Fubar (/’fu:bar/, est. 2015) is an annual program focused on electronic experiments and research in contemporary error-themed digital art theory and practice.

The main week-long program of talks, workshops, performances starts with the first Saturday of October. The partner program extends into the rest of the year, offering artist residencies, educational events, video screenings, group exhibitions and an open archive, shown and shared at multiple partner locations and online.

The festival and exhibition program are accessible ONLINE and/or AFK in venues in Zagreb (HR) and beyond. All events are open and free access, as well as archived and networked.

Details about our events and calls are available at: fubar.space/program

Subscribe to our newsletter if you’d like to stay informed or join #fubar_expo @ fb × ig × tg × linktree × flickr && wiki

Retrieved from https://fubar.space/about

Fubar 2k24 is built by an offline FESTIVAL event, many EXTRA online events, FILM presentations, monthly DIWOS, ongoing AiRS and a hybrid group EXPO.

Upcoming events and open calls can be found in our SCHEDULE.Past events are available in the ARCHIVE.

You can subscribe to our 2k24 event calendar, or preview it here.

2024 EXHIBITION

• IRL EXPO: OCT 5–18 @ Pogon / Zagreb
• URL EXPO: OCT–2025 @ expo.fubar.space

× CALL for WORK

• EXHIBITION Call for Art/Text/Code: till SEP 25 2024

2024 EVENTS

• OFFLINE MAIN WEEK: OCT 5–11 @ MaMa & Pogon / Zagreb
• ONLINE EVENTS: JAN–DEC @ live.fubar.space

× CALLS for EVENTS

• OFFLINE ZAGREB-based Events Call: EXTENDED till JUL 30
• ONLINE Fauxbar Events Call: till SEP 30

Retrieved from https://fubar.space/program

Archiving glitch art

If viewed as a temporal category, archives are collections that owe their existence to the attempt to store something in an authentic form and intend it to be used by the future curious. However, the very act of archiving implies that what we wish to preserve has felt the effects of age, but is nevertheless being stored for eternity. When talking about archiving digital art, especially glitch art, the visual aspect is intertwined with the technological aspect that makes it possible for the work to be created and represented. Glitch art illustrates the technological background of its own emergence, and its variable aspects may make it challenging to properly archive it. Many things can go wrong if we seek to preserve a work in the original form in which its author had envisioned it. For instance, the fact itself that a digital original has no analogue equivalent additionally complicates proper archiving. Mode of execution, programmes and equipment used, documentation strategy (if extant) – in short, the production, execution and documentation of a work – all influence the substance of what will truly be archived. Whether it will be the work or its documentation, depends on numerous factors which sometimes cannot be influenced, or indeed foreseen. The notion of “Darwinistic archiving” is thus indicative, as it speaks to the fact that it is the best-documented works that stand the greatest chance of remaining and/or surviving in an archive.

Since archiving digital art is an exceptionally sensitive affair due to the variability of such art, which depends on a quick exchange of equipment and programmes, it is reasonable to ask oneself, as part of the tenth edition of the /’fu:bar/ glitch art festival, about the possibilities of appropriating error as an archival modus operandi. This year’s /’fu:bar/ festival is concerned with archival practice through the prism of error and failure in do-it-yourself new media art and culture. This way, using itself as an example, the festival tackles the issue of archivization, with this year’s exhibition to be included in a future archive that will comprise all the artistic achievements of the previous editions of the festival, planned for the following year.

An archive of variable media is never complete; it constantly changes, emerging just as much as disappearing, both of which are contingent on many (un)expected factors, as the utilised technology and content largely overlap and build on each other. The awareness of the obsolescence of technology and the fact that every piece of software has an expiration date necessitate a rethinking of (more) sustainable technological infrastructure, which does not switch archives off with each expiring piece of software. For this reason, the /’fu:bar/ festival seeks to embrace error as something that is part and parcel of digital technologies. Instead of blind reliance on their efficiency and longevity, it approaches them with understanding of their fallibility and leaves open the possibility of malfunction. Likewise, the use of open code in the basic structure is also logical, as it supports the mutability of media and sees errors as indicators of sorts of the state of an archive, rather than of its total collapse.

Starting from its own infrastructure, /’fu:bar/ seeks to think the archive differently and build it collaboratively, on DIY principles. In a way, it takes its own history into its hands and records artworks so that there could exist a place containing a unitary collection of glitch art. On the one hand, this is an experiment, as there is a lot that still needs to be tried out, forgotten and recommenced, which depends on the knowledge and enthusiasm of the involved collectives and individuals. On the other hand, the thus created archive becomes a tissue that can be actualised in different ways. Its openness and accessibility are intended to motivate artists, curators and critics, as well as any other interested party, to engage in various interpretative interventions. The content, methodology or interpretation of an archive can become a starting point for speculating about not only glitch art, but the complex of issues surrounding digital art archives in general.

Irena Borić

Fubar texts are a part of the /’fu:bar/ 2024 Glitch Art program.

(text in Croatian)

Greške u vremenu

Arhiviranje umjetnosti glitcha

Promotrimo li arhiv kao vremensku kategoriju, riječ je o zbirci koja svoje postojanje duguje pokušaju da se nešto pohrani u vjerodostojnom obliku i namijeni nekim budućim znatiželjnicima. Međutim, sam čin arhiviranja implicira da je ono što želimo očuvati načeto zubom vremena, a istovremeno pohranjeno za vječnost. Kad govorimo o arhiviranju digitalne umjetnosti, osobito umjetnosti glitcha, vizualni aspekt isprepleten je s onim tehnološkim, koji omogućava nastanak i reprezentaciju rada. Umjetnost glitcha ocrtava tehnološku pozadinu vlastitog nastanka, a zbog njenih varijabilnih aspekata adekvatno arhiviranje može biti izazovno. Mnogo toga može poći po krivu ako nastojimo sačuvati rad u prvotnom obliku koji je autor_ica osmislila. Primjerice, već to što ne postoji analogni ekvivalent digitalnog originala dodatno komplicira primjereno arhiviranje. Način izvedbe, korišteni programi i oprema, dokumentacijska strategija (ako postoji) – ukratko produkcija, izvedba i dokumentacija rada – utječu na sadržaj onoga što ćemo doista arhivirati. Hoće li to biti rad ili njegova dokumentacija ovisi o brojnim čimbenicima na koje ponekad nije moguće utjecati niti ih predvidjeti. Stoga je indikativan pojam „darvinističko arhiviranje” jer govori o tome da najveću šansu za o(p)stanak u arhivu imaju upravo najbolje dokumentirani radovi.

Budući da je arhiviranje digitalne umjetnosti izuzetno krhko zbog njene varijabilnosti, koja ovisi o brzoj mijeni opreme i programa, logično se, u okviru desetog izdanja festivala glitch arta, zapitati o mogućnostima prisvajanja greške kao arhivskog modusa operandi. Preokupacije ovogodišnjeg festivala /’fu:bar/ su arhivske prakse kroz prizmu greške i neuspjeha u „uradi sam” novomedijskoj umjetnosti. Time se festival na vlastitom primjeru hvata u koštac s arhivizacijom, a ovogodišnja izložba će iduće godine postati dio arhiva koji će obuhvatiti sva umjetnička dostignuća proteklih festivalskih izdanja.

Arhiv varijabilnih medija nikad nije dovršen, on je u neprestanoj mijeni, u nastajanju podjednako koliko i u nestajanju, a i jedno i drugo ovisi o brojnim (ne)očekivanim čimbenicima jer se korištena tehnologija i sadržaj uvelike preklapaju i nadovezuju. Svijest o zastarijevanju tehnologije i činjenica da svaki softverski alat ima rok trajanja obavezno traže promišljanje održivi(ji)h tehnoloških infrastruktura koje ne gase arhiv sa svakim softverom na izdisaju. Stoga festival /’fu:bar/ želi prigrliti grešku kao nešto što je dio digitalnih tehnologija. Umjesto slijepog oslanjanja na njihovu učinkovitost i dugovječnost, pristupa im s razumijevanjem njihove pogrešivosti i nestabilnosti te im ostavlja mogućnost kvara. Utoliko je i logična uporaba opreme otvorenog koda u osnovnoj strukturi jer ona podržava promjenjivost medija i u greškama vidi svojevrsne indikatore stanja arhiva, radije nego njegov potpuni krah.

Polazeći od vlastite infrastrukture, /’fu:bar/ nastoji misliti arhiv drugačije i (iz)graditi ga suradnički na „uradi sam” principima. Na neki način vlastitu povijest uzima u svoje ruke i bilježi umjetničke radove kako bi postojalo mjesto na kojem stoji jedinstvena zbirka umjetnosti glitcha. S jedne strane riječ je o eksperimentu jer mnogo toga treba tek isprobati, zaboraviti i nanovo početi, a to ovisi o znanju i entuzijazmu uključenih kolektiva i pojedinaca. S druge strane, nastali arhiv postaje tkivo koje je moguće aktualizirati na različite načine. Njegova otvorenost i dostupnost imaju za cilj potaknuti umjetnike_ce, kustose_ice i kritičare_ke te sve zainteresirane na različite interpretativne intervencije. Sadržaj, metodologija ili interpretacija arhiva može postati polazišna točka za promišljanje umjetnosti glitcha, ali i problematike arhiva digitalne umjetnosti uopće.

Irena Borić

Retrieved from https://fubar.space/2024/errors-in-time/

The history of cinema is inseparable from the history of technology, and each new invention provides filmmakers with new narrative and aesthetic techniques. The creators of mainstream films learn and apply these technologies with enthusiasm, moving gradually towards perfection and forming a canon of big names. However, this is always countered by rebellious explorers who challenge the conventional use of the medium and offer an alternative view of cinema. Their subversions can be politically motivated and may reflect current world events (as in the case of Dadaist or activist films) or rebel against the traditional film apparatus (as in the case of structural cinema), but they almost always deny the unconditional good of linear progress that characterises the mainstream film industry. Refusing to accept it, many of the experimental auteurs turn to ideas of imperfection, error or obsolescence inherent in any technology. By undermining the positivist understanding of history and reality, this approach makes it possible to see that there is a contingency in the world that does not fit into any framework, and it is in this contingency that salvation in times of global crisis may lie.

One of the most prominent forms of such subversive practice is glitch art, which explores discourses around electronic technologies and challenges myths about their stability, ideological neutrality and perfection. By destabilising and disintegrating the image through various algorithmic tools or physical manipulation of devices, glitch artists expose the materiality of the media and its impact on society. In her film ‘The Collapse of PAL’, for example, Rosa Menkman uses various databending techniques and borrows the metaphor of the angel of history from Walter Benjamin in order to take a closer look at the transition from analogue to digital television that happened unnoticed and overnight. In consonance with Benjamin’s melancholia, Jon Rafman talks about the changing perception of history, time and reality in the hyper-accelerated digital age in ‘Shadowbanned’. A related media archaeological approach can be applied to much earlier moving image technologies and their failures, as seen in ‘Flame’ by Sami van Ingen who addresses nitrate celluloid cinema destroyed by fire and time. Many glitch-artist practices involve the misuse of technology in order to critically reflect on it, to reveal its limits and the ideologies hidden within it. This understanding of glitch art, for instance, is reflected in Grayson Earle’s desktop-documentary ‘Why Don’t the Cops Fight Each Other?’, which demonstrates the logic of police violence embedded at the code level in the GTA 5 video game. Riar Rizaldi has a similar critical attitude in his ‘Notes from Gog Magog’ where he uses AI-generated images and their eerie nature to talk about the exploitative nature of transnational tech corporations.

The works mentioned above, as well as others, are part of the GLITCH FILM: THE ART OF ERROR screening programme which is conceived to represent various forms of glitch art, understood broadly as a productive critical and formal strategy that celebrates error, obsolescence and misuse of media technologies. (Dmitry Frolov, Ejla Kovačević)

PROGRAM

• The Collapse of PAL / Rosa Menkman, 2010, 8′, NL

The Angel of History reflects on the PAL signal and its termination. This death sentence, although executed in silence, was a brutally violent act that left PAL disregarded and obsolete. While the PAL signal is dead, it still exists as a trace left upon the new digital technologies.

Rosa Menkman is a Dutch artist and researcher, a pioneer of glitch art who began glitching in 1990. Her work focuses on noise artefacts that result from accidents in analogue and digital media, artefacts that can offer precious insights into the otherwise obscure alchemy of standardisation and resolution-setting. Menkman’s Glitch Moment/um (inc, 2011) is a book on the exploitation and popularisation of glitch artefacts that acts as a compendium to her research. A second book, Beyond Resolution (i.R.D., 2020), further develops and highlights the politics of resolution-setting; it shows how the standardisation of resolutions generally promotes efficiency, order, and functionality in our technologies but has the side effect of compromising and obfuscating alternative possibilities.

• Flame / Sami van Ingen, 2018, 15′, FI

A fractured melodrama, based on damaged frames from the last minutes of the only remaining nitrate reel of the lost feature film ‘Silja – Fallen Asleep When Young’ (1937) directed by Teuvo Tulio. All screening prints and the negative of the film were destroyed in a 1959 studio fire. A sequence from the middle of the film was found at La Cinémathèque Française in Paris in 2015.

Sami van Ingen is a veteran in alternative Finnish film, who has worked as an artist, lecturer and curator since the late 1980s. He lives and works in Helsinki, Finland. Van Ingen finished his doctoral studies in the Academy of Fine Arts in Helsinki in 2012. He often uses random or found materials in his works. His works have been seen in many national and international exhibitions and festivals over the years, including Tbilisi Triennial (2012), Kunsthalle Helsinki (2005) and Sara Hildén Art Museum in Tampere, Finland (2002).

• Shadowbanned / Jon Rafman, 2018, 8′, CA

The aesthetics of internet conspiracy theories is used to tell the story of an anonymous narrator on an enigmatic, transdimensional journey. The film unfolds across multiple universes wherein dreams are recycled waste products and meaning has been all but lost. The narrator arms himself with artificial memories of artificial pasts in order to protect himself from the future. Shadowbanned is a meditation on the perception of history, esoteric culture and the implosion of meaning in our hyper-accelerated times.

Jon Rafman (b. 1981) is acclaimed for a multifaceted oeuvre that encompasses video, animation, photography, sculpture and installation. His quasi-anthropological works — often incorporating internet-sourced images and narrative material — investigate digital technologies and the communities they create, focusing on the losses, longings and fantasies that shape our technology-infused lives today. The Montreal-based artist turns an empathic but critical eye on the internet age, investigating experiences of alienation, nostalgia, loneliness and grief.

• Zounk! / Billy Roisz, 2012, 6′, AT

In her video zounk! Billy Roisz breaks the song eisenwalzer by the Austrian-Slowenian band BROKEN.HEART.COLLECTOR down into its musical components, which she then uses to weave a brightly-coloured, close-meshed audio-visual texture that vibrates between white and black frames, thus making the screen swing.

Billy Roisz is one of the best-known figures on the Austrian experimental scene. Her ability to translate experimental music into visual memory images is particularly noteworthy, revealing borrowings from minimal art and conceptual art. She specializes in feedback video and video/sound interaction by using monitors, cameras, video mixing desks, a selfbuilt videosynth, computer, a bass guitar and sometimes turntables for video and sound generating. She is co-organizer/programmer of annual REHEAT Festival. She got the BMUKK Outstanding Artist Award for innovative film art (2009) and the Diagonale Award for innovative film (2011). Her films zounk! (2012), darkroom (2014) and THE (2015, co-director Dieter Kovačič) were shown in competition at Berlinale Shorts.

• Why Don’t the Cops Fight Each Other? / Grayson Earle, 2021, 9′, USA

This desktop documentary investigates the relationships between police officers in GTA V. Through an exhaustive forensic analysis of the game’s source code, it demonstrates the extent to which the cultural imaginary concerning the real world police is projected into the game space.

Grayson Earle (b. 1987) is a new media artist and activist from the United States. His work deals with the role that digital technologies and networks play in protest and political agency. He is known for his guerrilla video projections as a member of The Illuminator, a guerrilla video projection collective, and for his project Bail Bloc, a computer program that posts bail for low-income people.

• Notes from Gog Magog / Riar Rizaldi, 2022, 20′, ID

An exploration of the interconnection between ghost stories, tech company culture in South Korea, and the economy of logistics in Indonesia told through a notebook/premake film and dossier of an unmade techno-horror feature-length film set in between port in Jakarta and an unnamed employee assistance programme office in Seoul.

Riar Rizaldi works as an artist and filmmaker. He works predominantly with the medium of moving images and sound, both in the black-box of cinema settings as well spatial presentation as installation. His artistic practice focuses mostly on the relationship between capital and technology, labour and nature, worldviews, genre cinema, and the possibility of theoretical fiction. His works have been shown at various international film festivals (including Locarno, IFFR, FID Marseille, Viennale, BFI London, Cinema du Reel, Vancouver, etc.) as well as Centre Pompidou Paris (2021), Museum of Modern Art (2024), Whitney Biennial (2024), Taipei Biennial (2023), Istanbul Biennial (2023), Venice Architecture Biennale (2021), Biennale Jogja (2021), National Gallery of Indonesia (2019), and other venues and institutions. In addition, recent solo exhibitions and focus programs of his works had been held at Z33 Hasselt (2024), Centre de la photographie Genève (2023), and Batalha Centro de Cinema Porto (2023) amongst others.

• The Suburb Within / Pekka Sassi, 2009, 11′, FI

A film about communication, narration and presence. “Yesterday is history, tomorrow is a mystery, but today is a gift. That’s why it’s called present.”

Pekka Sassi (b. 1969) is a Helsinki-based artist whose output consists of experimental sound and video works, many of which are purely sound pieces and audio installations. Sassi’s works are characterised by creative integration of simple, and sometimes random, audial and visual worlds detected in the surrounding world. He is a wide-ranging, yet uncompromising artist. His works have been presented at several domestic and foreign festivals and he was awarded the annual AVEK Prize for audio-visual art in 2006 and the Best film in European Media Art Festival, Osnabrücke 2010.

CURATORS

Dmitry Frolov (b. 1988, Kaliningrad) is an art and film curator and researcher based in Berlin, Germany. He holds a BA in Сultural Studies from the Russian State University for the Humanities and an MA in Film Programming and Curating from Birkbeck, University of London. Between 2017-2022, he worked as a curator at the Moscow International Experimental Film Festival. He has worked with a variety of international festivals and cultural institutions including the International Short Film Festival Oberhausen, e-flux, Pushkin House (London), Kunstnernes Hus (Oslo) and many others.

Ejla Kovačević (1989) is a freelance film critic, curator and independent/experimental cinema researcher. She’s a member of the curatorial team at the International Experimental Film and Video Festival 25 FPS, a selection committee member at Belgrade-based International Analog Film Festival KINOSKOP and film programmer at /’fu:bar/ Glitch Art Festival. Member of Zagreb-based filmlab Klubvizija, she organized numerous workshops, screenings and held lectures on experimental and photochemical cinema. She earned her MA in French Language at the Sorbonne Nouvelle University and an MA in Comparative Literature at the University of Zagreb.

Fubar program is organized in collaboration with the Mi2 – Multimedia Institute Zagreb and supported by the City of Zagreb and the Kultura Nova Foundation.

Retrieved from https://fubar.space/2024/glitch-film-the-art-of-error/

We welcome you to a series of free offline & online DIWO (Do It With Others) Glitch Art workshops aiming to discover, document and distribute digital media errors.

Our process will focus on free/libre software and researching multimedia plasticity, automation practices and the relevance of open art.

The 2-hour sessions will take place monthly (every first Saturday) from 6 to 8 pm Zagreb time (CEST/CET) at a physical venue (net.culture club MaMa) and a paralel online session (meet.google.com/igc-tphk-bnf NEW LINK: live.fubar.space).

To participate, please prepare a bit of patience and your personal computer.Our working languages are Croatian and/or English.

For easier organization, please apply to participate via:https://cloud.formatc.hr/apps/forms/s/yZfw2QDsZnb85B6873DkNCnS… but also feel free to drop-in or drop-by 🙂

Session dates

> YYYY-MM-DD, in Zagreb local time> 2024-05-04 (@ MaMa + online) 18-20h CEST> 2024-06-01 (@ MaMa + online) 18-20h CEST> 2024-07-06 (@ online) 18-20h CEST – updated to online only!> 2024-08-03 (@ MaMa + online) 18-20h CEST> 2024-09-07 (@ MaMa + online) 18-20h CEST> 2024-10-05 (@ ONLINE) 18-20h CEST – this will be a hybrid special event; updates TBA soon!

Mentors

Dina Gligo — An artist, educator and artisan working with/in experimental visual | digital | net art. Cofounder and Artistic Director of Format C, /’fu:bar/, Pivilion, etc.

https://dkmm.hr/ (website WiP)

Ian Keaveny — Artist living in rural Ireland, working with digital media, open source software and publishing work under creative commons licence.

