.
Bob Georgeson [AU] : The Colour of Dreams [2022, 02’39”]
This film is a combination of two films originally made from one piece of found footage. It was mixed and recorded using Vimix software running on Linux Ubuntu before being edited with ShotCut. The soundtrack is by electronic sound pioneer Delia Derbyshire, who gave permission for her work to be used after being channeled through a seance.
Bob Georgeson is a digital artist, experimental film maker and sound artist, writer, curator and facilitator. He is host and curator of the anonymous waves Gallery, artist and curator at The Wrong Biennale, founding member of dadaland collective:, artist at SPAMM, Noemata, Homeostasis Lab, Fu:bar Glitch Art Festival, Peripheral Forms, One Minute Artist Films, DATASHOW and member of the Glitch Artists Collective, Free the Pixels and The Perfect Users. His work deals with the themes of alienation, isolation and loneliness and the impact of new technologies on communications and society. He exhibits and collaborates around the globe from his home in a remote location in south eastern Australia.
Paul Echeverria [US] : Mobile Devices [2022, 05’22”]
The arrival of new media has augmented our relationship with space, time, and memory. Mobile Devices questions this delicate relationship between digital technology and humans. Using original photography by Eadweard Muybridge, the short film uses glitch-generated visuals to illustrate our accelerated acceptance of technology. Will these unassuming technological devices continue to enhance our current state of existence or will they expedite the destruction of our precious human nature?
Paul Echeverria is a filmmaker, digital artist and educator. His research and creative practice examine the formative dynamics between childhood, parenthood and the family structure. In addition, he produces work that contemplates the inevitable collision between humans and technology. Echeverria works with multiple forms of media, including film, video, augmented/virtual reality, performance, social media, data manipulation, podcasting and e-literature. Echeverria’s films and digital works have been exhibited at multiple venues, including the Museum of Modern Art (MoMA), Media City Film Festival, Other Cinema, the FRACTO Experimental Film Encounter, VASTLAB Experimental Festival, the Dallas Medianale, Festival Ecrã, the Festival Internacional de Videoarte de Camagüey, Experiments in Cinema, the NY Media Center by IFP, The Wrong Biennale, the Bronx Museum of the Arts, Anthology Film Archives and the Angelika Film Center.
Thomas Valianatos [GR] : Dada Electronika_Live Cinema #01 [2021, 06’00”]
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 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.
Constant Voisin [JP] : hakuba [2021, 03’47”]
Shot during a drive in Hakuba. i-frames were altered through python, then processed through Signal Culture’s Frame Buffer. Then, the result was imported into Davinci Resolve and re-processed with a trail effect, before getting color-graded.
Constant Voisin — Born in France, in 1996. After studying cinema for two years, I went to Japan in 2016 and started to make experimental films while learning the basics of filmmaking around the director Sono Sion. I participated to the series “ami.exe”, a narrative work including glitch art. To me, the medium is a way to express the alteration of memories and perception.
tojeira.visuals [PT] : Analog Faces in a Digital Past [2022, 05’31”]
“Analog Faces in a Digital Past” is an audiovisual reflection of an arquived past, aimlessly wandering in a chaotic manner through diferent moments. Objects, spaces and people are joint together is a dissociative mess, entirely homogenous in our ability to percieve them. Who makes our past? Everyone is equally as distant, both in time, space as well as in their visual representation, and yet, their presence is felt all through out. The techniques used are mix analog and digital. They include the likes of video bending (using a dirty video mixer and other videobending modules, old dvd players and crt tvs) but also digital techniues, such as the capture of the footage itself (is it old arquived footage, collected with camcorders, phone cameras, etc.. through out the previous 10 years.), video synthesis and processing/feedback (using Maxp/MSP).
tojeira.visuals — Francisco Tojeira is a young Portuguese artist who focuses his work on his relationship with his own memory and how technology affects the perception of the past and himself. His work is highly experimental in nature, and makes prolific use of early 2000’s analog audiovisual technology, often basing his aesthetic on a harsh mixture of old and new, evoking a sense of strange nostalgia, mixed subtly with a hint of dissociation. His work is unique, as it tries to relate to the viewer an altered sense of the past, one that is damaged and corrupted by the means in which it is observed. It tries to raise questions about how people view themselves in relation to their past: the people they have met, the things they have done, and how it all might have contributed, directly or not, to the creation of the current individual, one who should be aware of his own past and present so he can shape himself and his future.