Quick links https://crash-stop.blogspot.com/ and https://www.tumblr.com/blog/crash-stop

Vedran Gligo — A self-taught DIY hacker / artist / educator living in Zagreb, Croatia; promoting open source software and running workshops via hacklab01.org.

https://v3d.space/

glitchLAB is part of the Fubar program, produced by Format C, financially supported by the Kultura nova Foundation and the City of Zagreb.

Retrieved from https://fubar.space/2024/glitchlab-diwo/

Fubar production – on experimental media infrastructure

During the 10 years of the Fubar glitch art festival – art installs and art work have often been based on custom free/libre open-source software. In any stage – automating the festival production, archiving in an interdisciplinary coordination or building up the exhibition space – scripts, code and software can easily be a cornerstone of digital arts production. This lecture will lay out some sides and implications as well as the potential of custom experiments and video solutions in the festival cinematic collection.

Fubar (est. 2015) is an annual program for electronic experiments and contemporary error-based digital art and theory. Its main event week at Zagreb starts with the first week of October, followed by an online/offline program available year-round.https://fubar.space

This talk is part of the FUSE festival. Film Under Severe Experiment is an international short film festival focusing on the work of young filmmakers.https://festivalfuse.org

Presenters:

Dina Gligo is a professional multimedia artist, educator and artisan working with/in experimental visual | digital | net art. Since 2014 she is the cofounder and Artistic Director of Format C (formatc.hr), an artist organization focused on digital art research, experimental multimedia and collaborative creation, running long-term art projects such as Inquiry Inc., Fubar, Pivilion, etc. Active as a volunteer, a curator, producer and a union representative in multiple cultural projects and non-profit organizations (HZSU, HDLU, HDLUDU, CTHR, OG, ZKN, SKUPA, …).https://formatc.hr/j3d1n4

Vedran Gligo (born 1984) – a self-taught DIY hacker/artist/organizer/educator. Strongly applying open source principles in everyday life and practice and working to empower the local community by holding free and open digital workshops through the hacklab01.org project which he co-founded in 2009. Working with Format C Art Org, he is active in the fields of free culture, promotion of the GNU/Linux system, glitch art production, large-scale collaborative online art, independent cultural production, (h)activism, and more. He is one of the curators and founders of Fubar – an annual new media gathering. He is a member of the Croatian Association of Interdisciplinary Artists (HUIU).https://v3d.space

“Format C” is a non-profit artist organization active within visual and multimedia art, focused in new media experiments and collaborative culture.https://formatc.hr

PDF: https://cloud.formatc.hr/s/t9y2m4fjNJexiyK

Retrieved from https://fubar.space/2024/fubar-fuse24/

This talk develops ideas proposed with my theoretical work on Glitch Art. It addresses glitching AI and develops material published by Semiotica in my “Computer Creates a Cat” article. These experiments have led to a variety of AI-generative glitches that emerge from the image generation process, reflecting a software-based ‘mechanical failure’ in the AI system itself. In working with these glitches, I have developed a technique that allows me to use the static images as keyframes for an animorph animation where the tweens are hallucinations of the animation process, doubling the glitching in distinctive ways.

Michael Betancourt

Michael Betancourt is a contemporary Cuban-American critical theorist, moviemaker, and research artist known for his pioneering work in the fields of Digital Capitalism, Motion Graphics, and Glitch Art. He explores the intersection of technology, culture, and aesthetics in a diverse practice unified by consistent concerns for the poetic potential of images made by errors—both physical and virtual eruptions that are commonly ignored and rejected.

michaelbetancourt.com

Retrieved from https://fubar.space/2024/glitching-aimages-the-aimaglitch/

Fubar is an annual program focused on electronic experiments and research in contemporary error-themed digital art theory and practice. Its main week-long Zagreb-based program of talks, workshops, performances (integrated with a group exhibition) starts with the first Saturday of October.

Our 2024 production is focused on demystifying the practices of ARCHIVING – and particularly their pitfalls and failures in DIY New Media Art and Culture. This call for events is open to OFFLINE proposals for the festival main program:

• new media workshops
• glitch-themed lectures
• DIY electronic art performances
• hybrid events
• etc.

Event applications up to (EXTENDED DEADLINE): JUL 30 2024Event selection announcement: early AUG 2024Festival program: OCT 5–11 2024 @ MaMa & Pogon / Zagreb

All open calls and other upcoming announcements are available via THE PROGRAM OUTLINE.

#GUIDELINES

• We are primarily interested in applications of work or research based on and around FLOSS, accessible hardware and in line with the copyleft ethos.
• Although we don’t ask for a fully new or custom event, please try to somehow reflect the topic of FAILED ARCHIVES and/or FAILURES in ARCHIVING.
• This call is only open to OFFLINE ZAGREB-based events; ONLINE events are to be applied to the Fauxbar call

#SUPPORT

• Land travel and physical attendance will be financed and organized in arrangement with the artists.
• Artist work selected for the event will be remunerated after the event via a standardized fee (~50-200€ depending on the event and other production expenses) and in correlation to the artists’ personal preferences.
• Long-distance, air travel or private hotel rooms are sadly not available to be fully covered by the event (in this case we can partly co-finance your visit, provide an invitation letter, etc.).

#INFORMING

• Authors of selected applications will be notified via e-mail latest by mid August 2024.
• For up-to-date information, please subscribe to our NEWSLETTER.

[ APPLY an OFFLINE event HERE ]

Festival website: https://fubar.space Inquiries contact: [email protected]

Fubar is a project by the Format C Artist Organization. It’s supported by a number of collaborating authors and participating artists, as well as many program and media partners. The event program is financially supported by the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb and many glitch art supporters over the years. 🤍

Retrieved from https://fubar.space/2024/open-call-irl/

Henry Lowood, Harold C. Hohbach Curator for the History of Science & Technology Collections and for the Film & Media Collections in the Stanford University Libraries, has over 20 years of experience with digital and software archives. He has written and edited several books on the subjects of software preservation, understanding game histories and digital culture. This event is set up as a guided conversation, discussing work as a curator of historical digital media such as games and software – the good, the bad, and the ugly. It will be led via questions presented by new media artist/curator Bee Nix, who will mediate the questions asked by participants who are virtually present during the event.

Henry Lowood

Henry Lowood is a prominent historian and curator at Stanford University Libraries, where he has spent 20 some years preserving the stories of technology and gaming. Lowood’s passion lies in documenting how video games and virtual worlds have shaped our culture. The contributions he has enabled have made him a respected voice in the fields of digital humanities and game studies for his commitment to preserving the digital heritage of our time.

lowood.people.stanford.edu/about

Retrieved from https://fubar.space/2024/how-to-not-to-why-to-digital-archiving/

The world demands homogeny through erasures of the past. History is told by white cishet men and we battle daily to remind them of our existence. Queer identities are now more prominent but what good is that in a digital dark age? While online we express ourselves more freely than before, the lack of a record will leave us lost to time.

I present a new body, an idealized version of myself merging with the earth. Glitch art is an alchemical process that allows me to explore the trans body, giving me tools to show a different mode of being. This brings an ability to see the shifting sands around me in a new light. My foot touches soil and I leave a print. My body will form back into the earth and take up a new role. While history may forget who I was and what I stood for, the earth will always hold record, reusing me for new purposes, feeding new life, and continuing the alchemy of my being.

This presentation will touch on my work as examples of the themes above.

Indigo Woolfrey

Indigo Woolfrey is a trans, neurodivergent glitch & digital media artist. Their/her work covers many subjects but focuses on gender through the lens of transness. Gender non-conformity and glitch offer them/her scepticism of world systems and lead them/her to deconstruct normative modes of being and artistic practice.

The artist has exhibited internationally in Boston CyberArts, Institut de Francais, Croatia, and across Ireland. Their/her work was published in Circa Magazine, and used in live digital performance as part of SUSTAIN at Smock Alley Theatre.

Their/her art is influenced by Ian Keaveny and his investment in accessibility in glitch, Mark Klink and his glitching of 3D objects, Ras Alhague and their corruptions of their body, and Queer Ecology.

Their/her recent work uses alchemy as a metaphor for transition, whether that be in gender or the need for it in the world. It asks the question: “If you could change your body at will, would your thinking be so rigid?”

instagram.com/mother_woolf

Retrieved from https://fubar.space/2024/glitch-as-queer-alchemy/

Fubar is a program focused on electronic experiments and research in contemporary error-themed digital art theory and practice. This year is the tenth and the last annual Fubar edition.

In 2024 our exhibition topic is focused on FAILED PROJECTS and mistakes. This call is open to Glitch Art work made within the pitfalls of New Media Art, Code and Theory. We welcome the best of your worst: broken yet readable files, unexpected artifacts, digital rubbish, explorations in futility, deliberations on failures, your worst takes and general stuff you may never get to show at an exhibition.

The work can be submitted into 3 categories:

• MEDIA ART
• MEDIA THEORY
• SOFTWARE CODE

Exhibition applications deadline: SEP 25 2024Exhibition selection announcement: on a rolling basisIRL exhibition: OCT 5th – 18th 2024 @ Pogon / ZagrebWEB exhibition: TBA OCT 2024 – 2025 @ online

All open calls and other upcoming announcements are available via THE PROGRAM OUTLINE.

#GUIDELINES

• Only one project (single piece or series) submission is allowed per one applicant or group (e.g. 1 solo + 1 group application is okay, etc.).
• As we cannot remunerate you for your participation, we support you applying with existing projects. The work submitted should ideally be of a newer date but regardless we might accept relevant work of any date (if it hasn’t been shown in Fubar yet).
• All the pieces are being shown as a showcase on shared displays in our IRL space, and as individual objects in our WEB expo. Video submissions might additionally get selected to be screened in the main festival and/or partner program.
• This call is only open to art*code*text WORK; event drafts and collaboration proposals are to be applied to our Fauxbar call

#TECHNICALITIES

• To be reviewed, the work needs to be submitted in its final format (content, size, quality, etc.) and not a preview.
• All databent pieces need to be baked (recompressed and readable).
• Please include a reasonably sized version of your work – otherwise we might optimize it.
• This year is a production experiment in real-time building of open archives based on our DIY FUBOMATIC automation system. Please submit your work as early as possible as that will give us all a better chance to structure everything accordingly.

#INFORMING

• Authors of selected work will be notified via our website on a rolling basis; authors of work selected for the additional curated events will be notified via e-mail. 
• For up-to-date information, please subscribe to our NEWSLETTER.

[ APPLY art / text / code HERE ]

Festival website: https://fubar.spaceInquiries contact: [email protected]

Fubar is a project by the Format C Artist Organization. It’s supported by a number of collaborating authors and participating artists, as well as many program and media partners. The event program is financially supported by the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb and many glitch art supporters over the years. 💜

Retrieved from https://fubar.space/2024/open-call-art-code-text/

Fubar is an annual program focused on electronic experiments and research in contemporary error-themed digital art theory and practice. Fauxbar is a drop-in self-organizing online part of Fubar, for those of us who can’t or won’t travel, or for those who prefer to do it online.

In 2024 our topic is focused on ARCHIVING practices – and particularly their pitfalls and failures in DIY New Media Art and Culture. This call for events is open to Fauxbar proposals for the festival ONLINE program:

• group meetups, talks, discussions
• first-time or new presentations, performances
• workshops or collaborations related to glitch art
• work in progress or test events
• etc.

Fauxbar applications up to: SEP 30 2024Fauxbar selection announcement: on a rolling basisPossible online event date: any time EXCEPT first half of OCT 2024

All open calls and other upcoming announcements are available via THE PROGRAM OUTLINE.

#GUIDELINES

• We are primarily interested in applications based on and around FLOSS, accessible hardware and in line with the copyleft ethos.
• Although we don’t ask for a fully new or custom event, please try to somehow reflect our yearly topic of FAILED ARCHIVES and/or FAILURES in ARCHIVING.
• This call is only open to ONLINE events; OFFLINE events are to be applied to the Festival call

#SUPPORT

• Artist proposals we can accept to support will be remunerated by a microgrant (~50€) in arrangement with the artists (i.e. invested in their fee, a service, some assistance, assets, etc.).
• Applicants can get support in forming and co-organizing their event within the platform of #fubar_expo.

#INFORMING

• Authors of selected applications will be notified on a rolling basis – please apply as early as you can.
• For up-to-date information, please subscribe to our NEWSLETTER.

[ APPLY an ONLINE event HERE ]

Festival website: https://fubar.spaceInquiries contact: [email protected]

Fubar is a project by the Format C Artist Organization. It’s supported by a number of collaborating authors and participating artists, as well as many program and media partners. The event program is financially supported by the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb and many glitch art supporters over the years. 🤍

Retrieved from https://fubar.space/2024/open-call-url/

Fubar (/’fu:bar/) is a program focused on electronic experiments and research in contemporary glitch art theory and practice. Apart from its year-round extended program, its main Zagreb-based festival – talks and lectures, workshops and performances integrated with a group exhibition – starts with the first Saturday of October.

Our 2024 production is focused on ARCHIVING practices and FAILURES in DIY New Media Art and Culture.

The festival is open OCT 5th – 11th 2024 @ Pogon Jedinstvo & MaMa in Zagreb (Croatia). Admission is free but some workshops require pre-registration.

Fubar offline exhibition is available OCT 5th – 18th 2024 @ the Pogon Jedinstvo cultural venue in Zagreb (Croatia). Following the Zagreb-based install, an online exhibition of work selected in 2024 will be available until 2025.

This year is the tenth and the last annual Fubar edition; after 2024 Fubar is becoming a biennial event and is preparing a decennial archive of glitch art, with a call to all previously participating artists.

Exhibiting artists list: fubar.space/2024/artist-list

PROGRAM OUTLINE

periodical until~31.12.

• ~GMT0 – Fubar festival 2k24 [URL] : Web-based events @ONLINE

daily program 05.10.-18.10.

• 14~20 – Fubar festival 2k24 [IRL] : Zagreb-based events @Pogon+MaMa

continuous 2024.-2025.

• 00-24 – Fubar expo 2k24 [URL] : Web-based Fubar expo @ONLINE

open daily 05.10.-18.10.

• 16-20 – Fubar expo 2k24 [IRL] : Zagreb-based Fubar exhibition @Pogon

EVENTS LIST

SUB / SAT 05.10.

• 16:00 – #fubar_expo 2k24 [IRL] : exhibition opening [60′] tour @Pogon
• 18:00 – glitchLAB special [US/IE/HR/🌐] : Glitch’n’Games [60′] talk @ONLINE
• 19:30 – Rosa Menkman [NL] : GLITCH FILM EXPANDED: Refractions [30′] performance @Pogon
• 20:15 – Mute Conspiracy. [HR] : Distorted Ceremony [45′] performance @Pogon

NED / SUN 06.10.

• 11-16 – Irena Borić with Lozana Rossenova, Jaka Železnikar, Imane B.K. and Martino Morandi (Constant), Rosa Menkman, Teuta Gatolin, Vedran Gligo [AM/AR/CAT/EN/ES/FR/HR/IT/NL/SI] : Cracking the time. On digital art archives [300′] symposium @MaMa
• 18-20 – Rosa Menkman [NL] : GLITCH FILM RETROSPECTIVE: Atlas of the Destitute of Vision [60′] screening @MaMa

PON / MON 07.10.

• 14-15 – Guergana Tzatchkova (ichi raramuri) [BG] : Wikipedia. An archivist’s dream or nightmare? Behind the scenes of your favorite encyclopaedia [45′] talk @MaMa
• 15-17 – Format C [HR/] : DIY Archiving Open Session [120′] workshop @MaMa
• 18-20 – Ejla Kovačević [HR] with Cory Arcangel [US], Thomas Collet [FR/BE], Gisela Guzmán [MX], Juha van Ingen [FI], Mark Klink [US], Goran Nježić & Tomislav Oliver [HR] : GLITCH FILM: Found Footage [120′] screening + talk @MaMa&ONLINE

UTO / TUE 08.10.

• 14-19 – Ivona Eterović / tonota [HR] : Musique concrete – sound and music [300′] workshop @MaMa

SRI / WED 09.10.

• 14-18 – Ralt144MI [FR] : Ascii Art and Tape Loops Workshop [240′] workshop @MaMa

ČET / THU 10.10.

• 14-17 – Ramiro Polla [BE/BR] : Low-cost SBC ftw! [180′] workshop @MaMa
• 19:30 – DOMINIK MORISHITA–LEITNER [AT] : gunship collider [45′] performance @Pogon
• 20:15 – ..o ft. Connor Oman [DE] : HyperFuture [40′] performance @Pogon

PET / FRI 11.10.

• 14-17 – Robert Sorić [HR] : Reciklaža Zvuka (Sound Recycling) [180′] workshop @MaMa
• 18:00 – #fubar_expo 2k24 [IRL] : Exhibition tour IRL [60′] tour @Pogon
• 19:30 – Bruno Gola [DE/BR] : c0l1v3 [30′] performance @Pogon
• 20:00 – Rémi GEORGES [FR] : Ralt144MI [60′] performance @Pogon

SUB / SAT 12.10.

• festival off-day 🖼️🔨

NED / SUN 13.10.

• 18:00 – #fubar_expo 2k24 [URL] : Exhibition tour URL [60′] tour @ONLINE

MON / PON 14.10.

• 18:00 – #fubar_expo x CinEd – Sunčica Škornjak, Mak Ratković Rajhvajn, Katarina Jelčić, Viktor Rasol, Lovro Ivanišević [HR] : ARCHIVE, MEMORY, GLITCH [60′] screening and talk @Pogon

UTO / TUE 15.10.

• 18:00 – #fubar_expo x KA-MATRIX [HR] : FLAG 2023 [60′] screening and talk @Pogon

SRI / WED 16.10.

• 18:00 – #fubar_expo x VAL1S [HR] : “空っぽの夢 [Empty Dreams]” [60′] screening and talk @Pogon

ČET / THU 17.10.

• 18:00 – #fubar_expo x Regional Artists – Milica Denkovic (Mila Glitch), Kristina Pong, Mila Gvardiol, Ana Sesto, Hecate, Milo Masoničić, Jelena Bokić, Agens111 [HR/RS/ME/DE] : Regional GLITČH [60′] screening and talk @Pogon

PET / FRI 18.10.

• 18:00 – #fubar_expo 2k24 [IRL] : finissage tour [60′] tour @Pogon

Schedule is in CEST/UTC+02.Calendar files are available here and as ics. (coming soon!)Please subscribe to our newsletter for digital art links and news.

Fubar is a project by the Format C Art Organization, financially supported by the Kultura nova Foundation, Goethe-Institut Kroatien, the Ministry of Culture and Media of the Republic of Croatia and the City of Zagreb. The festival is supported by a network of collaborators, artists and partners from the cultural and media sector. The event is organized in cooperation with Pogon – the Zagreb Center for Independent Culture and Youth, which is co-financed by the City of Zagreb, and in partnership with the KA-MATRIX Association and the Multimedia Institute. 💜

Retrieved from https://fubar.space/2024/x-festival-program/

This opening will be hosted by the Fubar curators and the many visiting guest artists.

Prepare your love for pixels and brace yourself for tons of beautiful broken media and two weeks of Glitch Art events. 💜

#fubar_expo 2k24

Fubar (/’fu:bar/, est. 2015) is a program focused on electronic experiments and research in contemporary error-themed digital art theory and practice.

Fubar 2024 physical exhibition is available OCT 5th – 18th 2024 @ the Pogon Jedinstvo cultural venue in Zagreb (Croatia).

Following the Zagreb-based install, an online exhibition of work selected in 2024 will be available until 2025.

The participating authors list is available at: fubar.space/2024/artist-list

fubar.space/about/

otvorenje izložbe

Ovo otvorenje ugostit će kustosi Fubara i brojni gostujući umjetnici.

Prisjetite se svoje ljubavi prema pikselima i pripremite se za tone slomljenog medija u dva tjedna Glitch Art izložbe. 💜

#fubar_expo 2k24

Fubar (/’fu:bar/, osnovan 2015) je program usmjeren elektroničkim eksperimentima i istraživanju u suvremenoj teoriji i praksi digitalne umjetnosti s greškom.

Fubar 2024 fizička izložba dostupna je od 5. do 18. listopada 2024. @ Pogon Jedinstvo u Zagrebu (RH).

Nakon zagrebačke izložbe, djela odabrana u 2024. ostat će dostupna u formatu online izložbe, do 2025.