Gino Battiston [AR] : Beware Spamart [2023, 01’45”]
This piece is a result of a unique creative process that involves sourcing found footage, cloning old-time voices, processing the video through modified vintage analog hardware, and digitally re-composing the elements. It intricately weaves together fragments of forgotten narratives, manipulating sound to evoke nostalgia, and applying a DIY approach to vintage analog hardware for an authentic touch. The final digital re-composition blends past and present seamlessly.
Gino Battiston — Photographer, cinematographer, video artist, educator. Director of the permanent forum for Emerging Art ECA, Mdz, Arg. 2004. ‘Coevo & Coloquio’ Banco Central del Ecuador, Presley Norton Museum 2009. Marcelino Botín Prize-grant in Santander, Spain 2004. FRI-ART Fair, Fribourg Center for Contemporary Art, Switzerland 2006. “Low Key” exhibition at the Marcelino Botín Foundation in Villa Iris, Santander, Spain 2008. TRIBECA, International Fair of Contemporary Art ARCO 08 Expanded Box in Madrid, Spain 2008. Madrid Mirada Exhibition at the Círculo de Bellas Artes in Madrid, Spain 2008. Participated in Culture, Poverty, and Megapolis 2009 curated by Kevin Power, Santander, Spain. FullDome Workshop grant selection, Galileo Galilei Planetarium, BA, Arg. 2015. NFTLiverpool, UK 2022. NFT.NYC, New York, USA 2023. Photographic collaboration with LIFE Magazine, NY, USA. MAD Fair, Madrid, Spain 2023. NFT-Roma, Italy 2023.
Claude Heiland-Allen [GB] : Flaking Out [2022, 09’41”]
In August 2021, user Zhuoran on Fractal Forums published a new algorithm for accelerating Mandelbrot set image rendering. Called bilinear approximation (BLA), it promised massive efficiency gains. In November 2021, I tried to implement it, but there were a lot of tricky details and it took me many days to get it both correct and fast. I kept the incorrect images, with time stamps but no source code. Eventually I succeeded to achieve correct images fast. In August 2022, in response to the open call, I intentionally glitched my BLA renderer, removing one condition (that the BLA starts from the current iteration number) from a branch, which meant that logically incoherent BLAs could be used, giving incorrect images. I rendered some high resolution images and a zoom video. I used the coordinates of the famous Mandelbrot set location Flake by DinkydauSet, which had become a de facto standard test location earlier in the development of perturbation-based Mandelbrot set rendering.
Claude Heiland-Allen is an artist from London interested in the complex emergent behaviour of simple systems, unusual geometries, and mathematical aesthetics. From 2005 through 2011 he was a member of the GOTO10 collective, whose mission was to promote Free/Libre Open Source Software in Art. Since 2011, Claude has continued as an independent artist, researcher and software developer. His current main projects include various deep zooming tools for 2D escape time fractals, and musical performance live-coding in the C programming language.
Henrique Cartaxo [BR] : Seascapes & Shores [2022, 04’59”]
I was born and raised in Salvador-Bahia, a tropical city by the sea. Now I live in a megalopolis, São Paulo, and don’t go back there very often. The last time I saw the sea, my “primordial sea”, the first beach I went to in my life, it rained. I wanted to make a video-letter about it but didn’t want to use the footage I shot there directly, as it didn’t quite fit the way I remembered the scene. I started a Processing 4 sketch with the intention of making an algorithm that would paint the screen in waves. My brush, so to say, goes up and down gathering data from photos and videos that I took at the beach and painting each video frame on top of the previous one. Color and position are defined by several asynchronous clocks that circle around the hue spectrum and the archive imagery. The result resembles VHS scan lines, but that is a consequence of the process.