Popis sudjelujućih autora_ica dostupan je na stranici: fubar.space/2024/artist-list

fubar.space/about/

Retrieved from https://fubar.space/2024/exhibition-opening-pogon/

We welcome you to our last 2024 session of free offline & online DIWO (Do It With Others) Glitch Art workshops aiming to discover, document and distribute digital media errors.Our special session is a mélange of glitchLAB, #fubar_expo at the tenth Fubar GLitch Art Festival and the Pittsburgh/US-based Glitch’n’Games event talk.~~~There is a long, intertwining history of players, designers, and artists engaging and communicating with video game glitches yet, the significance of their entwinement is not often discussed or brought to attention.Glitch’N’Games is an exhibition that seeks to spotlight and speak to the connection that Glitch Art and Video Games have with one another, and particularly why the element of play is so important.

glitchLAB special [US/IE/HR/🌐]

Glitch’n’Games is curated and produced by:suture.blue / Bee Nix / https://www.suture.blueRDKLINC / John Bumstead / https://www.rdklinc.comroyb0t / Nick Liberatore / https://linktr.ee/royb0t~~~Glitchlab is a series of free offline & online DIWO Glitch Art sessions.

www.suture.blue/glitchngames

Želimo vam dobrodošlicu na našu posljednju 2024. sesiju besplatnih offline i online DIWO (Do It With Others) Glitch Art radionica s ciljem otkrivanja, dokumentiranja i distribucije digitalnih medijskih pogrešaka.Naša posebna sesija spoj je glitchLAB radionice, desete jubilarne #fubar_expo izložbe Fubar GLitch Art Festival ali i predstavljanja događaja Glitch’n’Games u Pittsburghu/SAD.~~~Postoji duga, isprepletena povijest igrača, dizajnera i umjetnika_ca koji_e su se bavili i komunicirali greškama u video igrama, ali se o važnosti njihove isprepletenosti ne raspravlja često niti se često ističe.Glitch’N’Games je izložba koja se fokusira na međusobnu povezanost glitch umjetnosti i videoigara te posebice na važnost elementa igre.

glitchLAB special [US/IE/HR/🌐]

Glitch’n’Games kuriraju i produciraju:suture.blue / Bee Nix / https://www.suture.blueRDKLINC / John Bumstead / https://www.rdklinc.comroyb0t / Nick Liberatore / https://linktr.ee/royb0t~~~Glitchlab je serijal otvorenih offline x online DIWO glitch art radionica.

www.suture.blue/glitchngames

Retrieved from https://fubar.space/2024/glitchngames/

�▲ This far up a Staircase to Nowhere, dimensions are not functioning like they normally do; //?? It feels like my sense of depth of field does not work ; …or maybe here, there is no depth ¿¿???… _____________________________ If there is no depth -Euclidean space disarmed- I am outside of depth and there is no ground – the moment I jump I lose any folds beneath my feet and I will never hit /▦▦▦▦▦▦▦▦▦▦▦▦▦▦▦▦ I will forever be un_falling, and it will never … break .. .

Rosa Menkman [NL]

Rosa Menkman is a Dutch artist and researcher of resolutions.The journey of her protagonist, the Angel of History—inspired by Paul Klee’s 1920 monoprint, Angelus Novus, and conceptualized by Walter Benjamin in 1940—functions as a foundational framework for her explorations of image processing technologies.In her written research, Rosa focuses on noise artifacts that result from accidents in both analog and digital media. As a compendium to this research, she published Glitch Moment/um (INC, 2011), a book on the exploitation and popularization of glitch artifacts.She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Rosa describes how the standardization of resolutions promotes efficiency, order, and functionality, but also involves compromises, resulting in the obfuscation of alternative ways of rendering.In 2019, Rosa won the Collide Arts at CERN Barcelona award, which inspired her recent research into im/possible images, consolidated in the im/possible images reader (published by the i.R.D. & Lothringer, with support from V2, 2022).

beyondresolution.info/

�▲ Ovako daleko u Stubištu za Nigdje, dimenzije ne funkcioniraju kao inače; //?? Čini mi se da moj osjećaj za dubinsku oštrinu ne radi; …ili možda ovdje, nema dubine ¿¿???… _____________________________ Ako nema dubine -razoružani Euklidski prostor- Ja sam izvan dubine i nema tla – u trenutku kada skočim gubim postojeće nabore ispod stopala i nikada neću udariti/▦▦▦▦▦▦▦▦▦▦▦▦▦▦▦▦ Zauvijek ću ne_padati, i nikada se neće … slomiti .. .

Rosa Menkman [NL]

Rosa Menkman nizozemska je umjetnica i istraživačica rezolucija.Putovanje njezina glavnog junaka, anđela povijesti – nadahnuto monoprintom Paula Kleea iz 1920., Angelus Novus, a konceptualizirano od strane Waltera Benjamina 1940. – funkcionira kao temeljni okvir za njezina istraživanja tehnologija obrade slike.U svom pisanom istraživanju, Rosa se usredotočuje na artefakte šuma koji su rezultat greški u analognim i digitalnim medijima. Kao sažetak svojih istraživanja, objavila je Glitch Moment/um (INC, 2011.), knjigu o iskorištavanju i popularizaciji glitch artefakata.Dodatno je istražila politiku obrade slike u Beyond Resolution (i.R.D., 2020.). U ovoj knjizi Rosa opisuje kako standardizacija rezolucija promiče učinkovitost, red i funkcionalnost, ali također uključuje kompromise, što rezultira zamagljivanjem alternativnih načina prikazivanja.Rosa je 2019. osvojila nagradu Collide Arts u CERN-u Barcelona, ​​što je nadahnulo njezino nedavno istraživanje ne/mogućih slika, objedinjeno u im/possible images reader (izdavač i.R.D. & Lothringer, uz potporu V2, 2022.).

beyondresolution.info/

Retrieved from https://fubar.space/2024/glitch-film-expanded-refractions/

What you can expect???From slow dark ambient drones till really intense harsh noise escorted by psychedelic visuals, which is guaranteed to take you into deep space and then ground you and make you think about the meaning of existence.

Mute Conspiracy. [HR]

Mute conspiracy. is an experimental noise/ambient/visual chaos based in Zagreb.

TekThrower – NoiseTek Off – Noisefeat. Ralt144MI – Visuals

soundcloud.com/muteconspiracy

Što možete očekivati???Od sporih mračnih ambijentalnih dronova do stvarno intenzivnog harsh noisea popraćenog psihodeličnim vizualima, koji će vas garantirano odvesti u duboki svemir, a potom vas prizemljiti i natjerati na razmišljanje o smislu postojanja.

Mute Conspiracy. [HR]

Mute conspiracy. je eksperimentalni noise/ambient/vizualni kaos baziran u Zagrebu.

TekThrower – NoiseTek Off – Noisefeat. Ralt144MI – Visuals

soundcloud.com/muteconspiracy

Retrieved from https://fubar.space/2024/distorted-ceremony/

The symposium is part of Fubar festival that seeks to embrace error as something that is part and parcel of digital technologies and this year it looks into possible ways of appropriating error as archival modus operandi. This is why the symposium addresses various aspects of archiving, conserving and presenting of digital artworks, including glitch artworks. By what means can we approach archiving of digital art and its future today? What kind of infrastructure is needed to meet variability and performativity of such works? What is the role of the archive of digital art and how do we keep it alive? What if the archive fails?

The symposium places valid positions in the context of archiving of digital art and presents them for discussion. At the center of such discussions are the goals, roles, methods, failures, and the social processes in which archives of digital art are set.

Moderator: Irena Borić

Irena Borić is an art historian. She works as an independent curator and critic, but she is also working in temporary collectives on projects such as Politics of Feelings. Economies of love, 2012, Shame on you!, 2013-2016, and net.cube, 2015-2018, Symptoms of the Future, 2020. Curated exhibitions include Politics Within, Center for Contemporary Arts, Celje, 2014, My Land Has Palm Trees, Rijeka, 2014, Pipe Dream, Kunsthalle Exnergasse, Vienna, 2015, Truth that Lies (with Renat Šparada), Impakt, Utrecht, 2019, Low frequencies of the Earth’s song, Galženica Gallery, 2019, Digital oxymoron, GT22, Maribor/MKC Split 2023/24, 26th Media Mediteranea festival : Umreženo more, 2024. She was a member of the biennial collective of the 32nd Graphic Biennale: Birth Criterion, Ljubljana, 2017. She stayed at curatorial residencies in Helsinki, 2011, Celje, 2012 and Vienna, 2015. She is one of the INCA press editors. She is a member of the Croatian section of AICA.

11:15-13:15 Questioning infrastructure 

Lozana Rossenova, Jaka Železnikar, Imane B.K. and Martino Morandi (Constant)

The first panel brings in the perspective of institutions and organizations on building digital archives or archives of digital art. Lozana Rosenova brings our attention to the overall importance of open, collaborative and sustainable digital infrastructure on the case study of rhizome’s ArtBase, while Jaka Železnikar brings in the perspective of the museum’s struggles with conservation of digital art as well as his own experience as an internet artist. We learn from Constant about Splinter, a traveling server that supports and archives collective work. 

Archiving net art via open, collaborative and sustainable digital infrastructure 

In this talk, Lozana Rossenova will discuss her doctoral research on redesigning the ArtBase – an online archive of net art maintained by art organization Rhizome. The presentation will focus on the digital infrastructure choices that enable a flexible, open and continuously evolving online environment for archiving the performative and variable characteristics of net art. The talk will also address matters of care regarding the underlying open source software suite. The Wikibase software’s sustainable development depends on a network of related agents: stakeholder institutions, user and developer communities, research projects. The Open Science Lab plays a significant role in this network and relevant practice examples will be highlighted in the context of long-term maintenance of digital archive infrastructures. 

Lozana Rossenova is a digital designer and researcher. In 2021, she completed her PhD research at the Centre for the Study of the Networked Image (London South Bank University) in collaboration with Rhizome, a leading international born-digital art organisation. She explored questions of presentation and performativity in Rhizome’s online art archive through open-source and community-driven approaches to digital infrastructure. Rossenova is currently a Postdoc Researcher at the Open Science Lab at TIB (German National Library of Science and Technology, Hannover) working on the NFDI4Culture project towards a national research infrastructure of cultural heritage data.

Digital artwork archive and its restoration

The question of the archive is inseparably connected with the selection (what and why to archive) as well as with conservation-restoration aspects and practices. At the symposium, Jaka Železnikar will emphasize the aspects related to the archiving of digital artworks and their preservation and restoration. The specificity of the latter is that the authors of the work are active and often intervene in the restoration process or even carry it out in its entirety. At the same time, the materiality of the work and the software can change to a large extent, which is not typical for modern restoration interventions, but in the context of digital works, the approach is productive. The presentation will be based on his own restoration interventions in his own works of online art and e-literature. The perspective will be expanded with the help of numerous conversations through the Diskurzor series (Moderna Galerija Ljubljana, 2023 – preservation, restoration and presentation of digital works of art).

Jaka Železnikar (Slovenia) is the author of works of internet art and e-literature and a web developer. He set the first website in the year 1996. As a web developer, he worked with prominent Slovenian companies and cultural institutions (Telekom Slovenije, Mladinska knjiga, Moderna Galerija Ljubljana). In his creative work, he is considered a pioneer of internet art (net art) and online e-literature. He is currently developing e-literary web applications. In addition to websites, his work includes web and mobile applications, browser add-ons, floppy-disks, books and e-books, and a puppet-robot that tells site specific stories. He exhibits and publishes internationally. In 2010, Jaka Železnikar obtained the title of MA in Creative Writing and New Media.

Splinter 

At Constant we have been busy for many years finding ways to support and archive the modes of collective creation that are enabled by F/LOSS software. Splinter is a traveling server that continues this long standing practice of documenting and questioning collaborative processes. It places the infrastructure used to archive the collective work right in the same room where it takes place, making the archival system itself readable to its users and exposing it to further interventions. With splinter we continue the conversation to re-imagine how technical work and content development can grow together, how tools and practices can be mutually shaping each other.

Imane B.K. collaborates with her colleagues, students and friends to create coaching sessions, workshops, and re-learning opportunities at Code Space (Sint Lucas Antwerpen). Alongside Tunde Adefioye and Nona Sadey, she researches threads Towards Braver Spaces and questions the fostering of collective and sustainable spaces that center care and well-being in multiple communities. Imane is part of Constant, an organisation based in Brussels, networked with a big constellation of artistic organisations that work at the intersection of technology, art and politics.

Martino Morandi has a recalcitrant relation to bio-texts and other technologies that produce predetermined subjectivities. He is an interdependent researcher at Constant in Brussels, Infrastructural Manoeuvres in Amsterdam, and C.I.R.C.E. (International Resource Center for Electric Convivialities) in Italy. His interests and projects revolve around the material conditions of technologies and their genealogies, using non-hegemonic paradigms like conviviality, semi-efficiency, dys-functioning. Ongoing projects include studying surveyance and the quantified gaze over contemporary cities (Footfall Almanac with Alex Zakkas) and seeking strategies to resist the computational reform of education (The Relearning Series with Jara Rocha).

Constant is a non-profit organisation based in Brussels since 1997 and active in the fields of art, media and technology. Constant develops, investigates, supports and experiments, learning from / engaging with / practicing from within feminisms. Constant is inspired by the principles of copyleft, Free/Libre + Open Source Software while formulating its own critic towards it. Constant loves collective, digital, artistic and thoughtful practices, organising transdisciplinary, open-ended worksessions. It is inhabited and activated by artists, activists, programmers, academics, designers who contaminate it with their practices, sensibilities and experiences, each in their own way. Constant works with feminist servers, situated publishing, active archives, extitutional networks, (re)learning situations, hackable devices, performative protocols, solidary infrastructures and other spongy practices to stake out paths towards speculative, libre, intersectional technologies.

14:00-16:00 Possibilities for glitch

Rosa Menkman, Teuta Gatolin, Vedran Gligo

The second panel brings in the artistic perspectives on archiving. While Rosa Menkman goes into specificity of collection making, Teuta Gatolin presents her artistic research that deals with contemporary nostalgia and Vedran Gligo looks into do it yourself archiving that goes under the radar of institutional support.

A Collection of Collections Folded into the Prelinger Library

In 2004, Megan and Rick Prelinger founded the Prelinger library, an a-typical, privately funded public library situated in San Francisco that holds many special collections of not just books and zines, but also buttons, maps, license plates, scrapbooks and so forth. It is a collection of collections, or “a library of serendipity.” In 2022, Rosa Menkman visited the unique space and recognised many elements of her own practice. To her, Collecting is like casting out a wide net, to somehow find the (not yet graspable) essence of an approach or artifact. In her talk, Menkman will use a scan of the library as a vehicle to walk and talk through her own practice of iterative research, collecting and categorizing. 

Rosa Menkman works as a Dutch artist and researcher of resolutions, with a special focus on glitches, im/possible images and lost and unnamed colours. With a Focus on noise artifacts, resulting from accidents in both analog and digital media, Menkman aims to find new and alternative methods to perceive with our opaque image processing technologies. As a compendium to this research, Rosa published the Glitch Moment/um (INC, 2011), a book on the exploitation and popularization of glitch artifacts. She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Menkman describes how the standardization of resolutions is not only a process that promotes efficiency, order and functionality, but also involves compromises, and as a result, the obfuscation of alternative ways of rendering.

Intentionally missing the future, again.

This presentation will show an overview of the current art research Stuck in a tub to watch the future develop in this way (2022-), that is focused on contemporary nostalgia. Among its artistic methods, Stuck often relies on remixing digital archival material in public domain and considering the entire Internet as a huge “archive” or effects, affects and interwoven temporalities.

Teuta Gatolin is an intermedia artist and curator based in Croatia, currently researching storytelling ecology, technology as a companion species, illusions, trickery and nostalgia. Her art practice is often process-oriented, spawning iterations of itself realized with other fabulators, and taking the shape of installations, text, objects, workshops, letters, costumes, virtual spaces and a range of negotiations between different media. She studied New Media Arts at the Fine Art Academy, and Journalism/Media Studies at the Faculty of Political Sciences, both in Zagreb, Croatia.

Archiving (for) failure and success

Archive design requires resources that are often out of reach for artists and artist initiatives. The 21st century software landscape offers many solutions for digital archiving, but these systems are often inadequate. Is it possible for an artist to archive their own work or should the institutions provide the infrastructure? Let’s try and answer these questions by looking through the eyes of the Format C Artist organization who are, amongst other archiving initiatives, currently building one for 10+ years of the Fubar festival.

Vedran Gligo (born 1984) – a self-taught DIY hacker/artist/organizer/educator. Strongly applying open source principles in everyday life and practice and working to empower the local community by holding free and open digital workshops through the hacklab01.org project which he co-founded in 2009. Working with Format C Art Org, he is active in the fields of free culture, promotion of the GNU/Linux system, glitch art production, large-scale collaborative online art, independent cultural production, (h)activism, and more. He is one of the curators and founders of Fubar – an annual new media gathering. He is a member of the Croatian Association of Interdisciplinary Artists (HUIU).

Fubar is a project by the Format C Art Organization, co-financed by the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb and the Goethe-Institut Kroatien. The program is implemented in cooperation with Pogon – the Zagreb Center for Independent Culture and Youth, which is co-financed by the City of Zagreb, and in partnership with the KA-MATRIX Association and the Multimedia Institute. The festival is supported by a network of collaborators, artists and partners from the cultural and media sectors.

#hr

Lomljenje vremena. O arhivima digitalne umjetnosti

Simpozij je dio Fubar festivala koji nastoji prihvatiti pogrešku kao nešto što je sastavni dio digitalnih tehnologija, a ove godine se bavi mogućim načinima prisvajanja pogreške kao arhivskog modusa operandi. Stoga se simpozij bavi različitim aspektima arhiviranja, očuvanja i prezentiranja digitalnih umjetničkih djela, uključujući i glitch umjetničkih djela. Na koji način možemo pristupiti arhiviranju digitalne umjetnosti i njezinoj budućnosti danas? Koja je infrastruktura potrebna kako bi izašla u susret varijabilnosti i performativnosti takvih radova? Koja je uloga arhiva digitalne umjetnosti i kako ga održati na životu? Što ako arhiv zakaže? 

Simpozij predstavlja valjana stajališta u kontekstu arhiviranja digitalne umjetnosti i iznosi ih na raspravu. U središtu rasprava su ciljevi, uloge, metode, neuspjesi i društveni procesi u kojima su postavljeni arhivi digitalne umjetnosti.

Moderatorica: Irena Borić

Irena Borić je povjesničarka umjetnosti. Djeluje kao nezavisna kustosica i kritičarka, ali i u privremenim kolektivima na projektima poput Politike osjećaja. Ekonomije ljubavi, 2012., Srami se!, 2013.-2016.,  net.cube, 2015.-2018., Symptoms of the Future, 2020. Kurirane izložbe uključuju Politics Within, Center sodobnih umetnosti Celje, 2014., U mojoj zemlji palme rastu, Rijeka, 2014., Pipe Dream, Kunsthalle Exnergasse, Beč, 2015., Truth that Lies (s Renatom Šparadom), Impakt, Utrecht (2019), Niski tonovi zemljine pjesme, Galerija Galženica, 2019., Digitalni oksimoron, GT22, Maribor/MKC Split 2023/24., 26. festival Media Mediteranea: Umreženo more, 2024. Bila je članica bijenalskog kolektiva 32. Grafičkog bijenala: Kriterij rojstva, Ljubljana, 2017. Boravila je na kustoskim rezidencijama u Helsinkiju, 2011., Celju, 2012. i Beču, 2015. Jedna je od INCA press urednika/ca. Članica je hrvatske sekcije AICA-e.

11:15-13:15 Propitivanje infrastrukture 

Lozana Rossenova, Jaka Železnikar, Imane B.K. and Martino Morandi (Constant)

Prvi panel donosi perspektivu institucija i organizacija o izgradnji digitalnih arhiva ili arhiva digitalne umjetnosti. Lozana Rosenova skreće našu pozornost na važnost otvorene, suradničke i održive digitalne infrastrukture na studiji slučaja rhizome ArtBase, dok Jaka Železnikar donosi perspektivu muzejske borbe s očuvanjem digitalne umjetnosti kao i vlastito iskustvo internet umjetnika. Od Constanta saznajemo o Splinteru, putujućem serveru koji podržava i arhivira kolektivni rad.

Arhiviranje internetske umjetnosti putem otvorene, suradničke i održive digitalne infrastrukture

U ovom će predavanju Lozana Rossenova raspravljati o svom doktorskom istraživanju o redizajnu ArtBase – online arhive net arta koju održava umjetnička organizacija Rhizome. Prezentacija će se fokusirati na izbor digitalnih infrastruktura koje omogućuju fleksibilno, otvoreno i kontinuirano razvijajuće online okruženje za arhiviranje izvedbenih i promjenjivih karakteristika internetske umjetnosti. Razgovor će se također pozabaviti pitanjima brige o softverskom paketu otvorenog koda. Održivi razvoj softvera Wikibase ovisi o mreži međusobno povezanih aktera: institucijama dioničara, zajednicama korisnika i programera, istraživačkim projektima. The Open Science Lab igra značajnu ulogu u ovoj mreži te će biti istaknuti relevantni primjeri iz prakse u kontekstu dugoročnog održavanja infrastruktura digitalnih arhiva.

Lozana Rossenova je digitalna dizajnerica i istraživačica. Godine 2021. završila je doktorsko istraživanje u Centru za proučavanje umrežene slike (London South Bank University) u suradnji s Rhizomeom, vodećom međunarodnom organizacijom digitalne umjetnosti. Istraživala je pitanja prezentacije i performativnosti u Rhizomeovoj internetskoj umjetničkoj arhivi putem otvorenog koda i kolaborativnog pristupa digitalnoj infrastrukturi. Rossenova je trenutačno postdoktorandica u The Open Science Lab pri TIB-u (Njemačka nacionalna knjižnica za znanost i tehnologiju, Hannover) te radi na projektu NFDI4Culture prema nacionalnoj istraživačkoj infrastrukturi podataka o kulturnoj baštini. 