Henrique Cartaxo — This is my first application to ‘fu:bar. I have worked with art all my life but only recently started to make my own work. I am a multidisciplinary video-artist, musician and have worked extensively as a film editor. Some of my achievements in the film area include the short films Tuesday (Ziya Demirel, 2015), in Official Competition in the 68th Cannes Film Festival, and Breakwater (Cris Lyra, 2019), winner of Best Documentary in Clermont-Ferrand International Short Film Festival, 2019, as well as the feature Lampião da Esquina (Lívia Perez, 2016), participant in the Official Selection of the It’s All True Festival, 2016. The experimental short documentary Eshu Yangi, my debut as director, had it’s world premiere in 2021’s DocLisboa.
Sabato Visconti [US] : Ecco the Dolphin: Hauntologies [2022, 06’14”]
Emulated ROM corruption of the Sega DreamCast game “Ecco the Dolphin: Defender of the Future” using a beta-version of Real-Time Corruptor (RTC)
Sabato Visconti is a Brazilian new media artist and photographer based in Western Massachusetts. They began experimenting with glitch processes in 2011. Since then, Sabato has sought to interrogate emerging imaging practices that have become absorbed by digital processes, hybridized media, online networks, and machine intelligence through works that capture the plight of the subject in the face of environmental turbulence driven by systems designed to fail or malfunction.
toutramada [PT] : niilismo digital (digital nihilism) [2022, 05’09”]
The main technique used was analog video mixing based off of Karl Klomp’s dirty video mixer that I built to make this for a university project. For a while before making this I had been obsessing over video mixing and glitch art through some talks with a friend that is as passionate about it as I like consider myself now. It was via him that I learned about the video mixer and got myself to make one from scratch, using an old container for swimming goggles as the box for all the wiring (reusing materials is a must haha). Although the final editing and cutting were all done in the digital medium using Premiere Pro, most of the footage is manipulated before hand analogically using the mixer. In Premiere I mostly just placed the videos together, cut them and played around with some overlays. All around I used the imagery of a film that was playing on my DVD player and mixed it with the live video feedback from my old handcam.
toutramada is a young artist based in Lisbon, Portugal. Her work acquires form through the most various medias including digital and glitch art, experimental photography and video. the uniqueness of her work relies on breaking several rules of depending on just one media, doing it by constantly mixing tradicional and digital mediums. Growing up away from the chaos of packed cities and people, surrounded by nature and constantly reading she started looking at things from a very distanced and critical view, questioning habits and things such as people’s dependance of their online presence, loss and memory and the symbiotic relationship between human beings and machines.
Baron Lanteigne + Derek Piotr [CA] : Grunt [2018, 00’38”]
A lot of the visual textures were created in real time in TouchDesigner by Baron Lanteigne using pixel displacement, time remapping and datamosh created by streaming the video through a RTSP server in a loop with absurdly high bitrate. The real time recordings were then curated and edited together to Derek’s soundtrack. A final layer of datamoshing done offline tied together this edit by Baron Lanteigne.
Baron Lanteigne is a new media artist living in Quebec City, Canada. His work is part of many online collections such as The Wrong Biennale, Real-Fake, SPAMMM and Vimeo Staff Picks. This virtual presence is complemented by screenings in various events such as SAT Fest (CA), Art Souterrain (CA), Vector Festival (CA), Dutch Design Week (NL), Real-Fake Touring Exhibition (US), CuVo Video Art Festival (ES), CPH:DOX (DK) and many more. Since 2017, Baron Lanteigne shares his passion with others by presenting custom workshops unveiling different aspect of his practice.
Derek Piotr (b. 1991) is a Poland-born producer and composer based in New England, whose work focuses primarily on the voice. His work covers genres as diverse as glitch, leftfield pop, chamber, dance, and drone; and he has collaborated with artists including Richard Chartier, Don’t DJ, and Thomas Brinkmann across various disciplines. He has been intern to Meredith Monk, had his work nominated by the jury for Prix Ars Electronica (2012), and featured on Resonance FM and BBC.