Arhiv digitalne umjetnosti i njezina restauracija 

Pitanje arhiva neraskidivo je povezano s odabirom (što i zašto arhivirati) te s konzervatorsko-restauratorskim aspektima i praksama. Jaka Železnikar na simpoziju će istaknuti aspekte vezane uz arhiviranje digitalnih umjetničkih djela te njihovo očuvanje i restauriranje. Specifičnost potonjeg je u tome što su autori radova aktivni i često interveniraju u restauratorski proces ili ga čak provode u cijelosti. Pritom se materijalnost djela i softvera mogu u velikoj mjeri promijeniti, što nije tipično za suvremene restauratorske zahvate, no u kontekstu digitalnih djela pristup je produktivan. Prezentacija će se temeljiti na vlastitim restauratorskim zahvatima u vlastitim djelima online umjetnosti i e-književnosti. Perspektiva će se proširiti uz pomoć brojnih razgovora kroz seriju Diskurzor (Moderna galerija Ljubljana, 2023. – očuvanje, restauracija i prezentacija digitalnih umjetnina).

Jaka Železnikar (Slovenija) autor je djela internetske umjetnosti i e-literature te web developer. Prvu web stranicu postavio je 1996. godine. Kao web developer surađivao je s uglednim slovenskim tvrtkama i kulturnim institucijama (Telekom Slovenija, Mladinska knjiga, Moderna galerija Ljubljana). U svom stvaralaštvu smatra se pionirom internetske umjetnosti (net art) i online e-književnosti. Trenutno razvija e-književne web aplikacije. Osim web stranica, njegov rad uključuje web i mobilne aplikacije, dodatke preglednicima, diskete, knjige i e-knjige te lutku-robota koja priča site-specifične priče. Izlaže i objavljuje u inozemstvu. 2010. godine Jaka Železnikar stekao je titulu magistra kreativnog pisanja i novih medija.

Splinter 

U Constantu smo se godinama bavili pronalaženjem načina za podršku i arhiviranje kolektivnog stvaralaštva koje omogućuje F/LOSS softver. Splinter je putujući server koji nastavlja ovu dugogodišnju praksu dokumentiranja i propitivanja kolaborativnih procesa. Smješta infrastrukturu koja se koristi za arhiviranje kolektivnog rada točno u istu prostoriju u kojoj se odvija, čineći sam arhivski sustav čitljivim njegovim korisnicima i izlažući ga daljnjim intervencijama. Sa Splinterom nastavljamo ponovno zamišljati kako tehnički rad i razvoj sadržaja mogu rasti zajedno, kako alati i prakse mogu međusobno oblikovati jedni druge.

Imane B.K. surađuje sa svojim kolegama, studentima i prijateljima na kreiranju treninga, radionica i prilika za ponovno učenje u Code Spaceu (Sint Lucas Antwerpen). Zajedno s Tunde Adefioye i Nonom Sadey, istražuje teme u kolektivu Towards Braver Spaces i propituje poticanje kolektivnih i održivih prostora koji stavljaju brigu i dobrobit u centar više zajednica. Imane je dio Constanta, organizacije sa sjedištem u Bruxellesu, umrežene s velikom konstelacijom umjetničkih organizacija koje djeluju na raskrižju tehnologije, umjetnosti i politike.

Martino Morandi zazire od biotekstova i drugih tehnologija koje proizvode unaprijed određene subjektivnosti. Istraživač je u Constantu u Bruxellesu, Infrastructural Maneuvers u Amsterdamu i C.I.R.C.E. (International Resource Center for Electric Convivialities) u Italiji. Njegovi interesi i projekti vrte se oko materijalnih uvjeta tehnologija i njihovih genealogija, koristeći nehegemonističke paradigme kao što su druželjubivost, poluučinkovitost, nefunkcioniranje. Tekući projekti uključuju proučavanje anketa i kvantificirani pogled na suvremene gradove (Footfall Almanac s Alexom Zakkasom) i traženje strategija za otpor računalnim reformama obrazovanja (The Relearning Series s Jarom Rocha).

Constant je neprofitna organizacija sa sjedištem u Bruxellesu od 1997. godine i aktivna na području umjetnosti, medija i tehnologije. Constant razvija, istražuje, podržava i eksperimentira, učeći od feminizama/uključujući se u njih/prakticirajući unutar njih. Constant je inspiriran načelima copylefta, Free/Libre + Open Source softvera, formulirajući istovremeno kritički pristup prema njima. Constant voli kolektivne, digitalne, umjetničke i promišljene prakse, organizirajući transdisciplinarne, otvorene radne sesije. Nastanjuju ga i aktiviraju umjetnici, aktivisti, programeri, akademici, dizajneri koji ga kontaminiraju svojim praksama, senzibilitetima i iskustvima, svatko na svoj način. Constant radi s rad s feminističkim serverima, situiranim izdavaštvom, aktivnim arhivima, ekstitucijskim mrežama, situacijama (ponovnog) učenja, uređajima koji se mogu hakirati, performativnim protokolima, solidarnim infrastrukturama i drugim spužvastim praksama kako bi se zacrtali putovi prema spekulativnim, slobodnim, intersekcijskim tehnologijama.

14:00-16:00 Mogućnosti za glitch

Rosa Menkman, Teuta Gatolin, Vedran Gligo

Drugi panel donosi umjetničke perspektive arhiviranja. Dok Rosa Menkman ulazi u specifičnosti izrade kolekcija, Teuta Gatolin predstavlja svoje umjetničko istraživanje koje se bavi suvremenom nostalgijom, a Vedran Gligo bavi se uradi sam arhiviranjem koje prolazi ispod radara institucionalne podrške.

Zbirka zbirki presavijena u Prelingerovu knjižnicu

Godine 2004. Megan i Rick Prelinger osnovali su knjižnicu Prelinger, neuobičajenu, privatno financiranu javnu knjižnicu smještenu u San Franciscu koja sadrži mnoge posebne zbirke ne samo knjiga i časopisa, već i gumbe, karte, registarske pločice, spomenare i tako dalje. To je zbirka zbirki ili “biblioteka slučajnosti”. 2022. godine Rosa Menkman je posjetila ovaj jedinstveni prostor i prepoznala mnoge elemente vlastite prakse. Za nju je kolekcionarstvo poput bacanja  široke mreže kako bi nekako pronašla (još nedokučivu) esenciju pristupa ili artefakta. U svom predavanju, Menkman će koristiti skenirani prikaz knjižnice kao sredstvo za šetnju i razgovor kroz vlastitu praksu iterativnog istraživanja, sakupljanja i kategoriziranja.

Rosa Menkman radi kao nizozemska umjetnica i istraživačica rezolucija, s posebnim fokusom na glitcheve, ne/moguće slike te izgubljene i neimenovane boje. S fokusom na artefakta šuma koji proizlaze iz greški u analognim i digitalnim medijima, Menkman ima za cilj pronaći nove i alternativne metode opažanja s našim neprozirnim tehnologijama obrade slike. Kao sažetak svojih istraživanja, Rosa je objavila Glitch Moment/um (INC, 2011.), knjigu o iskorištavanju i popularizaciji glitch artefakata. Dodatno je istražila politiku obrade slike u Beyond Resolution (i.R.D., 2020.). U ovoj knjizi Menkman opisuje kako standardizacija rezolucija nije samo proces koji promiče učinkovitost, red i funkcionalnost, već uključuje i kompromise, i kao rezultat toga, zamagljivanje alternativnih načina prikazivanja.

Namjerno fulavanje budućnosti, opet.

Prezentacija predstavlja aktualno umjetničko istraživanje Zapeli u limenci da bismo gledali budućnost kako se odvija ovim tokom (2022.-) koje je fokusirano na suvremenu nostalgiju. Kao jednu od umjetničkih metoda, Zapeli u limenci se često oslanja na remiks digitalnog arhivskog materijala dostupnog u javnoj domeni te tretiranje cijelog interneta kao ogromne “arhive” situacija, afekata i isprepletenih temporalnosti.

Teuta Gatolin intermedijalna je umjetnica i kustosica koja živi i radi u Zagrebu. Njezina je umjetnička praksa bazirana na procesualnom i interdisciplinarnom radu, koji uključuje korištenje raznih medija poput prostornih instalacija, tekstila, videa, fotografije, pisama, virtualnih prostora, radioničkog formata namijenjenog široj publici i drugog. Završila je preddiplomski i diplomski studij Animiranog filma i novih medija pri Akademiji likovnih umjetnosti u Zagrebu. Sudjelovala je na više samostalnih i grupnih izložbi te hibridnih projekata u Hrvatskoj i inozemstvu.

Arhiviranje uspjeha i neuspjeha

Resursi za dizajn arhiva često su izvan dohvata umjetnicima i umjetničkim inicijativama. Softver 21. stoljeća nudi razne mogućnosti za digitalno arhiviranje, no ti su sustavi uglavnom neadekvatni. Mogu li umjetnici arhivirati vlastiti rad ili je to infrastruktura koju bi trebale održavati institucije? Odgovore na ova pitanja probat ćemo pronaći pogledom kroz oči Umjetničke organizacije Format C koja, uz druge arhivističke inicijative, trenutno gradi arhivu za 10+ godina Fubar festivala.

Vedran Gligo (1984.) – samouki DIY haker / umjetnik / organizator / edukator. U svojoj svakodnevnoj praksi snažno primjenjuje principe slobodnog softvera i osnažuje lokalnu zajednicu održavajući besplatne i otvorene digitalne radionice u zagrebačkom hacklabu01 koji je suosnovao 2009. Kroz Format C djeluje u području slobodne kulture, promocije GNU / Linux sustava, glitch stvaralaštva, suradničke online umjetnosti velikog razmjera, nezavisne kulturne produkcije, (h)aktivizma (…). Jedan je od kustosa i osnivača Fubara – godišnjeg novomedijskog okupljanja. Član je Hrvatske udruge interdisciplinarnih umjetnika (HUIU).

Fubar je projekt Umjetničke organizacije Format C koji sufinanciraju Zaklada Kultura nova, Ministarstvo kulture i medija RH, Grad Zagreb i Goethe-Institut Kroatien. Program se provodi u suradnji s Pogonom – Zagrebačkim centrom za nezavisnu kulturu i mlade koji sufinancira Grad Zagreb te u partnerstvu s Udrugom KA-MATRIX i Multimedijalnim institutom. Festival podržava široka mreža suradnika, umjetnika i partnera iz kulturnog i medijskog sektora.

Retrieved from https://fubar.space/2024/cracking-the-time-on-digital-art-archives/

Travelling through a landscape covered in piles of obsolete technology, stifled by trade-offs, and obscured by standard settings, the Angel of History navigates an endless spiral of digital ‘advancements.’ Her journey probes an ecology of images, examining resolutions: the solution of functionality and compromise within the fields of image processing.

Rosa Menkman [NL]

Rosa Menkman is a Dutch artist and researcher of resolutions.The journey of her protagonist, the Angel of History—inspired by Paul Klee’s 1920 monoprint, Angelus Novus, and conceptualized by Walter Benjamin in 1940—functions as a foundational framework for her explorations of image processing technologies.In her written research, Rosa focuses on noise artifacts that result from accidents in both analog and digital media. As a compendium to this research, she published Glitch Moment/um (INC, 2011), a book on the exploitation and popularization of glitch artifacts.She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Rosa describes how the standardization of resolutions promotes efficiency, order, and functionality, but also involves compromises, resulting in the obfuscation of alternative ways of rendering.In 2019, Rosa won the Collide Arts at CERN Barcelona award, which inspired her recent research into im/possible images, consolidated in the im/possible images reader (published by the i.R.D. & Lothringer, with support from V2, 2022).

beyondresolution.info

Oct 5, 2024 16:00:00

Putujući krajolikom prekrivenim hrpama zastarjele tehnologije, ugušenim kompromisima i zamračenim standardnim postavkama, Anđeo povijesti plovi beskrajnom spiralom digitalnog ‘napretka’. Njegovo putovanje istražuje ekologiju slika, analizirajućo rezolucije: funkcionalno i kompromisno rješenje unutar područja obrade slike.

Rosa Menkman [NL]

“Rosa Menkman nizozemska je umjetnica i istraživačica rezolucija.Putovanje njezina glavnog junaka, anđela povijesti – nadahnuto monoprintom Paula Kleea iz 1920., Angelus Novus, a konceptualizirano od strane Waltera Benjamina 1940. – funkcionira kao temeljni okvir za njezina istraživanja tehnologija obrade slike.U svom pisanom istraživanju, Rosa se usredotočuje na artefakte šuma koji su rezultat greški u analognim i digitalnim medijima. Kao sažetak svojih istraživanja, objavila je Glitch Moment/um (INC, 2011.), knjigu o iskorištavanju i popularizaciji glitch artefakata.Dodatno je istražila politiku obrade slike u Beyond Resolution (i.R.D., 2020.). U ovoj knjizi Rosa opisuje kako standardizacija rezolucija promiče učinkovitost, red i funkcionalnost, ali također uključuje kompromise, što rezultira zamagljivanjem alternativnih načina prikazivanja.Rosa je 2019. osvojila nagradu Collide Arts u CERN-u Barcelona, ​​što je nadahnulo njezino nedavno istraživanje ne/mogućih slika, objedinjeno u im/possible images reader (izdavač i.R.D. & Lothringer, uz potporu V2, 2022.).”

beyondresolution.info

Retrieved from https://fubar.space/2024/glitch-film-retrospective-atlas-of-the-destitute-of-vision/

On 2020, in the height of the pandemic, my application to work as a software developer at the german chapter of the Wikimedia Foundation was accepted. I had been a fan of the project and a donor already for a few years and it was a great opportunity to be part of something big, the organization responsible for one of the biggest collaborative projects and the most visited non-commercial website in the world: yes, Wikipedia! Actually, I was hired to work on Wikipedia’s german cousin, Wikidata, a structured database that is machine readable and it’s responsible for a lot of the answers from Siri and Google Assistant. I wasn’t an editor at the time and didn’t have a clue of most things going on with the Wikipedia or the sister projects. This presentation will show a collection of interesting facts you probably didn’t know. Is Wikipedia objective? Is the claim to be the sum of all knowledge met? You be the judge.

Guergana Tzatchkova (ichi raramuri) [BG]

Guergana is a software developer working mainly on free and open source software, educational tools and non-profit organisations. With a Bachelor’s degree in Computer Science, her interest in the creative use of media and technology led her to a Master’s degree in Design of Multimedia and Interactive Systems and later a PhD in Theory and History of Cinema in Barcelona. For several years she has been working on projects that combine audio, video, design and programming. She has also been involved in NGOs working on gender issues in Mexico.

dev.to/guergana

2020., na vrhuncu pandemije, moja prijava za poziciju softverskog programdra u njemačkom ogranku Zaklade Wikimedia je prihvaćena. Već nekoliko godina sam bila obožavateljica projekta i njegova donatorica tako da je to bila sjajna prilika biti dio nečeg velikog, organizacije odgovorne za jedan od najvećih kolaborativnih projekata i najposjećenije nekomercijalne web stranice na svijetu : da, Wikipedije! Zapravo, bila sam angažirana da radim na njemačkom rođaku Wikipedije, Wikidati, strukturiranoj bazi podataka koja je strojno čitljiva i odgovorna za mnoge odgovore Siri i Google Asistenta. U to vrijeme nisam bila urednica i nisam imala pojma o većini stvari koje se događaju s Wikipedijom ili sestrinskim projektima. Ova će prezentacija ponuditi brojne zanimljive činjenice o Wikipediji koje vjerojatno niste znali. Je li Wikipedia objektivna? Je li tvrdnja da je ona zbirka cjelokupnog znanja zadovoljena? Vi ćete odlučiti.

Guergana Tzatchkova (ichi raramuri) [BG]

Guergana je programerka koja se bavi području basplatnim i otvorenim softverom, obrazovnim alatima i neprofitnim organizacijama. Uz diplomu prvostupnika informatike, njezino zanimanje za kreativnu upotrebu medija i tehnologije dovelo ju je do magisterija iz dizajna multimedijskih i interaktivnih sustava, a kasnije i do doktorata iz teorije i povijesti filma u Barceloni. Već nekoliko godina radi na projektima koji spajaju zvuk, video, dizajn i programiranje. Također je uključena u rad nevladinih organizacija u Meksiku koje se bave rodnim pitanjima.

dev.to/guergana

Retrieved from https://fubar.space/2024/wikipedia-an-archivists-dream-or-nightmare/

In creating a cultural and/or a community event it might be easy to miss-out on properly archiving it for the future past. This informal discussion session is meant to uncover most common mistakes, main worries and archival misconceptions of the non-profit organizer. This workshop might bring up possible trajectories and priorities for DIY community archiving, as well as share handy techniques and methodologies. The hosts will also premiere their “Fubomatic” FLOSS system for multimedia production management, built on top of the Fubar experience of the last 10 years.

Everyone is invited to participate, especially artists, archivists and local organizers who might share their disappointments and expectations while contributing their experience into building a meaningful community collection of thousands of glitch artwork from all around the world, wrapping up our decennial Fubar.

Format C [HR/**]

“Format C” (Fubar founding organization) is a non-profit artist organization based in Zagreb, Croatia (EU), active in the area of visual and multimedia art. The Organization’s focus is in new media art experiment and non-profit collaborative cultural creation.

Some of the activities Format C initiates or is involved in include • databending, multimedia and hypermedia art • digital ecology and large-scale artist collaborations • conceptualizing, initiating, tech and mediation of cultural collaborations and events • free (as in both libre and gratis) education and open knowledge distribution.

formatc.hr

DIY Archiving Open Round Table

U stvaranju kulturnog događaja zajednice lako je propustiti ispravno arhivirati za prošlost budućnosti. Ova neformalna rasprava namijenjena je otkrivanju najčešćih pogrešaka, glavnih briga i arhivskih zabluda neprofitnih organizacija. Ova sesija mogla bi predložiti moguće putanje i prioritete za DIY kolektivno arhiviranje te rasvijetliti priručne tehnike i metodologije. Organizator će također predstaviti svoj “Fubomatic” sustav za upravljanje multimedijskom produkcijom, koji je nastao temeljem desetogodišnjeg iskustva Fubar programa.

Svi su dobrodošli u diskusiju, a posebno umjetnici_e, arhivisti_ce i lokalni kulturni radnici_e, kako bi međusobno podijelili svoja razočaranja, očekivanja i iskustveno doprinijeli izgradnji potencijalno vrijedne kolekcije tisuća glitch art djela iz cijeloga svijeta kojom zaokružujemo desetogodišnji Fubar program.

Format C [HR/**]

“Format C” (osnivači Fubar programa) neprofitna je umjetnička organizacija sa sjedištem u Zagrebu (RH) i djelatnošću u području likovnog i multimedijalnog umjetničkog stvaralaštva. Fokus organizacije je u području novomedijskog umjetničkog eksperimenta i neprofitnog suradničkog kulturnog stvaralaštva.

Neke od tema konkretnih aktivnosti koje organizacija inicira ili u kojima je angažirana su: • databending, multimedijska i hipermedijska umjetnost • digitalna ekologija i umjetničke suradnje velikog razmjera • konceptualizacija, inicijacija, tehnička izvedba i medijacija kulturnih suradnji i izložbi • besplatna edukacija i distribucija slobodnog znanja.

formatc.hr

Retrieved from https://fubar.space/2024/diy-archiving-open-session/

This program showcases works which creatively disrupt/destroy footage from various sources: from bellowed film classics, weird stuff dug up from the internet wasteland to hidden computer files. These films invite us to perceive the familiar in a different light. The program will be followed by Q&A with artists.

PROGRAM (50′)

• MEMORIES OF KOWLOON (HR, 2023, 9’)

Memories of Kowloon is an audio-visual piece that dives into the chaotic, overwhelming and captivating essence of Kowloon Walled City, one of the most interesting and intense urban phenomena of the late 20th century. This urban dystopia in the space of disappearance and emergence shaped the idea of ​​an audio-visual multinarrative that avoids any trace of immanent hierarchy. Drawing from personal experiences of wandering through the dense, urban jungles of Tokyo and Manila, this work summarizes the overwhelming feeling of entering a foreign world where cultural, architectural and sensory overload collide while distilling the sadness that we will never have the opportunity to walk the labyrinthine corridors of Kowloon, which was demolished in 1994.  Ultimately, Memories of Kowloon is an homage to a lost heterotopia – a place where light and darkness, community and chaos, survival and decay coexisted, and which now remains only in memory. The work is dedicated to Branimir Norac.