7pm — selection by Ingeborg Fülepp [42’39”]
This selection of glitch works is based on an equal relationship between the visual and the sonic as a key compositional principle. The artists explore rhythmic transformations of digital signals, color, and black-and-white graphic structures, treating error not as a deviation but as a productive element of creation. The resulting audiovisual entities oscillate between harmony and irritation, actively engaging the perception of both viewer and listener. The works are mostly structured in short forms, while the final, significantly longer piece functions as a condensed summary and reflection of the entire selection.
Zsolt Gyenes [HU] : Lux Or [2024, 02’02”]Dom Barra [IT] : One minute in the mind of a digital artist online [2018, 01’36”]espinosa [US] : sinapsis [2023, 00’24”]Daniela Olejnykov (a.k.a paranthre, velvet_bites_) [SK] : Mlvch's square [2018, 03’42”]Agens111 [DE] : Amazed as F111 [2024, 02’25”]Andre Perim [BR] : MOFO/MOLD [2022, 03’26”]paranthre, velvet_bites_ [SK] : Esse est. Percipere. [2023, 00’23”]aaron inker [IT] : Dark matter [2023, 04’20”]Robert B. Lisek [CZ] : FIELDS [2022, 03’39”]Josh Brown [IE] : First Wave [2023, 03’37”]Harman Burns [CA] : CHCKNSKN [2023, 17’05”]
Zsolt Gyenes [HU] : Lux Or [2024, 02’02”]
This audiovisual opus is based on the aesthetics of failure. Consciously and by chance produced electronic/digital visual and audio errors (glitches) build up the work. Moving image and sound enter into a “synchretic” relationship (see Chion’s “synchresis”), complementing each other through different modules. Is it an internal journey or a stare at the window of a passing train…?
Zsolt Gyenes — Gyenes studied media education and fine arts in Budapest and Pécs, Hungary. He is a media artist and art theorist with a focus on Visual Music. His practice deals with the translation and fusion processes between multiple media formats, exploring the creative possibilities of such interpretation and how to acquire new artistic qualities. His works have been exhibited/screened and awarded at various international film and art festivals and exhibitions in Europe, Asia and America. He also creates installation works and performs live in collaboration with other artists and musicians. As a researcher and educator, Gyenes has published 7 books, launched specialised online sites and participated in numerous animation, new media & electronic art conferences and symposia.
Dom Barra [IT] : One minute in the mind of a digital artist online [2018, 01’36”]
The video is made of various video tracks recorded in my studio and then edited in one final video track. The video tracks were recorded with my old smartphone, a Samsung J5. They are video recordings of screens placed in my studio and screening other my works in the process of uploading online. This work express the stress I was going through while making art while being online. It’s a digital artist vertigo. It was made for a show curated by Haydi Roket and it was made to be played on a smartphone screen. The video tracks, after recorded, were edited on Sony Vegas. Then the edited video track was glitched with Audacity, CAVS .avi imported as raw data A-LAw. The glitched video track was then edited with audio. The audio was created using an iPad app called Auxy Classic for the beat and the voice was created using a text to speech app called Balabolka. The audio also was edited on Sony Vegas while editing the final video piece.
Dom Barra — My name is Domenico Barra and I am an Italian artist, educator and visual content creator working in the field of digital art and dirty new media. The critical, tactical and analytical approach to new technologies takes shape in an artistic production that exploits the “glitch” as raw material for visual creations but also as the narrative line to address different topics such as privacy, body, memory, identity. I create still images, gifs and videos. I also make artworks for bands and solo musicians, portraits, abstracts and memes. I like to experiment with every media, misusing hardwares and softwares in creative ways to generate images. My works have been published on various sites and magazines such as The Creators Project, Motherboard, Bullet Magazine, Hyperallergic, Art F City and Digicult. I took part in several curatorial projects and my works were exhibited internationally at the DAM Gallery in Berlin, at the Media Center in New York, at Galerie Charlot in Paris and in Italy at the Link Art Center in Brescia, online at the Wrong Biennale, just to name some. I directed the organization of the first glitch art show in Italy, Tactical Glitches, curated by Rosa Menkman and Nick Briz. I have also collaborated with the first edition of the The Wrong Biennale glitching the logo for the official website. I was a visiting artist at SAIC in Chicago in April 2016 for RE:MESH.WWWERK/s series curated by jonCates. The event was part of the 150th year of activities celebration of the world famous institution. I am featured as Mighty Kongbot, together with Italian graphic designer and artist Luigi Console, in the 3D Additivist Cookbook curated by Morehshin Allahyhari and Daniel Rourke with the project “The Anti-Anthropocaliptic Set” to survive the Anthropocalypse. From September 2017 I am part of the Hard Disk Museum with the project 09|09. I teach glitch art and dirty new media at RUFA – Rome University of Fine Art with workshops and a two days course that we do periodically. The course is coordinated by Caterina Tomeo. The works of my students were exhibited at the Museo Macro in Rome for the festival Fotonica in 2017.