Goran Nježić graduated from the Academy of Applied Arts of the University of Rijeka. He is active on the independent Croatian scene as a musician, visual artist and filmmaker. As an author and co-author, he collaborates on several audiovisual projects that have their premieres and presentations at various festivals in the region, at Espro IRCAM, Center Pompidou in Paris, and in Seoul, South Korea.He is the co-founder of the platform B.A.K.A. which deals with the production of audiovisual works and cultural projects on Croatias independent art scene. As the drummer of the bands ### and Punčke, he played several European tours, as well as a large Asian tour that included Malaysia, the Philippines, Taiwan and Japan.

Tomislav Oliver (Zagreb, Croatia) graduated in musicology and composition at the Academy of Music in Zagreb. In 2023, he completed the IRCAM training program in electroacoustic music Cursus with Pierre Jodlowski. With roots in the electronica/noise underground scene, his music reflects a fusion of genres. Composed music for solo instruments, chamber ensembles, orchestra, electroacoustic music and acousmatics. He also composed music for experimental films, ballet and contemporary dance. He collaborates with numerous artists from different fields of art, especially with the Croatian art collective B.A.K.A and the newly formed collective NAE (of which he is the founder) who focus on experimentation with electronic music, sound design and audio-visual projects. Since 2018, he has been working as an associate professor at the Academy of Music in Zagreb. Since 2023, he has been active as the artistic director of the contemporary music festival Muzički biennale Zagreb

• HOUSEWIVES ON LSD (US, 2014, 4’) 

The raw footage from which this video was developed was made in the 1950s when an unidentified American housewife consented to be a test subject for a study of the effects of LSD, conducted by Dr. Sidney Cohen at the Veteran’s Administration Hospital in Los Angeles. It is readily available via Youtube and the Internet Archive. It seemed appropriate, given the way LSD “glitches” our normal sensory, cognitive, and emotional experience, to glitch the video in which this was documented.

Mark Klink has been and done many things: Swept floors, worked in a factory, been an athlete, a minor government official, a life guard, a “house-father”, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures.

• LOVERS (MX, 2016, 4’) 

Through repeated images of exchanged glances and kisses between a man and a woman, LOVERS reflects on the construction of romantic love. By fragmenting and deconstructing these moments, the video unveils its underlying role as a tool of patriarchal control. Inspired by the aesthetics and themes of Godard’s beautiful films, the piece pays homage to his cinematic influence while critically examining love’s traditional portrayal.

Gisela Guzmán is experimental filmmaker, video artist, and digital artist. Her work explores the intersection of analog and digital formats, appropriation, image experimentation, and feminist language. She is co-founder of AGITATE:21C, an international platform for avant-garde filmmakers, and also works as a VJ and educator in Digital Art and Culture.

• VISA NORTH KOREA (BE/FR, 2017, 4’) 

Chaos emerges from the North Korea military parade. Among the first video clip I made during my early experimentations of glitch art in 2017. I started to work on footage that holds well structured propaganda to give my own version of the scenery. Music : Thomash – Candomble (Dreems Remix).

Thomas Collet, also known as Chepertom, is a 28 years old French artist with a Master’s degree in drawing from “École de la Cambre” in Brussels. He currently teaches digital art at the same institution. Thomas’ work focuses on video medium and experiments with unconventional creation processes, usually called “Glitch” art, which highlights digital obsolescence. His artistic practice extends beyond traditional art into the music world, with music videos like Ariana Grande’s “Imagine.” Thomas is also active in the web3 space, engaging in curation and collecting. His work has been shown in various physical galleries, including Structura in Sofia, Bulgaria, Kanal Centre Pompidou in Brussels, Larsen Warner in Stockholm, Superchief Gallery in Los Angeles…

• DADA ELECTRONICA_LIVE CINEMA #01 (GR, 2020-2021, 6′)

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). 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.

Thomas Valianatos (b. 1972, Athens) is lecturer in Digital- Graphic Arts at the Department of Audiovisual Arts of the Ionian University since 2010. He studied painting, illustration and animation and earned a Master degree in Digital Arts from Athens School of Fine Arts. He is an audiovisual artist over 20 years. His art works, in the form of comic book art, digital prints, live electronic music, videos and live audiovisual performances have been presented at various international festivals and art exhibitions. 

Instagram: @thomasvalianatos

Vimeo: https://vimeo.com/thomasvallianatos

• (DIS)INTEGRATOR (FI, 1992, 4’)

A sequence from Kurt Neumann’s science- fiction film The Fly (1958) is copied with a VHS-recorder. Then the copy is copied again. This process is repeated until the video signal disintegrates into noise and finally disappears into darkness.

Juha van Ingen is a Helsinki based visual artist working in a variety of media, from objects and spaces to moving image and the Internet. He is best known for his structured video work (Dis)Integrator, 1992 and the 1000-year-long GIF animation As Long As Possible, ASLAP, 2015.   www.juhavaningen.com

• DATA DIARIES / JANUARY 31, 2003 (COLOR) (US, 2003, 12’) 

For Data Diaries (2003, commissioned by turbulence.org), Cory Arcangel used the contents of his computer’s temporary storage (RAM) as raw material for a series of abstract, glitchy videos. Each day over the course of a month, he would employ a hack to open this normally unseen data in QuickTime, which translated it into frenetic patterns of blocks and digital static. (Rhizome.org)

Cory Arcangel is a Norway-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.

CURATED BY:

Ejla Kovačević

Independent film critic, curator and experimental film researcher. She’s a member of the curatorial team at the Festival of Experimental Film and Video 25 FPS (Zagreb), Analog Film Festival Kinoskop (Belgrade) and Glitch Art Festival /’fu:bar/. Active member of film lab Klubvizija since 2011, she organized numerous workshops, screenings and held lectures on experimental and photochemical film. She received her M.A. in French Language Didactics at the Sorbonne Nouvelle University in Paris and an M.A. in Comparative Literature at the University of Zagreb. From 2024 she’s a PhD Fellow in Film Studies at the University of Paris VIII.

Retrieved from https://fubar.space/2024/glitch-film-found-footage/

The goal of this workshop is to create a composition from real sounds from our physical space. In the first part of the workshop, the participants will attend a short lecture on sound qualities and their contribution to creating a composition. In the second part, the participants will record different sounds in our surroundings. It would be desirable to bring a sound recorder, but it’s also possible to recorded with a smartphone.

To participate, it’s necessary to bring a personal computer. Headphones are also preferred. Some additional recording equipment (Zoom, microphones) is provided by the organizers but you are welcome to bring your own.

Please apply to participate via: cloud.formatc.hr/apps/forms/s/eWyKxyEpKmCH9FJA34FqYPrs

Ivona Eterović / tonota [HR]

Ivona Eterović / tonota is a musician whose artistic career was marked by independent work and collaborations aiming to create a unique and fresh sound. Not shying away from introspection and sensitivity, as a producer and performer, tonota combines ambient, ethno and bass music with analog and digital sound design, spreading her work through ambient and experimental electronic club music, hip hop, pop, but also as background music for film and theatre.Through her independent project, she is focused on electronic music and sound experiments beyond genre boundaries. In addition to composing music for own projects and other artists, she is moving more into composing cinematic and dramatic music as well as sound art, unconventionally exploring the outlines of her own musical signature.

linktr.ee/tonota

Cilj radionice je od realnih zvukova iz prostora napraviti kompoziciju. U prvom dijelu radionice polaznici će prisustvovati kratkom predavanju o zvuku i promišljanju kvaliteta zvuka te kako te kvalitete pridonose stvaranju kompozicije. U drugom dijelu polaznici će snimati različite zvukove u prostoru. Bilo bi poželjno ponijeti snimac, ali zvukovi se mogu snimati i mobitelom. U trećem dijelu, zajedno s voditeljicom, polaznici će složiti kompoziciju od skupljenih zvukova.

Za sudjelovanje je nužno ponijeti osobno računalo, poželjne su i slušalice a dodatnu opremu za snimanje (snimač, mikrofone) osiguravaju organizatori.

Molimo za sudjelovanje se registrirajte na poveznici: cloud.formatc.hr/apps/forms/s/eWyKxyEpKmCH9FJA34FqYPrs

Ivona Eterović / tonota [HR]

Ivona Eterović / tonota je glazbenica čiju su umjetničku karijeru obilježili samostalan rad i suradnje kojima je cilj uvijek bio stvaranje jedinstvenog i svježeg zvuka. Ne bježeći od introspekcije i osjećajnosti, kao producentica i izvođačica, tonota spaja ambijentalnu, etno i bass glazbu s analognim i digitalnim zvučnim dizajnom, a svoje djelovanje širi kroz ambijentalnu i eksperimentalnu klupsku elektroniku, hip hop, pop, ali i kroz stvaranje pozadinske glazbe za film i predstave.Kroz svoj samostalni projekt, usmjerena je na elektronsku glazbu i zvučne eksperimente izvan žanrovskih odrednica. Uz skladanje glazbenih kompozicija za vlastite projekte i druge izvođače, sve više uranja u skladanje pozadinske glazbe za film i predstave kao i sound artu, nekonvencionalno istražujući doseg vlastitog glazbenog potpisa.

linktr.ee/tonota

Retrieved from https://fubar.space/2024/musique-concrete-sound-and-music/

This workshop will be a 2 parts workshop for a total of two to three hours long. The second part of the workshop can be pursued a bit longer if participants want to create more content.

1st Part : Tape LoopsEach participants will build up a tape loop cassette following different tape loop length schematic provided during the introduction. Each cassette tape loop will be tested and arranged with the help of the workshop host.

2nd Part : Ascii Art audiovisual designThe second part of the workshop will be about designing a Cassette cover with ASCII-art/Textmode-art drawing tools made by Adel Faure [OSCII](https://adelfaure.net/tools/liblab) Exploring the generative text-mode-art drawing possibilities and trying to hijack the tools for glitch patterns and audio creations. Every Cassette creation made by the participants will be used as sound material for the Ralt144MI Performance. And each participant will keep their cassette loop as a sound and physical souvenir.

This workshop is open to everyone from 16 y.o. to +∞ y.o.Each participant should come with their personal computer or access to one with a web browser.

Please pre-register to participate: cloud.formatc.hr/apps/forms/s/eWyKxyEpKmCH9FJA34FqYPrs

Ralt144MI [FR]

Rémi Georges is a computer music designer, musician and audiovisual artist based in Lyon.Combining old and new technologies in his personal projects, he creates customized tools, installations and compositions, with particular interest in the image-sound relationship, using open-source tools and following the artistic scenes of GlitchArt, AsciiArt, Algorave and Demoscene.

He is an active member of the Cookie Collectif [cookie.paris] , TOPLAP [toplap.org], and french DIY music scene; organizing events, and releasing prints and cassettes under his label Ordinateur Dans La Tête. [ordinateurdanslatete.bandcamp.com]

He performs under the name Ralt144MI, a project centered on the practice of live-coding. Evolving mainly as a solo project, between technoid music and electro-acoustic works where visuals are always as important as sounds. Focusing on some form of technological archiving by using live-coding to control old or obsolete gears and technologies.

remigeorges.fr

Radionica će se sastojati od 2 dijela i ukupno će trajati dva do tri sata. Drugi dio radionice može trajati maalo duže ako polaznici žele napraviti više sadržaja.

1. dio: Trake za audiokazetuSvaki će polaznik sastaviti kazetu s trakom u petlji slijedeći različite sheme dane tijekom uvoda. Svaka petlja će biti testirana i sastavljena uz pomoć voditelja radionice.

2. dio: Audiovizualni dizajn uz Ascii umjetnostDrugi dio radionice bavit će se dizajniranjem omota kazete uz pomoć ASCII-umjetnost/Textmode-umjetnost alata za crtanje koje je izradio Adel Faure [OSCII](https://adelfaure.net/tools/liblab). Istraživanje generativnog tekstualnog umjetničkog crtanja i pokušaj hakiranja alata za glitch uzorke i audio kreacije. Kazete koje polaznici naprave koristit će se kao zvučni materijal za performans voditelja radionice, a polaznici će moći zadržati svoju kazetu kao zvučni i fizički suvenir.

Ova radionica je otvorena za sve od 16 do +∞ godina.Polaznici trebaju imati svoje osobno računalo i pristup web pregledniku.

Molimo za sudjelovanje se prijavite putem poveznice: cloud.formatc.hr/apps/forms/s/eWyKxyEpKmCH9FJA34FqYPrs

Ralt144MI [FR]

Rémi Georges je dizajner računalne glazbe, glazbenik i audiovizualni umjetnik sa sjedištem u Lyonu.Kombinirajući stare i nove tehnologije u svojim osobnim projektima, stvara prilagođene alate, instalacije i kompozicije, s posebnim interesom za odnos slike i zvuka, koristeći alate otvorenog koda i prateći umjetničke scene GlitchArta, AsciiArta, Algoravea i Demoscene.

Aktivan je član Cookie Collectif [cookie.paris] , TOPLAP [toplap.org] i francuske DIY glazbene scene; organizira događanja te izdaje grafike i kazete pod svojom etiketom Ordinateur Dans La Tête. [ordinateurdanslatete.bandcamp.com]

Nastupa pod imenom Ralt144MI, projekt usredotočen na praksu kodiranja uživo. Razvija se uglavnom kao solo projekt, između tehnoidne glazbe i elektroakustičkih djela gdje su vizualni elementi uvijek jednako važni kao i zvukovi. Fokusira se na neki oblik tehnološkog arhiviranja korištenjem kodiranja uživo za kontrolu stare ili zastarjele opreme i tehnologija.

remigeorges.fr

Retrieved from https://fubar.space/2024/ascii-art-and-tape-loops/

Single Board Computers have become cheap and powerful. Live glitch art is not only possible, but no longer requires a multi-million dollar quantum mainframe to run.In this talk I will explore the Orange Pi 5 Plus, which has HDMI input and output, USB for MIDI input, wifi for network, and functions like a digital interactive video module using FFglitch.

This event is a 1 hour talk but also a workshop afterwards; if you wish to participate in the latter hands-on session, please bring your SBC device*.

It’s not necessary to pre-register to participate.

~~~*For the workshop, only the person's laptop is required. Any of the following is a bonus:

• USB joystick
• An ARM or Intel SBC (single board computer), such as:— Orange Pi 5 Plus— Orange Pi 5— Raspberry Pi 5— ODROID-N2+— ODROID-H3+— […]
• MIDI controller
• HDMI capture card
• HDMI from/to RCA converter
• HDMI camera
• Webcam
• Portable HDMI monitor
• USB joystick

Ramiro Polla [BE/BR]

Ramiro Polla loves hacking things to learn and understand how they work. He is a former FFmpeg developer, and currently focuses on turning FFmpeg bugs into FFglitch features.

ffglitch.org

Single Board Computers postali su jeftini i moćni. Glitch umjetnost uživo ne samo da je moguća, već više ne zahtijeva kvantno računalo vrijedno više milijuna dolara za rad.U ovom predavanju predstavit ću Orange Pi 5 Plus koji ima HDMI ulaz i izlaz, USB za MIDI ulaz, wifi za mrežu i funkcionira poput digitalnog interaktivnog video modula koristeći FFglitch.

Ovaj događaj se sastoji od jednosatnog predavanja, a nakon toga slijedi radionica; ako želite sudjelovati na radioničkom dijelu ponesite laptop i svoj SBC uređaj*.

Nisu potrebne predbilježbe za sudjelovanje.

~~~*Za radionicu je potreban samo laptop. Bilo što od sljedećeg je bonus:

Single Board Computers postala su jeftina i moćna. Glitch umjetnost uživo ne samo da je moguća,već više ne zahtijeva kvantno računalo vrijedno više milijuna dolara za rad.U ovom predavanju istražit ću Orange Pi 5 Plus koji ima HDMI ulaz i izlaz, USB za MIDI ulaz, wifi za mrežu i funkcionira poput digitalnog interaktivnog video modula koristeći FFglitch.

Ovaj događaj se sastoji od jednosatnog predavanja, a nakon toga slijedi radionica; ako želite sudjelovati na radioničkom dijelu ponesite laptop i svoj SBC uređaj*.