espinosa [US] : sinapsis [2023, 00’24”]
the visuals are created with a multiple-step signal chain of video processing and the music is made digitally. the source video comes from space engine, a universe simulator. the motivation is the same in most of my work which is to reveal the unseen. to commune with the hidden forces of nature.
espinosa — mestizo, born in quito, ecuador in 1993, developed an early interest in aesthetic experiences, mainly music and making comic books by hand. moved to the united states at 20 to pursue a carreer in music in california but ended up in texas. joined an ayahuasca church. got married. began studying digital art techniques. had a child. left the ayahuasca church. started making intermedia art with a special interest in glitch under the name espinosa in 2021. had first solo show in the glitch art gallery online and in taipei, taiwan curated by jonCates. leaving the united states to find greener pastures in bahia, brasil in early 2024.
Daniela Olejnykov (a.k.a paranthre, velvet_bites_) [SK] : Mlvch’s square [2018, 03’42”]
I’ve used datamoshing technique and later in video editor some blending of layers and added one of my harsh noise songs to create more abstract feeling.
Daniela Olejnykov (a.k.a paranthre, velvet_bites_) is a visual poet and artist from Slovakia. She has an academic background in philosophy and British&American studies. Her art revolves around conceptual and visual poetry, glitch art, vaporwave aesthetics, occult imagery and noise music.
Agens111 [DE] : Amazed as F111 [2024, 02’25”]
Visuals are made of (mostly) HRGiger animated graphics found on internet and modulated by Premiere and Resolume Arena. Audio is synthetized by sequencer by Croatian artist under nick Fuego.
Nebojsa Vukovic a.k.a. Agens 111 is multimedia artist from Croatia based in Berlin. From experimental video art, live visuals to performative actions his style is intuitive and authentic.Blending diverse visual materia in digital media by making glitches gives organical appeal to his aesthetics. Extreme segments are dellicately composed into unique visual poetry with subliminal meaning. Exhibited his art on seven independent and many group shows, and won several awards for his experimental movies. In Berlin has been acting as the organiser / resident vj from the monthly party Resilience. Under alias Agens 111 he enters rave scene with live visuals and video collabs with various dj-s and venues. FB / IG / YT: @agens111
Andre Perim [BR] : MOFO/MOLD [2022, 03’26”]
Mofo/Mold is a video art work that proposes a dialog between the analog and digital worlds. Photos taken from a fungii infected magazine were captured in several ways, using digital microscopic and macro-lens photography and reprocesssed digitally until their original shape were damaged, giving way to new graphisms and connections. The result leds to an abstract and surrealist atmosphere.