Nisu potrebne predbilježbe za sudjelovanje.

~~~*Za radionicu je potreban samo laptop. Bilo što od sljedećeg je bonus:

• USB joystickUSB joystick
• ARM ili Intel SBC (single board computer), kao što su:— Orange Pi 5 Plus— Orange Pi 5— Raspberry Pi 5— ODROID-N2+— ODROID-H3+— […]
• MIDI kontroler
• HDMI kartica za simanje
• HDMI iz/u RCA konverter
• HDMI kamera
• Web kamera
• Prijenosni HDMI monitor
• USB joystick

Ramiro Polla [BE/BR]

Ramiro Polla voli hakirati stvari kako bi naučio i razumio kako funkcioniraju. Bivši je FFmpeg programer, a trenutno se fokusira na pretvaranje FFmpeg bugova u FFglitch značajke.

ffglitch.org

Retrieved from https://fubar.space/2024/low-cost-sbc-ftw/

gunship collider is the solo project of Dominik Morishita-Leitner. Music made with open source software, breakbeats, keyboards, and lyrics based on necessity. Exploring themes of the human condition, between myth and futurology.

DOMINIK MORISHITA–LEITNER [AT]

DOMINIK MORISHITA–LEITNER lives and works in Vienna. Grown up in the suburbs of Linz, in an area with a mix of small family houses and large construction companies, he is at home in the in-betweens.Active as a multi media artist and curator, in the fields of music and graphic design, with an affinity for architecture and cityscapes, as well as open source software and other utopias.

dominikmorishitaleitner.tumblr.com

gunship collider je solo projekt Dominika Morishite-Leitnera. Glazba je napravljena softverom otvorenog koda, breakbeatovima, klavijaturama, a stihovi se temelje na nužnosti. Projekt istražuje teme ljudskog stanja, između mita i futurologije.

DOMINIK MORISHITA–LEITNER [AT]

DOMINIK MORISHITA–LEITNER živi i radi u Beču. Odrastao je u predgrađu Linza, između malih obiteljskih kuća i velikih građevinskih tvrtki, osjećajući se u svim “razmeđima” kao doma.Aktivan je kao multimedijski umjetnik i kustos, u području glazbe i grafičkog dizajna, s afinitetom prema arhitekturi i gradskim pejzažima, kao i softveru otvorenog koda i drugim utopijama.

dominikmorishitaleitner.tumblr.com

Retrieved from https://fubar.space/2024/gunship-collider/

..o and Connor Oman brings in a new piece “HyperFuture”.HyperFuture is the paradoxical pursuit of a future so advanced it reverts to primal. It doesn’t necessarily mean improvement but it could also be going back to our animalistic roots.In an age dominated by the momentary, where data is constantly created, consumed, and discarded; ..o and Connor takes you through this invert journey of stepping into a existence where you first experience the Discard then the Consuming and finally, the Creation.This inversion of the traditional linear progression of time, where the future precedes the present, is a core characteristic of the piece.

..o ft. Connor Oman [DE]

..o (pronounced as “Thought Bubble”) is the project of Berlin based Bangalorean sound artists, Ashley Maurice and Hari Krishna. The power ambient duo revolves around improvisation and probing the peripheries of sound. The duo consists of a guitar and a human FX pedal. ..o’s music frequently centers around the theme of harsh minimalism, where a clean sound transforms into a whole wall of sonic density...o collaborates with Connor Oman, known artistically as Oman Sounds, who is a multimedia and interdisciplinary artist focusing on the intersection between science, technology and experimental design. With a foundation in advanced sound design techniques and visual experimentation, he combines these elements to articulate various themes within his work.

linktr.ee/shriek.studios

..o i Connor Oman donose novi komad “HyperFuture”.HyperFuture je paradoksalna potraga za budućnošću koja je toliko napredna da se vraća u primordijalnu. To ne mora nužno značiti poboljšanje, ali bi također moglo značiti povratak našim životinjskim korijenima.U doba kojim dominira momentalno, gdje se podaci neprestano stvaraju, konzumiraju i odbacuju, ..o i Connor vode vas kroz obrnuto putovanje ulaska u postojanje u kojem prvo doživljavate Odbacivanje, zatim Konzumaciju i na kraju Stvaranje.Ova inverzija tradicionalnog linearnog tijeka vremena, gdje budućnost prethodi sadašnjosti, ključna je karakteristika djela.

..o ft. Connor Oman [DE]

“..o (izgovara se kao “Thought Bubble”) je projekt bangalorejskih umjetnika zvuka iz Berlina, Ashley Maurice i Hari Krishna. Ovaj power ambijentalni duo fokusira se na improvizacije i ispitivanje periferija zvuka. Dvojac se sastoji od gitare i ljudske FX pedale te se često fokusira na teme oštrog minimalizma, gdje se čisti zvuk pretvara u gusti zvučni zid...o surađuje s Connorom Omanom (poznatim pod umjetničkim pseudonimom Oman Sounds), multimedijskim i interdisciplinarnim umjetnikom s praksom na razmeđi znanosti, tehnologije i eksperimentalnog dizajna. Kombinirajući elemente naprednih tehnika dizajna zvuka s vizualnim eksperimentima, on artikulira različite teme unutar svoga rada.

linktr.ee/shriek.studios

Retrieved from https://fubar.space/2024/hyperfuture/

this workshop is unfortunately cancelled

Lots of the songs we love and listen to every day are made almost entirely from sounds from existing songs. How and why does this happen? Recycling Sound is a workshop where you will make an existing thing into your brand new thing. Come and learn the basics of software sound sampling and create your own music collage.

To participate, you should bring a laptop and headphones.Please apply to secure a spot: cloud.formatc.hr/apps/forms/s/eWyKxyEpKmCH9FJA34FqYPrs

Robert Sorić [HR]

Robert Sorić is a music producer and DJ from Darda. He currently lives in Osijek, where he collaborates in the organization and promotion of musical DIY culture via the Slamanje association. He is interested in creating his own MIDI controllers and synthesizers through hardware and embedded programming. He works at the Osijek-based company Soldered Electronics, which produces everything for Makers and enthusiasts in home electronics.

soric.cc

Puno pjesama koje volimo i slušamo svaki dan napravljene su gotovo u potpunosti od zvukova iz postojećih pjesama. Kako i zašto se to događa? Reciklaža Zvuka je radionica u kojoj ćete od neke postojeće stvari napraviti vašu skroz novu stvar. Dođite i upoznajte se s osnovama sempliranja kroz softver i stvorite vlastiti glazbeni kolaž.

Za sudjelovanje je potrebno ponijeti laptop i slušalice.Molimo prijavite se putem poveznice: cloud.formatc.hr/apps/forms/s/eWyKxyEpKmCH9FJA34FqYPrs

Robert Sorić [HR]

Robert Sorić je glazbeni producent i DJ iz Darde. Trenutno živi u Osijeku gdje surađuje u organizaciji i promicanju glazbene DIY kulture kroz udrugu Slamanje. Interesira ga stvaranje vlastitih MIDI kontrolera i sintisajzera kroz hardver i embedded programiranje. Radi u Osječkoj tvrtci Soldered Electronics, koja proizvodi sve za Makere i entuzijaste u kućnoj elektronici.

soric.cc

Retrieved from https://fubar.space/2024/sound-recycling/

We invite everyone to join for a guided tour by the Fubar curators and the production team. Bring questions, your curiosity and a bit of paitence for our broken media art install.

Our curators will show and share glimpses and contexts of the hundreds of GB building up ten years of Fubar.

No pre-registration is necessary but if you wish to organize a group visit, we are available at [email protected].

#fubar_expo 2k24 [IRL]

Fubar (/’fu:bar/, est. 2015) is a program focused on electronic experiments and research in contemporary error-themed digital art theory and practice.

Fubar 2024 physical exhibition is available OCT 5th – 18th 2024 @ the Pogon Jedinstvo cultural venue in Zagreb (Croatia).

Following the Zagreb-based install, an online exhibition of work selected in 2024 will be available until 2025.

The participating authors list is available @ fubar.space/2024/artist-list

fubar.space/about

Pozivamo sve da nam se pridruže u vodstvu Fubar izložbom. Pripremite pitanja, aktivirajte znatiželju i pronađite strpljenje za našu instalaciju medijske umjetnosti s greškom.

Naši kustosi_ce pokazat će i podijeliti rakurse i kontekste stotina GB umjetnosti koja gradi deset godina Fubara.

Predbilježbe nisu potrebne, ali ako želite organizirati grupni posjet, dostupni smo na [email protected].

#fubar_expo 2k24 [IRL]

Fubar (/’fu:bar/, osnovan 2015) je program usmjeren elektroničkim eksperimentima i istraživanju u suvremenoj teoriji i praksi digitalne umjetnosti s greškom.

Fubar 2024 fizička izložba dostupna je od 5. do 18. listopada 2024. @ Pogon Jedinstvo u Zagrebu (RH).

Nakon zagrebačke izložbe, djela odabrana u 2024. ostat će dostupna u formatu online izložbe, do 2025.

Popis sudjelujućih autora_ica dostupan je @ fubar.space/2024/artist-list

fubar.space/about

Retrieved from https://fubar.space/2024/exhibition-tour-irl/

c0l1v3 is an experiment in collaborative improvised live coding and less traditional ways of collectively writing code. It is always available as an open playground on the web, working as an online public square where anyone can enter, listen and jam together. c0l1v3 is built on top of open source tools and protocols such as SuperCollider, Python, WebRTC, websockets and Janus. c0l1v3’s interface is an experiment in breaking the traditional top-to-bottom linear code writing approach, it presents a canvas where players can add code anywhere; all players can edit each other’s code blocks. In c0l1v3 there is no distinction between audience and performer.Sonic and visually c0l1v3 relies very much on Glitch aesthetics.

For Fubar 2024 I invite the public to join with their mobiles and improvise this performance together.

Bruno Gola [DE/BR]

Bruno Gola is a Brazilian computer artist, sound artist and musician based in Berlin. After studying Computer Science and working as a programmer in São Paulo he moved to Berlin in 2015 where he studied Art and Media, developing his practice in building and programming open source systems for live audio-visual improvisation and interactive installations. Since 2023 he works as assistant professor in the context of the Generative Kunst / Computational Arts class at the Berlin University of the Arts.

bgo.la

c0l1v3 je eksperiment u zajedničkom improviziranom kodiranju uživo i manje tradicionalnim načinima kolektivnog pisanja koda. Sučelje je uvijek dostupno kao otvoreno igralište na webu, funkcionirajući kao online javni trg na koji svatko može doći, slušati i muzicirati s drugima. c0l1v3 je izgrađen na bazi alata i protokola otvorenog koda kao što su SuperCollider, Python, WebRTC, websockets i Janus. Sučelje predstavlja eksperiment u razbijanju tradicionalnog linearnog pisanja koda odozgo prema dolje, predstavlja platno na kojem igrači mogu dodavati kod bilo gdje; svi igrači mogu međusobno uređivati ​​blokove koda. U c0l1v3 nema razlike između publike i izvođača.Auditivno i vizualno c0l1v3 se uvelike oslanja na Glitch estetiku.

Za Fubar 2024. pozivam publiku da se pridruži svojim mobitelima i da zajedno improviziramo ovaj performans.

Bruno Gola [DE/BR]

Bruno Gola je brazilski računalni umjetnik, umjetnik zvuka i glazbenik sa sjedištem u Berlinu. Nakon studija računarstva i rada kao programer u São Paulu, 2015. preselio se u Berlin gdje je studirao umjetnost i medije, razvijajući svoju praksu u izgradnji i programiranju sustava otvorenog koda za audio-vizualne improvizacije uživo i interaktivne instalacije. Od 2023. radi kao docent te predaje generativnu i računalnu umjetnost na Berlinskom sveučilištu za umjetnost.

bgo.la

Retrieved from https://fubar.space/2024/c0l1v3/

Ralt144MI is an audiovisual project centered on the practice of live-coding. Evolving mainly between technoid music and electro-acoustic works. And focusing on some form of technological archiving by using live-coding to control old or obsolete gears and technologies. This project often relates to aquatic aesthetics, not only in visual terms but also through sound research, as it was first born from the rediscovery of a large stock of home family video tapes made while scuba diving, which served as a creative basis for the visual and sound content. A desire to smooth out the relationship between performer and audience is also taken to heart – the idea that the audience can become an active participant in the work that is being created. Following the Toplap Manifesto on live-coding practice, by showing his screen to be fully transparent with the audience and using only open-source or bespoke live-coding software.

Rémi GEORGES [FR]

Rémi Georges is a computer music designer, musician and audiovisual artist based in Lyon.Combining old and new technologies in his personal projects, he creates customized tools, installations and compositions, with particular interest in the image-sound relationship, using open-source tools and following the artistic scenes of GlitchArt, AsciiArt, Algorave and Demoscene.

He is an active member of the Cookie Collectif [cookie.paris] , TOPLAP [toplap.org], and french DIY music scene; organizing events, and releasing prints and cassettes under his label Ordinateur Dans La Tête. [ordinateurdanslatete.bandcamp.com]

He performs under the name Ralt144MI, a project centered on the practice of live-coding. Evolving mainly as a solo project, between technoid music and electro-acoustic works where visuals are always as important as sounds. Focusing on some form of technological archiving by using live-coding to control old or obsolete gears and technologies.

remigeorges.fr

Ralt144MI je audiovizualni projekt usredotočen na praksu kodiranja uživo. Razvija se uglavnom između tehnoidne glazbe i elektroakustičkih djela. Fokusira se na neki oblik tehnološkog arhiviranja korištenjem kodiranja uživo za kontrolu stare ili zastarjele opreme i tehnologija. Ovaj se projekt često povezuje s vodenom estetikom, ne samo u vizualnom smislu nego i kroz istraživanje zvuka, budući da je prvi put nastao ponovnim otkrićem velike zalihe kućnih obiteljskih videokaseta snimljenih tijekom ronjenja, koje su poslužile kao kreativna osnova za vizualni i zvučni sadržaj. Želja za formiranjem odnosa između izvođača i publike također je prisutna, odnosno, ideja da publika može postati aktivni sudionik u djelu koje nastaje. Projekt slijedi Manifest Toplapa o praksi kodiranja uživo: pokazuje svoj zaslon kako bi bio kompletno transparentan publici te koristi isključivo softver otvorenog koda ili prilagođeni softver za kodiranje uživo.

Rémi GEORGES [FR]

Rémi Georges je dizajner računalne glazbe, glazbenik i audiovizualni umjetnik sa sjedištem u Lyonu.Kombinirajući stare i nove tehnologije u svojim osobnim projektima, stvara prilagođene alate, instalacije i kompozicije, s posebnim interesom za odnos slike i zvuka, koristeći alate otvorenog koda i prateći umjetničke scene GlitchArta, AsciiArta, Algoravea i Demoscene.

Aktivan je član Cookie Collectif [cookie.paris] , TOPLAP [toplap.org] i francuske DIY glazbene scene; organizira događanja te izdaje grafike i kazete pod svojom etiketom Ordinateur Dans La Tête. [ordinateurdanslatete.bandcamp.com]

Nastupa pod imenom Ralt144MI, projekt usredotočen na praksu kodiranja uživo. Razvija se uglavnom kao solo projekt, između tehnoidne glazbe i elektroakustičkih djela gdje su vizualni elementi uvijek jednako važni kao i zvukovi. Fokusira se na neki oblik tehnološkog arhiviranja korištenjem kodiranja uživo za kontrolu stare ili zastarjele opreme i tehnologija.

remigeorges.fr

Retrieved from https://fubar.space/2024/ralt144mi-2/

After the fall of the Berlin wall in 1989, the collapse of the Soviet Union and the end of the cold war Francis Fukuyama published a book titled ‘ The end of history and the last man’ in which, to quote from Wikipedia, Fukuyama argues

‘humanity has reached;not just … the passing of a particular period of post-war history, but the end of history as such: That is, the end-point of mankind’s ideological evolution and the universalization of Western liberal democracy as the final form of human government’

Mark fisher argues in his book ‘Ghosts of my life’ that the ‘slow cancellation of the future’ , a product of this ‘end of history’ , has adversely affected culture and art. Can we find a framework through his writings to look at glitch art and to reboot the future that Fukuyama and neo-liberalism seeks to cancel?

Verena Voigt [DE]

Verena Voigt M.A ( art historian, journalist and investigative curator) has been working as an ( investigative) curator since 2012. She is a member of IKT – International Association of Contemporary Art since 2021 & explores the visible and invisible interfaces between Art, AI and ADM. In 2013 she founded the art association GFZK e.V

https://www.verena-voigt-pr.de/

Retrieved from https://fubar.space/2024/mark-fisher-ghosts-of-my-life-fukuyamas-end-of-history-and-rebooting-the-future-with-glitch-art/

We invite everyone to join for an online guided tour by the Fubar curators and the production team, available at live.fubar.space.

No pre-registration for the event is necessary.

The (art)work building up the tenth Fubar exhibition will be presented via a browser tour navigated through a NextCloud archive, focusing on the curatorial selection and its interleaved technical aspects.

#fubar_expo 2k24 [URL]

Fubar (/’fu:bar/, est. 2015) is a program focused on electronic experiments and research in contemporary error-themed digital art theory and practice.

Fubar 2024 ONLINE exhibition is available OCT 2024 – 2025 @ expo.fubar.space.

Following this online web-based install, a call for previous participants’ permissions is open to build the upcoming decennial archive of international Glitch Art work.

Participating authors list is available @ fubar.space/2024/artist-list

fubar.space/about

Exhibition tour URL

Pozivamo sve da se pridruže online vodstvu kustosa Fubara i produkcijskog tima, dostupnom na live.fubar.space.

Za događaj nije potrebna predbilježba.

(Umjetnička) djela koja čine desetu izložbu Fubar bit će predstavljena u virtualnoj šetnji serverskom arhivom, s fokusom na kustoski odabir isprepletenom s tehničkim aspektima produkcije izložbe digitalne umjetnosti.

#fubar_expo 2k24 [URL]

Fubar (/’fu:bar/, osnovan 2015) je program usmjeren elektroničkim eksperimentima i istraživanju u suvremenoj teoriji i praksi digitalne umjetnosti s greškom.

Fubar 2024 ONLINE izložba dostupna je od listopada 2024. do 2025. @ expo.fubar.space.

Po mrežnom postavu djela, otvoren je i poziv za privole za arhiviranje prethodnih fubar djela sa svrhom izgradnje buduće desetogodišnje arhive glitch art djela iz cijeloga svijeta.

Popis sudjelujućih autora_ica dostupan je @ fubar.space/2024/artist-list

fubar.space/about

Retrieved from https://fubar.space/2024/exhibition-tour-url/

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives?During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2: The flow of time, which deals with the topic of archiving and manipulation of memory: “Market” by Ana Hušman, “The Place From Where I Write You Letters” by Nikolina Bogdanović and “Babajanja” by Ante Zlatka Stolica. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

In the Fubar 2024 exhibition, over October 14, the 12 minute long work sequence will be shown as a 4 hour loop, accompanied by a mid-screening introduction and an open discussion with the authors and Format C starting at 6pm.

#fubar_expo x CinEd [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024.Mak Ratković Rajhvajn: “Trip”, 2024Katarina Jelčić: “Kvartovska kugla”, 2024.Viktor Rasol: “random”, 2024.Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

formatc.hr/arhiv-sjecanje-glitchwww.cined.eu

Filmska greška oduvijek je bila jedan od temelja likovnog ekperimenta i umjetničke ekspanzije. Počev s neobičnim rezovima analognog filma i animacije, preko popularizacije magnetske vrpce i iskušavanja katodnih televizora – umjetnici su uvijek pronalazili način da u djelu zrcale i materijalnost samog medija. No što filmska materijalnost može biti u današnjem, gotovo posve digitaliziranom dobu, i kakve veze sveprisutni video klipovi mogu imati s dosad poznatim filmskim narativima?U tijeku radionice “ARHIV, SJEĆANJE, GLITCH”, polaznicima je na raspolaganju za pregled, referencu i rad bio dostupan sadržaj digitalne platforme CinEd – tri kratka eksperimentalna, hibridna filma iz kolekcije Hrvatski filmovi 2. Dio: Protok vremena, koja se bavi temom arhiviranja i manipulacije sjećanja: “Plac” Ane Hušman, “Mjesto odakle vam pišem pisma” Nikoline Bogdanović i “Babajanja” Ante Zlatka Stolice. Sudionici su za rad koristili i osobne arhive video, slikovnih, pisanih i/ili zvučnih zapisa te kolažiranjem raznih materijala napraviti vlastiti kratki eksperimentalni film.

U programu Fubar izložbe, tijekom izložbenog dana 14. listopada, djela će biti prikazana kao dvanaestominutna sekvenca u četverosatnoj video petlji, uz središnje predstavljanje filmova i otvorenu diskusiju s voditeljima radionice i autorima filmova, s početkom u 18h.

#fubar_expo x CinEd [HR]

Autori_ce filmova:

Sunčica Škornjak: “Računalo (ne)čuva moja sjećanja”, 2024.Mak Ratković Rajhvajn: “Trip”, 2024Katarina Jelčić: “Kvartovska kugla”, 2024.Viktor Rasol: “nasumi;no”, 2024.Lovro Ivanišević: “Error 1998”, 2024.

Radionicu je vodila umjetnička roganizacija Format C, u programu koji je organizirala Udruga Bacači sjenki u sklopu projekta CinEd i filmske škole Frooom!, uz potporu Creative Europe MEDIA, Ureda za udruge RH, Grada Zagreba Ured za kulturu i civilno društvo te HAVC-a. formatc.hr/arhiv-sjecanje-glitchwww.cined.eu

Retrieved from https://fubar.space/2024/archive-memory-glitch/

TV WALL was an exhibition and a TV installation of about 20 CRT television screens, which in 2023 presented the works created during the “FLAG” artistic residency held in Karlovac in 2023.

FLAG 2023 audio and video materials presented by the installation were recorded by Dina Gligo, Denis Mikšić, Vedran Gligo and Antonio Krstić at the facilities of the Karlovac Turbine Factory under the direction of Zagreb multimedia artist Tin Dožić. Video materials were then edited with different tools (Tomato, HxD, Avidemux, KDENLive) and prepared for publication.

As part of the Fubar exhibition, during Tuesday October 15, a 20-minute one-channel installation variant with a remix of the documentation of the materials created at the FLAG artist residency will be shown.Mid-screening of the loop, starting at 6pm, the authors and organizers will make an introduction into the methods and motives of FLAG, and hold a talk with the visiting audience.

#fubar_expo × KA-MATRIX [HR]

“free-libre_art_-_glitch” program of artistic residencies is organized by KA-MATRIX – association for social development and artistic organization Format C within the framework of the New Culture_Hybrid City 023 program and the Fubar project, with the support of the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, Karlovac County , the City of Karlovac and the City of Zagreb.

filming management: Tin Dožićfilming: Dina Gligo, Tin Dožić, Denis Mikšić, Antonio Krstićaudio processing: Dina Gligo, Tin Dožić, Denis Mikšić, Bobo, Vedran Gligovideo production: Denis Mikšićaudio programming: Vedran Gligoexhibition: Denis Mikšić, Dina Gligo, Vedran Gligoproduction: KA-MATRIX and Format C

ka-matrix.hr/tv-wall-23-u-galeriji-zilik

FLAG 2023

TV WALL je bila izložba i TV instalacija od 20-ak CRT televizijskih ekrana kojom su 2023. predstavljeni radovi nastali na umjetničkoj rezidenciji “FLAG” provedenoj u Karlovcu tijekom kolovoza 2023.

“FLAG 2023” audio i video materijale predstavljene instalacijom snimali su Dina Gligo, Denis Mikšić, Vedran Gligo i Antonio Krstić u pogonima Tvornice turbina Karlovac pod vodstvom zagrebačkog multimedijskog umjetnika Tina Dožića. Video materijali potom su editirani različitim alatima (Tomato, HxD, Avidemux, KDENLive) i pripremljeni za objavljivanje.

U okviru Fubar izložbe tijekom utorka 15.10. bit će prikazivana dvadesetominutna jednokanalna verzija instalacije s remixom dokumentacije materijala nastalih na FLAG umjetničkoj rezidenciji. U 18h, upola četverosatnog loop prikazivanja materijala, autori_ce i organizatori će održati predstavljanje FLAG produkcije te razgovor s zainteresiranom publikom.

#fubar_expo × KA-MATRIX [HR]

“free-libre_art_-_glitch” program umjetničkih rezidencija organiziraju KA-MATRIX – udruga za društveni razvoj i umjetnička organizacija Format C u okviru programa Nova kultura_Hibridni grad 023. i projekta Fubar, uz potporu Zaklade Kultura nova, Ministarstva kulture i medija RH, Karlovačke županije, Grada Karlovca i Grada Zagreba.

vodstvo snimanja: Tin Dožićsnimanje: Dina Gligo, Tin Dožić, Denis Mikšić, Antonio Krstićaudio obrada: Dina Gligo, Tin Dožić, Denis Mikšić, Bobo, Vedran Gligovideo produkcija: Denis Mikšićaudio programiranje: Vedran Gligoizložbeni postav: Denis Mikšić, Dina Gligo, Vedran Gligoprodukcija: KA-MATRIX i Format C

ka-matrix.hr/tv-wall-23-u-galeriji-zilik

Retrieved from https://fubar.space/2024/flag-2023/

“空っぽの夢 [Empty Dreams]” is a compilation of works visually designed by VAL1S, and accompanied by a special selection of music. With themes ranging from nostalgia, melancholy, and otherworldly cityscapes, to fast paced hip-hop and trap, these relics capture a moment of time that would otherwise be lost in the void. The selected pieces never found a home, archived in hard-drives and hidden servers, forgotten projects. Visions fit to a screen that never really had a purpose, in an attempt to capture a fleeting moment that is otherwise forgotten, like a dream. The title reflects the idea that a dream may be nothing more than a hollow shell, but its beauty can unravel before you to show you new perspectives, most of which are forgotten, lost in time. Many of the pieces included in the compilation were highly influenced by certain dreams or visions, in an attempt to archive them on a digital screen.

As part of the Fubar exhibition, during Wednesday October 16, this work will be shown as a 42-minute loop. Starting at 6pm, the organizers will make an introduction into the work and restart the work for the visiting audience.

VAL1S [HR]

VAL1S is a visual artist born and raised in Toronto, Canada. He first started making videos about 10 years ago, raised with a passion to put visions in the mind onto a screen. Completing a degree in Electromechanical engineering and a focus on automation programming, this influence can be seen in his style of digital glitch art. The search for something new, creations out of nothing, have always been at the forefront for VAL1S. What is unseen, hidden pathways, these are the things that make life curious and guide him along his journey not only in art, but in life as well.Moving to Croatia in 2024, he has begun the search for a new essence, an inspiration for newer ideas. Travelling through Europe and meeting new people who collaborate to create a mix of real and online shows has been a new adventure, blurring the lines that we call borders and uniting over authentic expressions of art.

www.youtube.com/@VAL1SYST3M

 

“空っぽの夢 [Prazni snovi]” je kompilacija radova koje je vizualno oblikovao VAL1S, popraćena selekcijom glazbe. S temama koje variraju od nostalgije, melankolije i nezemaljskih gradskih pejzaža do brzog hip-hopa i trapa, ove relikvije bilježe trenutak vremena koji bi inače bio zauvijek izgubljen. Odabrana djela nikada nisu našla dom, arhivirana na tvrdim diskovima i skrivenim serverima, zaboravljeni projekti; vizije uklopljene u ekran koji nikada nije imao svrhu, u pokušaju hvatanja prolaznog trenutka koji se inače zaboravlja, poput sna. Naslov odražava ideju da san možda nije ništa više od šuplje ljuske, ali se njegova ljepota može razotkriti pred vama i pokazati vam nove perspektive, od kojih je većina zaboravljena i izgubljena u vremenu. Na mnoga djela uključena u kompilaciju snažno su utjecali određeni snovi ili vizije, u pokušaju arhiviranja na digitalnom ekranu.

U okviru Fubar izložbe, tijekom srijede 16. listopada, ovaj će rad biti prikazan u 42-minutnom loopu. S početkom u 18h organizatori će predstaviti djelo i pokrenuti projekciju za gostujuću publiku.

VAL1S [HR]

VAL1S je vizualni umjetnik rođen i odrastao u Torontu, Kanada. Odrastao sa strašću da svoje vizije stavi na zaslon, prvi je put počeo snimati video zapise prije otprilike 10 godina. Diplomirao je u području elektromehaničkog inženjerstva i fokusirao se na programiranje automatizacije, što informira njegov digitalni umjetnički stil. Potraga za novim i kreacijama iznova, uvijek su bile u prvom VAL1SOVOM planu. Nevidljive spone koje čine život znatiželjnim vode ga ne samo u umjetnosti, već i u životu. Preseljenjem u Hrvatsku 2024. započeo je potragu za novom esencijom i inspiracijom za nove ideje. Recentno se upustio u avanturu putovanja Europom i upoznavanja novih ljudi koji surađuju na stvaranju i miješanju stvarnih i online susreta, brišući linije koje nazivamo granicama i ujedinjujući se oko autentičnih izričaja umjetnosti.

www.youtube.com/@VAL1SYST3M

Retrieved from https://fubar.space/2024/empty-dreams/

The final Fubar 2024 multimedia collection aims to highlight and share a petite selection of our valuable regional (audio)visual glitch art contributions, as these can outline a growing hunger for experimentation in collaborative asynchronous practices, propagating different and hypercontemporary types of artistic archiving.

This collection will be shown on Thursday, Oct 17, as a 2-channel installation within the Fubar exhibition space, via a static image screen and as a 12-minute video art screening accompanied by a talk starting at 6pm.

#fubar_expo × Regional Artists [HR/RS/ME/DE]

[img]Milica Denkovic (Mila Glitch) [Serbia] – Glitched Letters [2022]Kristina Pong [Croatia] – Screensaver Digiscapes [2020]Mila Gvardiol [Serbia] – Pebbles [2024]Ana Sesto [Croatia] – CLASH [2024]Hecate [Croatia] – Strawberry Saudade [2023-2024]

[vid]Milo Masoničić [Montenegro] – Kid Forever [2024] – 05:24Jelena Bokić [Serbia] – vital spark [2019] – 04:14Agens111 [Germany] – Amazed as F111 [2024] – 02:25

fubar.space/2024/artist-list

 

Završna Fubar 2024 multimedijska kolekcija cilja istaknuti i prikazati presjek vrijednih doprinosa regionalne glitch art umjetnosti, koja ocrtava rastuće apetite za eksperimentiranjem u digitalno omogućenim asinkronim praksama, propagirajući različitost hipersuvremenih mogućnosti umjetničkog arhiviranja.

Kolekcija će biti prikazana 17. listopada u prostoru Fubar izložbe, kao dvokanalna instalacija statičnih slika te dvanaestominutna video art projekcija s diskusijom u 18h.

fubar_expo × Regionalni_e umjetnici_e [HR/RS/ME/DE]

[img]Milica Denkovic (Mila Glitch) [Serbia] – Glitched Letters [2022]Kristina Pong [Croatia] – Screensaver Digiscapes [2020]Mila Gvardiol [Serbia] – Pebbles [2024]Ana Sesto [Croatia] – CLASH [2024]Hecate [Croatia] – Strawberry Saudade [2023-2024]

[vid]Milo Masoničić [Montenegro] – Kid Forever [2024] – 05:24Jelena Bokić [Serbia] – vital spark [2019] – 04:14Agens111 [Germany] – Amazed as F111 [2024] – 02:25

fubar.space/2024/artist-list

Retrieved from https://fubar.space/2024/regional-glitch/

We invite everyone to join for a guided tour by the Fubar curators and the production team. Bring questions, your curiosity and a bit of paitence for our broken media art install.

No pre-registration is necessary but if you wish to arrange a group visit, we are available at [email protected].

After 2024, Fubar stops being an annual event and will become a biennial. See you soon online and in Zagreb in 2026!

#fubar_expo 2k24 [IRL]

Fubar (/’fu:bar/, est. 2015) is a program focused on electronic experiments and research in contemporary error-themed digital art theory and practice.

Fubar 2024 physical exhibition is available OCT 5th – 18th 2024 @ the Pogon Jedinstvo cultural venue in Zagreb (Croatia).

Following the Zagreb-based install, an online exhibition of work selected in 2024 will be available until 2025.

The participating authors list is available at: fubar.space/2024/artist-list

fubar.space/about

Zatvaranje Fubar izložbe

Pozivamo sve da nam se pridruže u vodstvu Fubar izložbom. Pripremite pitanja, aktivirajte znatiželju i pronađite strpljenje za našu instalaciju medijske umjetnosti s greškom.

Predbilježbe nisu potrebne, ali ako želite dogovoriti grupni posjet, dostupni smo na [email protected].

Nakon 2024. Fubar prestaje biti godišnja manifestacija i postaje bienalna. Vidimo se uskoro online i u Zagrebu 2026. godine!

#fubar_expo 2k24 [IRL]

Fubar (/’fu:bar/, osnovan 2015) je program usmjeren elektroničkim eksperimentima i istraživanju u suvremenoj teoriji i praksi digitalne umjetnosti s greškom.

Fubar 2024 fizička izložba dostupna je od 5. do 18. listopada 2024. @ Pogon Jedinstvo u Zagrebu (RH).

Nakon zagrebačke izložbe, djela odabrana u 2024. ostat če dostupna u formatu online izložbe, do 2025.

Popis sudjelujućih autora_ica dostupan je na stranici: fubar.space/2024/artist-list

fubar.space/about

Retrieved from https://fubar.space/2024/exhibition-finissage-pogon/

The use of a computer to create art was a radical concept in the mid-20th-Century. It raised questions about art process and creative behavior and challenged the notion of what art was or could be. This talk considers how the coding of algorithms and digital technology was used to make a surprising variety of art in the mid-1960s – 70s. Learn about the origins of digital and generative art – a rare and often overlooked example of inter‐disciplinary cooperation within the history of art.

By its very nature, early computer art was an experimental process, with many failures along the way. At a time when the finished object was less important than the process and collaboration, the pioneers of this medium were unafraid to show work in progress and were just as interested in what could be learned from errors.

Catherine Mason [UK]

Catherine Mason is an American independent art historian and writer based in the UK. She has been focused on recovering the history of computer and digital art since 2002. Her books include A Computer in the Art Room: The Origins of British Computer Arts 1950-80 (JJG: 2008 & eBook 2021) and most recently Creative Simulations: George Mallen and the Early Computer Arts Society (Springer: 2024).

http://www.catherinemason.co.uk/

Retrieved from https://fubar.space/2024/a-brief-history-of-computer-art-in-the-20th-century/

The systematic erasure of the GeoCities platform has been a topic of conversation in new media archival circles. Olia Lialina & Dragan Espenschied’s One Terabyte of Kilobyte Age project emphasizes the importance of digital folklore and folk art as part of our history. I look at the collapse of this massive platform as a failed wakeup call to all those who forget their web presence is rented space from large corporations who can remove you or your entire community when it is deemed no longer profitable. As I focus on spaces of mourning and grief on this dead platform, I am also projected into what that means for mourning spaces on new platforms. In a way, all of the internet is built on a graveyard, and there is no way to permanently archive the experience of being on these dead platforms.

By using tears to analog glitch artifacts from these lost pages, I hope to evoke a hauntological perspective on the internet’s past.

For this event, I will describe my work mining the 1 TB of data archived from Geocities for personal memorial pages. This will lead into a participatory conversation with others about their experience with loss and how the internet may positively or negatively impact that experience. Other artists and researchers purposefully avoid using these pages in their display of this archive due to the personal nature of grief and loss. Post-pandemic, I have increasingly become fascinated and more aware of how my mourning and loss rituals have been shaped by digital mediation. This occupation with death, material culture, and the internet has led to the ongoing creation of my artwork, deadWeb Lacrymatory. Through the convergence of glitched media players, a vintage CRT monitor, and a vessel containing human tears and seawater, this project seeks to unravel the layers of cultural and emotional significance embedded in the digital artifacts of the past.

Janna Ahrndt [US]

Janna Ahrndt (She/They) received her MFA in Electronic and Time- Based Art from Purdue University in 2019. Janna is currently a resident of Windham, Maine. Their work explores how deconstructing everyday technologies, or even designing them yourself, can question larger oppressive systems and create a space for participatory action.

https://jannaahrndt.com

Retrieved from https://fubar.space/2024/discussing-archives-of-digital-mourning-deadweb-lacrymatory/

Fubar 2024 travels to Taipei Taiwan to visit jonCates’ Glitch Art Gallery at 藝術宮 Artgong in 龍山文創基地 Longshan Cultural & Creative Base. During the month of November, Fubar’s exhibition appears on screens for this physical co-location of Digital Art. This exchange continues the longstanding collaborations between jonCates and Fubar Glitch Art Festival, further expanding international communities of Glitch Art. 

November 1 – 30 2024, every Tuesday – Sunday 11 AM – 7 PM

Glitch Art Gallery with 藝術宮 Artgong, at 龍山文創基地 Longshan Cultural & Creative Base

http://glitchart.gallery 

https://www.facebook.com/artgong.tw

https://longshan-b2.taipei

Glitch Art Gallery is an independent organization based in the sovereign nation of Taiwan. Recent shows include group and solo exhibitions by hAyDiRoKeT, Wondermundo, and Tai Mei 台妹. Founder jonCates is widely recognized as a Glitch Art ‘pioneer.’ Cates teaches, curates, and creates Glitch Art since the 1990s.

http://glitchart.gallery 

http://glitch.school 

http://joncates.com

Retrieved from https://fubar.space/2024/fubar-expo-taipei/

All art is political. The art movements created by each generation are a result of global circumstances and societal ills they witnessed. Glitch art and other forms of new media are no different, in that they respond to and reject a specific set of modern cultural norms. In this presentation, we’ll discuss the ways digital corruption media follows a long lineage of artists manifesting their disdain for the world around them. The more things change, the more they stay the same.

The sense of governmental control over digital technology (surveillance states, etc) has created art forms like glitch art that wish to destroy electronic information, thereby directly conflicting with the wish to archive these moments as art objects. Is it inherently wrong to archive something that strongly disagrees with and critiques the over-saturation of digital footage and thus its loss of meaning in our societies?

Anna Christine Sands [US]

Anna Christine Sands was born in the American Midwest to an early pioneer in the world of personal computing. She quickly grew into her father’s interest in digital imaging and computing. Like most children born in the early 1990s, Sands grew up alongside the Internet itself, forming a sort of symbiotic relationship with the World Wide Web. This connection to cyberspace eventually deepened and developed into a studio practice examining art in the post-digital, post-Internet world.

Sands graduated from the Art Academy of Cincinnati with a BFA in Photography in 2016, and the School of the Art Institute of Chicago with an MFA in Art and Technology in 2021. She currently serves as an Assistant Professor & Interim Head of Digital Arts Animation at the Art Academy of Cincinnati. Her work has been a part of festivals such as Ars Electronica, The Wrong Biennial and the Miami New Media Festival. She has also exhibited four times in the longest-running annual glitch art exhibition, /’fu:bar/.

http://annachristinesands.com

Retrieved from https://fubar.space/2024/how-did-we-get-here-understanding-the-fertile-ground-that-created-glitch-art/

Loïs Soleil’s cyber-performance, titled “digital diary,” involves the artist interacting with various browser tabs like a DJ or web jockey, using her computer’s tools to create an introduction to her artistic practice. The artist blends various elements such as an “un-creative writing” compilation of Tinder bios, lip-syncing, live writing, self-portraits, GIFs, poetry, “a choir of selves” and other internet performances.

‘Digital diary’ is a cyber-performance that embodies the chaos and fragmentation of the digital age. By juggling multiple browser tabs like a DJ, I embrace the inevitable glitches, distractions, and overlaps that occur when performing live through the web. The performance pulls together “un-creative writing” from Tinder bios, read through Text to Speech, trained in French with my own voice but forced to glitch into English. In this assemblage my identity becomes a collection of digital artifacts, embracing the notion that failure—whether through technical hiccups, shallow online interactions, or fractured self-representation —is central to the digital experience. This performance uses code, my desktop and keyboard shortcuts as an instrument, to experimentally travel through glitching, webcam blurriness, laptop fetishism and gifs noisy images.

Loïs Soleil [BE]

Through digital art, performance, installation, poetry and sound, Loïs Soleil’s artistic practice aims to bridge the emotional and the political by posing intersectional cyber/techno-feminist questions.

Loïs Soleil’s work confronts the everyday sexist structures of the web, its biais algorithms, codes, culture and languages. It explores the relationships between vulnerability, pop culture, voyeurism and desire; often employing self-portraits, internet performances, and poetry to illustrate a female gaze through which sexuality, love, vulnerability and empowerment can be expressed. From the leitmotif of the bedroom, to relationships, everyday rituals and post-dentity writing, the artist’s work is autobiographically direct, raw and emotionally vulnerable in its hyper intimacy. For Loïs Soleil, the personal is political, the private is political.

https://loissoleil.com

Retrieved from https://fubar.space/2024/digital-diary/

Decades ago, the popularization of computers gave us a new way of thinking about visual music. For the first time, John Whitney’s vision of having “a fine art for eye and ear” seemed possible, at least technically. Computers would have enabled us to create a direct indexical relationship between image and sound (as opposed to indirect, such as audio-reactiveness). Although the idea of a direct, unmediated relationship between image and sound has given way to other, more symbolic forms of music visualization, databending as a method/technique has proven that this relationship is inherent to digital files.

In this talk/demo, I introduce and demonstrate a technique called datafolding. This technique, derived from databending and the product of explorations of the common mathematical patterns between the visual and aural representations of the raw data, attempts to make it possible for creators to “draw” sound artifacts and to “compose” image artifacts.

Ernesto Peña [CA]

I am a designer, researcher and educator. I am an associate teaching professor of design at the College of Art, Media and Design, Northeastern University, Vancouver Campus. My research interests include the glitch as a pedagogical tool and transmediation, with a particular interest in emergent phenomena from raw data transmediation.

https://archive.org/details/datafold

Retrieved from https://fubar.space/2024/datafolding-pattern-based-databending/

• 0001 – Mazin [Turkey] – Celestica Dual Core [2023]
• 0002 – Geist [United Kingdom] – Free Limit Reached [2024]
• 0003 – Apofenica [Brazil] – Corrupted feelings [2024]
• 0004 – MMIX (Rust MacCarthy + L Faunt) [USA] – Sexy Robot Noises 2.0 [2021]
• 0005 – Milo Masoničić [Montenegro] – Kid Forever [2024]
• 0006 – Milica Denkovic (Mila Glitch) [Serbia] – Glitched Letters [2022]
• 0007 – scwfilms [United States] – Feels Glitched Man [2024]
• 0008 – entroplay [USA] – Oscillonet [2023]
• 0009 – Henrique Cartaxo [Brazil] – How to walk around and be perceived as normal [2024]
• 0010 – Bppchourmo [Italia] – From the darkness [2024]
• 0011 – Michael Betancourt [US] – Mnemonic Fields [2024]
• 0012 – Tianmin [United Kingdom] – Brain Fryer [2024]
• 0013 – tokyo_nomad_ [Japan] – A Lifetime Compressed (Failure in Real-time) [2024]
• 0016 – Zsolt Gyenes [Hungary] – Lux Or [2024]
• 0017 – Daria Gnatchenko [France] – Muscae volitantes [2024]
• 0018 – joana.art [UK] – web choreographies & other stories [2021-2023]
• 0019 – no one [Italy] – Mind Overload – Body Disconnected III [2024]
• 0020 – Toxic Motel x Pemuda Sinarmas [Indonesia] – Hayalan dan Luka – Toxic Motel and Pemuda Sinarmas (Music Video) [2023]
• 0021 – Wes Modes [United States] – DriftConditions [2024]
• 0022 – Ashkan [Iran] – Unclear Sideway [2024]
• 0023 – Nick Briz [United States] – the Tactical Misuse Manifesto [2024]
• 0025 – Lucas Wilm [Brazil] – Musiquinha de cunete [2024]
• 0026 – vnc.ptk [United Kingdom] – Entfremdung [2019-2020]
• 0027 – Datura [france] – Formation. 0918 [2024]
• 0028 – APIACOAB [France] – [LOST CONTROL] [2024]
• 0029 – CERULEAN STOICISM [Germany] – Notre Dame Demon, 2019 [2024]
• 0030 – Bob Georgeson [Australia] – Poem for the Dead [2024]
• 0031 – mathr [United Kingdom] – Self-portrait with a broken PowerShot A80 [2024]
• 0033 – Kristina Pong [Croatia] – Screensaver Digiscapes [2020]
• 0034 – mother_woolf [Ireland] – rebis-in-situ [2024]
• 0035 – Luis Angel Lacombe [Spain] – I’m bugged my computer exploded [2 weeks]
• 0036 – 0xDEFACEDD [Australia] – untitled [2024]
• 0037 – StylelessKnave [United States] – Trevi [2024]
• 0038 – Desmond Clarke [United Kingdom] – landscape4frame_broken.but.good.py [2022]
• 0039 – Petra [México] – Step by Step [2024]
• 0040 – Zoen Calega [Argentina] – GEN IV [1 month]
• 0041 – Giuseppe Torre [Ireland] – The “No” core-(f)utility [2021]
• 0042 – joisujoisu [Netherlands] – glitch.walks.04.18 [2024]
• 0043 – Paul Beaudoin [Estonia] – afterglow [2023]
• 0044 – visual.baker [United States] – Machine Payback [2020]