Andre Perim is a Multimedia Artist, Musician and Composer. Born in Rio de Janeiro, Brazil, his work is focused in a critical view of the relation between technology and language in the digital era.
paranthre, velvet_bites_ [SK] : Esse est. Percipere. [2023, 00’23”]
The video is based on a recording in a selfie mode with IG AR filter on. After that it was datamoshed with Glitché app and edited in CapCut where some additional effects were added. Then again it was datamoshed in the app and again edited in CapCut.
paranthre, velvet_bites_ — Daniela Olejnykov is a photographer, visual poet and noise artist based in central Europe. Her artwork is based on glitch art techniques and thematically oscillates around various subjects like occult, power structures, pornography, psychology, conceptual storytelling/advertising.
aaron inker [IT] : Dark matter [2023, 04’20”]
dark matter is an audio-visual experiment based on the manipulation of a number of images generated by different AIs, subsequently articulated and filtered in response to the audio track. An exploration of the idea of synesthesia of image-sound interactions, that explores also the idea of creation, authorship, and relation with non-human entity and technology.
aaron inker started exploring audio and video interaction around 2006 as a visual art student, fascinated by video art experiment by Viking Eggeling and Hans Richter. Great inspiration comes also from videoclips directed by Chris Cunningham and Michel Gondry sparking interest for electronic music and opening a path to club culture, live visuals, and vjing world. He is now resident vj for Jazz Re:found Festival (Italy), Club Nation events (Magazzini Generali, Milan) and Spazio Hydro (Biella).
Robert B. Lisek [CZ] : FIELDS [2022, 03’39”]
The movie is made on analog video synthesizer. I have developed machine learning methods that extend video synthesis and granular and pulsar synthesis in composing. Meta-Composer is a neural network equipped with the ability to combine concepts and partial video-sound compositions in a flexible and combinatorial way to create a new consistent general composition. Meta-composer is therefore an intelligent meta-agent that monitors sound and video events and intervenes in the structure according to the previously trained model. In my approach, the performer interacts with partial sequences. The goal of Meta-Composer is to understand user’s behaviour and create new interesting scenarios and compositions by adding new audio and visual elements. The meta-composer creates possible future trajectories by combining and generalising previously created sub-structures and selects potentially the most interesting con figurations of events. The software is autonomous, but the elements, goals and rules of the initial story are created by the human.
Robert B. Lisek is an artist, mathematician and composer who focuses on systems, networks and processes (computational, biological, social). He is involved in a number of projects focused on media art, creative storytelling and interactive art. Drawing upon post-conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on Artificial Intelligence and Machine Learning. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise. He is the author of 300 exhibitions and concerts.
Josh Brown [IE] : First Wave [2023, 03’37”]
The imagery was created by capturing thousands of images from the internet using a stop motion camera. The resulting video was then processed over and over again to make an almost totally abstract visualisation. The genesis of the soundtrack was a contact recording of a semi musical sculpture that I made from slate, wire, string aluminium and rivets. The recordings were then expanded and elaborated on to create the final piece.
Josh Brown lives in County Clare, Ireland. He is currently studying Sculpture and Combined Media at Limerick School of Art and Design. Josh has a varied background, having worked as a tree surgeon, mushroom farmer, house renovator amongst other things. He is also qualified as a Mechanical and Energy Engineer to masters’ level. Josh has always had an interest in the creative process, starting with music and sound. More recently he started experimenting with video, first as a visual element to accompany musical pieces. Over time his creative focus slowly changed to prioritise the visual. This growing interest in the visual led to Josh’s current study of sculpture and combined media at LSAD where he is now broadening his practise to include physical sculpture.
Harman Burns [CA] : CHCKNSKN [2023, 17’05”]
The music was made by running a synthesizer run through several layers of delay feedback and distortion, then slowly down and temporally stretching that audio out digitally, extending and warping the existing data to its limits, veering into total auditory destruction. The found footage was processed with similar time-distorting means via video feedback. By taking the image and feeding it back into itself, subtle spatial manipulations become exaggerated as the frozen outlines of the frame stretch out in long ribbons of time. The compression/extension of this time is used to trigger a sense of hypnosis, of sensory oblivion that dissolves meaning from the visual symbols and signifiers of our visible world.
Harman Burns is a trans sound artist, video maker and writer. Her work draws inspiration from folklore, nature, the occult, and bodily transfiguration. Her work has been screened at the Remai Modern Art Gallery. She currently resides on the unceded and ancestral territory of the Musqueam, Squamish and Tsleil-Waututh peoples.
This Film Program from the Fubar Archive: Glitch Film production is supported by the City of Zagreb and the Kultura Nova Foundation.