• 0046 – 409 [Mexico City] – Bees r dying [2024]
• 0047 – Daeinc [USA] – Loop [2022]
• 0048 – crash-stop [Ireland] – Words words words [2024]
• 0049 – Kurtinecz [United States] – Uncalibrated [2024]
• 0050 – Ivan Netkachev [Georgia] – Theses on a Procedural Essay [2024]
• 0052 – Allison Tanenhaus + André Obin [US] – Refuse to Surrender [2024]
• 0053 – ESTELLE FLORES [Brasil] – Explaining-Showing-Doing Series [2024]
• 0054 – Francesco Seren Rosso [Italy] – Lighthouse [2024]
• 0055 – Shane Mecklenburger [USA] – Soul Sacrifice [2024]
• 0056 – szamøca [Hungary] – 1991 []erroneous prints //rescan [2023-2024]
• 0057 – eva.Z! [Taiwan] – a pristine and clean world [2024]
• 0058 – elle thorkveld [USA] – We Are Dancing [2024]
• 0059 – IVAN HUGO DE CARVALHO CERQUEIRA [Brasil] – glitch soul for virtual body.GLB [august 2024]
• 0060 – Josh Brown [Ireland] – Memento Mori [2024]
• 0061 – Des Pirinsesa [Philippines] – Static Interface in the Estrangements of Origins [1]
• 0062 – Glitchy Pixels [Cyprus] – Procrastination [2023]
• 0063 – Toastfang [Taiwan] – Freedom of conscience [2024]
• 0064 – Matteo Campulla [Italia] – THAT FEELING [2024]
• 0065 – Sue Su Su [Taiwan] – ID [2024]
• 0066 – José Irion Neto [Brasil] – PGF Glitch Portraits [2024]
• 0067 – ageFreezer [Taiwan] – Future World [2024]
• 0068 – Jelena Bokić [Serbia] – vital spark [2019.]
• 0070 – AK Ocol [Philippines] – ghost no.7_(linger) [2023]
• 0071 – Reptyle [France] – compliant_identity [2024]
• 0072 – jphm4900 [Colombia] – 𝙞𝙣 𝙢𝙮 𝙛𝙡𝙤𝙥 𝙚𝙧𝙖 [2024]
• 0073 – paranthre [Slovakia] – A Path They Didn’t Choose [2024]
• 0074 – VAL1S [Croatia] – 空っぽの夢 [Empty Dreams] [2023-2024]
• 0075 – Sabato Visconti [USA] – Deluxe Paint IV Glitches [2023-2024]
• 0076 – Mila Gvardiol [Serbia] – Pebbles [2024.]
• 0077 – g1ft3d [Guatemala] – Glitch Paca [2024]
• 0079 – Ana Sesto [Croatia] – CLASH [2024]
• 0080 – Chanel Pepino [Philippines] – Time Loop [0.5]
• 0081 – Andreia Matos [Portugal] – on Outputs, fragments, reflections: interrupted [2024]
• 0082 – Jessica Tucker [USA/Netherlands] – cycles (I) [2024]
• 0083 – jonCates [USA] – RGBMTLRMX [2024]
• 0084 – Roopesh Sitharan [Malaysia] – Melatah [2024]
• 0085 – Anna Christine Sands [USA] – There Never Was [2024]
• 0087 – Daria Ivans [Russia] – unfully_recovered [2024]
• 0088 – John Bumstead [United States] – Untitled 1-3 [2024]
• 0089 – Anatoly Grashchenko [Russia/Germany] – Inter Sections [2024]
• 0090 – WomanNFT [USA] – Sacred Transcendence [2024]
• 0091 – Charlotte Lengersdorf [Germany] – Ephemeral Typing [2024]
• 0092 – toastfang [Taiwan] – Dancing a-ma [2024]
• 0093 – Liminalmadness [Russia] – CShading_Alpha[0001-0300] [2024]
• 0094 – xkprx [Polska] – Robot Fairy Tales [2023-2024]
• 0095 – Tristan Calvo-Studdy [United States] – TEXT DEGRADATION [2024]
• 0096 – Javier Galán [Spain] – Lost Files [2024]
• 0097 – #FFFF00 [Taiwan] – Golden Days [2024]
• 0098 – Chris Combs [USA] – Unmoored [2022]
• 0099 – Mursigner [Russia] – Chaotic Constructs [2024]
• 0100 – Alice Falco [Italy] – The Sound of a Tree [2023]
• 0102 – Polinsiaga [Russia] – mental kink [2024]
• 0103 – Micah Alhadeff [United States] – Thorns [2024]
• 0104 – LI{A}ON [Thailand] – HURT | HOPE | HEAL [2021 Till Now]
• 0105 – Eyal Gruss [Israel] – LordTubeMaster [2024]
• 0106 – nemesis_fortuna [Germany] – RAW_DATAROT.bg [2023-2024]
• 0107 – Fangs [Mexico] – BERRAZANO THOUGHTS [2024]
• 0108 – Iqra Iqbal [Pakistan] – Cosine Circuit [2024]
• 0109 – inv4r3d [Russia] – Harmony of Change [2024]
• 0110 – Dan Hutchinson [United States] – in/content [2024]
• 0111 – yShin [Taiwan] – yShin_PD [2022-2024]
• 0112 – Rachel Efruss [USA] – Noise Study 02 [2024]
• 0113 – Hecate [Croatia] – Strawberry Saudade [2023-2024]
• 0114 – Ѧ [Hungary] – VUVU [2022-24]
• 0115 – Mark Klink [USA] – Heads-Wireframe [2024]
• 0116 – Robin Moedder [Germany] – YELLOW MISTAKEN [2024]
• 0117 – Agens111 [Germany] – Amazed as F111 [2024]
• 0118 – Medi S. (Spiegelberg) [Switzerland] – xerox message 202409 [2024]
• 0119 – Patrick Lichty [United States] – Personal Taxonomy [2019-]
• 0120 – Aaron J Juarez [USA] – Let the Tears Fall Again [2016, 2024]
• 0121 – Anna Alexanina [France] – our aim is wakefullness our enemy is dreamless sleep [2024]
• 0122 – terrafold_ [Budapest, Hungary] – Chromatic Shatter 01 & 02 [2024]
• 0123 – niky [USA] – outSide [2024]
• 0124 – Gahon C. [台灣] – 「山水・樹的Ｘ光片」 X-ray Captures on ‘THE threes’ [2024]
• 0125 – FLAG [HR] – TTK2023 [2023]
• 0126 – Sunčica Škornjak [HR] – Računalo (ne)čuva moja sjećanja [2024]
• 0127 – Mak Ratković Rajhvajn [HR] – Trip [2024]
• 0128 – Katarina Jelčić [HR] – Kvartovska kugla [2024]
• 0129 – Viktor Rasol [HR] – nasumi;no [2024]
• 0130 – Lovro Ivanišević [HR] – Error 1998 [2024]

↑ 0001 – Mazin [Turkey] – Celestica Dual Core [2023]

Abstract artwork made by databending. Compressed digital file databended with script and corrupted image post-processed with another glitch script. Final form randomly reordered using Processing // 2350 x 3200 Pixels (59.7 x 81.3 cm)// 5.04 MB (5,281,476 Bytes) // PNG //

Mazin [Turkey]

Mazin is an experimental glitch artist and databender. He explores new forms of glitch art and combining with new technologies. Mazin worked on various digital art and glitch techniques during his art journey. His majors include databending, ROM corruption, creative coding, analog glitch, generative art, 3D design, art design with vintage softwares, style transfer and AI art.

↑ 0002 – Geist [United Kingdom] – Free Limit Reached [2024]

This piece reflects upon how information is being increasingly paywalled and how much this could become invasive in the future where our own minds are paywalled. Several abstract assets were produced with generative AI (which had already added errors and corruptions due to the unreliability of genAI) before being inserted into GIMP. They were then strategically layered with sections being erased to add to the jaggedness of it. This was then further corrupted using G’MIC-Qt, a plugin for GIMP with many glitch art techniques. A dialog box was added using several text and shape layers.

Geist [United Kingdom]

Geist is a self-taught graphic designer of 20 years who has recently turned to the realms of new media. He has delved in generative AI and glitch art for numerous months now. Geist’s work has been described as “chaos and confusion”, “a love letter to glitchy nightmares” and “being in someone’s brain and refusing to leave”. Geist also runs a bimonthly zine, ALT:VISION, to help promote new media artists and provide useful techniques.

↑ 0003 – Apofenica [Brazil] – Corrupted feelings [2024]

The series “Flores Feia” explores artist Apofenica’s research into her poetics with Glitch art. The first piece, titled “Essas Flores Bugou D++”, exemplifies the corruption of data in an image unintentionally, resulting from a malfunction in Photoshop software. Researcher Iman Morandi describes this type of result as “a non-premeditated digital artifact that may or may not have its own aesthetic merits” (Moradi, 2004, p. 9-10).

The second work, “Corrupted Feeling”, consists of a glitch intervention in poorly executed image cutouts. It is possible to observe that the image is overlaid on a white background and has various smudges around the flowers, giving the impression that the object was poorly made.

Apofenica [Brazil]

Jeane Vitória (1998) is a Visual Artist from Ribeirão Preto (SP), Brazil, and presents herself through her persona, Apofenica. An enthusiast of dystopian themes, she draws her main references from artistic movements such as Glitch, Cyberart, and Neu Grunge. In her recent works, she explores the poetics of dreams, considering how they can be a means of sublimating suffering and inner chaos, transforming into tangible forms of art.

Her research is grounded in the term that gives rise to her artistic name: apophenia, a cognitive phenomenon related to the human tendency to perceive patterns or meanings in random data (Conrad, K., 1959). It is in this process that she finds meaning and patterns in fragmented experiences, transforming perceptions into visual narratives that challenge the boundaries between the conscious and the unconscious. “Each pixel carries a part of my emotional journey, and a bit of chaos,” says Apofenica.

↑ 0004 – MMIX (Rust MacCarthy + L Faunt) [USA] – Sexy Robot Noises 2.0 [2021]

Since our collaboration began, we have made a lot of dance videos, as that is part of L’s artistic training. While Rust has been a glitch artist since 2011, this was a rare instance of not creating the glitches on purpose. This appears to be a codec error and causes a non-play issue on Apple machines but beautiful pixels when playing from Dropbox.

MMIX (Rust MacCarthy + L Faunt) [USA]

As MMIX, we create photography-based images/video that represent the tension between natural themes and digital technology. Our collaborative work has its pillars in the misrepresentation of reality, malfunctioning tech, the vulnerable oddness of existence, and allowing a respectful space for the darker aspects of the self. Our art manifests as glitches/manipulations of our original photography. Despite the digital nature of our finished images, we do not utilize A.I. or Photoshop in our creation process, preferring to use our phones as a tactile method for distortion and controlled chaos.

↑ 0005 – Milo Masoničić [Montenegro] – Kid Forever [2024]

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 [Montenegro]

Milo Masonicic 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 couple of experimental short movies.

↑ 0006 – Milica Denkovic (Mila Glitch) [Serbia] – Glitched Letters [2022]

The archive of punk letters from one member of the editorial of the fanzine Tri Drugara from Novi Sad (Serbia). The letters were photographed with a DSLR camera as JPG images to be stored as a digital archive on the external disc. Upon copying the backup copy to another external disc this glitch happened.

I used the glitched letters jpg files to make a short film. It has an interesting texture, because of the randomness of the black space created by the glitch which censored part of the letters. It also created a vivid visual rhythm. For the music, I used an audio spectrogram player to transfer one JPG image to sound which is then used as a background sound for this video.

Milica Denkovic (Mila Glitch) [Serbia]

Milica Denković

Finished MA in New Media Arts at the Academy of Arts Novi Sad (Serbia). Member of the Artists Association of Vojvodina. Exhibited in the country and abroad in solo and group exhibitions. From 2018. – 2022. collaborated as an independent artist with the Swedish cultural organization Kultivera (Tranas) on international art projects, workshops, exhibitions, and Tranas at the Fringe festival. In 2021. -2022. her video work Astronaut was officially selected for 25 video and film festivals worldwide. Active also as a slam poetess.

↑ 0007 – scwfilms [United States] – Feels Glitched Man [2024]

FEELS GLITCHED MAN is a recursive bitcoin ordinal NFT that consists of a PEPE THE FROG IMAGE that glitches in real time based on recursive javascript and GLSL code. It was first shown in the PEPE IN BALI exhibition a part of Coinfestasia, Asia’s largest crypto conference.

scwfilms [United States]

Steven Wallace is an artist living in Los Angeles His work has been seen in galleries and exhibitions throughout the United States, Europe, and Asia as well as in the metaverse as a featured artist during Decentraland Art Week, on the Monograma x SuperRare Space, in the Rug Radio x Superchief Gallery in New York City, in the Idolwild Gallery in Los Angeles, at the /’fu:bar/ expo in Croatia, and as a featured artist at NFT NYC and at the Coinfestasia cypto conference.

↑ 0008 – entroplay [USA] – Oscillonet [2023]

Oscillonet features a Tektronix 465B analog oscilloscope that has been hacked to serve as a functional web browser. As one navigates the web, they are able to literally listen to what the internet sounds like and view it as a dynamic waveform within the scope’s screen.

entroplay [USA]

Armon Naeini is a multimedia artist, creative technologist, and educator. His work navigates the paradox of embodiment and dissociation through the augmentation and externalization of self-image. Armon produces interactive installations, AR/XR experiences, real-time graphics, and experimental software to explore themes of entropy and meta-awareness.

↑ 0009 – Henrique Cartaxo [Brazil] – How to walk around and be perceived as normal [2024]

A quick life tutorial.

Video with sound. 2560x1440p, 1m40s.

Sampling video images from: “Ways to Strength and Beauty”, 1925 – Director Wilhelm Prager / Several performers. “Solo”, 1960 – Video producers EAT, B. Schultz Lundestam, Billy Klüver & Julie Martin /Choreographer Deborah Hay “Film with three dancers”, 1970 – Director Ed Emshwiller / Choreographer Carolyn Carlson. “The Mind is a Muscle”, 1978 – Director Robert Alexander / Choreographer Yvonne Rainer. “Break”, 2009 – Ballet de Lorraine / Choreographer Meredith Monk.

Text created with Chat GPT. Voice over generated by Free Text to Speech Online TTSMaker.

Henrique Cartaxo [Brazil]

Henrique Cartaxo – Multidisciplinary video artist, experimental documentarist and film editor from Brazil. Henrique has had film editing works presented in competition in festivals such as Cannes, Sundance and Clermont-Ferrand. As a director, he ventures into autobiographical documentary and videoart, with films exhibited at festivals such as DocLisboa, True/False, Fubar, MUFF Marseille and Kabayitos Microcinema, NYC.

↑ 0010 – Bppchourmo [Italia] – From the darkness [2024]

Glitch and pixelsorting art

Bppchourmo [Italia]

Glitch artist from 10 Years, born in Monza, has collaborare with Interpol band

↑ 0011 – Michael Betancourt [US] – Mnemonic Fields [2024]

Mnemonic Fields is an animation of generative glitches made by AI (LoRA) models interacting to cancel each other’s work. Each individual AImaglitch serves as a keyframe in an animorph that flows across the screen. This transformative process evokes the continuity of time, organized into discrete moments that begin with the inchoate experiences of childhood. The hallucinatory imagery emergent throughout this movie reflect the viewer’s own desires for coherence and comprehension as they confront the world.

Michael Betancourt [US]

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his pioneering work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of “Glitch Art,” he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. His movies and statics made from “glitched” images have shown internationally at a wide range of galleries, museums, and art fairs, as well as film festivals, including the Tate Modern, Art Basel Miami Beach, Contemporary Art Ruhr, the Museum of Contemporary Art (Miami), the Bass Museum of Art, the Painted Bride Art Center (Philadelphia), the Black Maria Film Festival, the Ann Arbor Film Festival, Athens Video Art Festival, Festival des Cinemas Differents et Experimentaux de Paris, Anthology Film Archives, Millennium Film Workshop, the San Francisco Cinematheque’s Crossroads, and Experiments in Cinema, among

↑ 0012 – Tianmin [United Kingdom] – Brain Fryer [2024]

Brian Fryer is a digital moving image produced by coding and 3D modelling. It is a project discussing how our minds are overloaded with massive information in the era of big data. Getting inspiration from McKenzie Wark’s term ‘brain fryer’. Using the pixel data from a film about physical junk mail to ‘fry’ a 3D model of a brain, distortion of visuals and transferring pixel data into frequency for audio.

Tianmin [United Kingdom]

Tianmin Cen is a London base new media artist who is interested in creative codings. By using the skill of coding, he is interested in repurposing data, glitch art and data moshing to express his viewpoint about the connection between technology and internet communication in the era of big data.

With the exploration of coding during his study in RCA, he found his experimental practice to rep-using image data to generate audio or using the data to modify visuals. With the exploration of methodology, he explores more on the sound design with collaboration project.

↑ 0013 – tokyo_nomad_ [Japan] – A Lifetime Compressed (Failure in Real-time) [2024]

Days gone, we’d keep our photos in a box along with other important keepsakes. Or in a nice, faux leather album with the big rings. They used to say the first thing you’d rescue from a fire would be your photo albums (kids & pets not withstanding). And why wouldn’t you? These are your treasured memories of all those milestone moments. We kept them safe and secure, and handled them with care.

These are relics of the past. Nowadays, we upload our precious memories to social media, where they’re saved to the cloud; vast banks of servers holding the collective memories of millions. When we run out of storage, we delete them to free up space so we can document a new set of memories. And we can do so freely, safe in the knowledge that Mark Zuckerberg or Elon Musk can be entrusted to take good care of our most prized photos.

Your 15 year-old photo of your beloved childhood pet has been squashed, bent, stretched, folded, squeezed and mushed to fit into the most efficient space possible

tokyo_nomad_ [Japan]

tokyo_nomad_ is a glitch artist based in Tokyo. Originally from the UK, he traded the decaying factories and industry of Manchester for the neon lights and wonder of Tokyo. In an age where machines progressively become more human, and humankind deteriorates into an increasingly cold, programmed, solitary routine, tokyo_nomad_ explores the boundary where the biological and artificial meet. He mainly works using photo manipulation techniques; mixing databending, file corruption, processing scripts as well as good old fashioned photo editing.

↑ 0016 – Zsolt Gyenes [Hungary] – Lux Or [2024]

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 [Hungary]

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.

↑ 0017 – Daria Gnatchenko [France] – Muscae volitantes [2024]

This is a video essay about trying to understand what goes on in my country house when I’m not there. For this purpose, I use footage from CCTV cameras, with the help of which I try to “sneak” inside the house and see what is there. The house does not let me inside – the CCTV footage is gradually distorted, changing colors, overlapping, etc.

Falling asleep and singing a lullaby is an important theme in the work. With the help of video surveillance I want to trace the moment of the end of the day and what happens after nightfall.

Daria Gnatchenko [France]

Daria Gnatchenko (2003) was born and works in Moscow. Her major is Contemporary Art (Université Paris 8). Daria works most of all with digital media (photography, video and 3D-graphics). In her works she is interested in themes of ecology, connecting with nature and “hacking” the habitual determination of man in the world. In recent works, this is expressed in the cross-cutting theme of “uniting” any two phenomena: people, nature, animals, etc. Daria’s practice employs themes of harmonious coexistence of different things in a person (for example, issues of genderfluidity or the search for one’s identity). Daria unites all these aspects with the theme of loneliness, which is not only seen as something painful, but as a natural state of human beings in which they need to learn to exist. Daria’s method of working is to dive deeply into the theme and conduct a research, on which she later strings the visual component of the works.

↑ 0018 – joana.art [UK] – web choreographies & other stories [2021-2023]

This collection of animated gifs that gather screenshots of popular webpages modified using code. The code is seen as a choreography, a sequence of algorithmic steps that trigger movement and glitches creating new aesthetic experiences of seemingly static environments.

joana.art [UK]

Joana Chicau is a designer and researcher — with a background in dance. Her live coding performances interweave web programming with choreography. She performs worldwide in art and tech spaces, festivals, both solo and in collaboration. She organises community run events involving collaborative algorithmic improvisation and work on digital equity and activism.

↑ 0019 – no one [Italy] – Mind Overload – Body Disconnected III [2024]

Mind Overload – Body Disconnected III from no one is the last serie in its trilogy that explores the dynamics between the self and the surrounding environment, where there is no limit between individual and place. It illustrates the moment where the mind, overloaded and confused, no longer responds to an introspective limit and takes over the perception of what is around it, mixing the background with the idea of the self on different levels of reality. Both lose their identity, their shape and begin to assume a new one, including various facets and moments distinct from each other.

no one [Italy]

no one, pseudonym of Nadia Hadie Oubari, works and lives in Milan. She studied Sculpture at the Academy of Fine Arts of Brera and has a master’s degree in Computer Graphics at Big Rock. She has exhibited her works in many places of the Milanese cultural underground scene and has taken part in some collectives that promote events for cultural exchange in her home city. To name some of the exhibition places: Iperspazio; Cox18; La Redazione […]; To name the event organization collectives: Pagan Storm; Funk Soul Brothers; Dream Big Prod.

↑ 0020 – Toxic Motel x Pemuda Sinarmas [Indonesia] – Hayalan dan Luka – Toxic Motel and Pemuda Sinarmas (Music Video) [2023]

The “Hayalan dan Luka” (Dreams and Wounds) music video explores themes of longing and emotional scars through glitch art. Visual distortions, broken frames, and digital noise mirror the chaos of inner turmoil, symbolizing the fragmented nature of dreams and pain. The intentional use of “errors” in the video aligns with glitch art’s embrace of imperfection, while disjointed yet cohesive visuals and sounds evoke instability. This connection reflects how beauty can emerge from chaos, underscoring the unfiltered expression of wounds in both art and emotion.

Toxic Motel x Pemuda Sinarmas [Indonesia]

Toxic motel is a multidisciplinary artist, born and raised in jakarta, whose visual work merges the vibrant aesthetics of psychedelia, surrealism, and digital glitch. Known for boundary-pushing creativity, his acrylic paintings are a blend of bold colors, dreamlike imagery, and fragmented digital distortions. Toxic motel’s art challenges perceptions and explores the complexities of the human mind, offering viewers an immersive visual experience Little bit of Toxic Motel that disrupts conventional norms.

In this particular project, he collaborates with a cassette jockey from Jakarta, named Pemuda Sinarmas.

↑ 0021 – Wes Modes [United States] – DriftConditions [2024]

The submitted audio files are extracted from an ongoing, procedurally generated audio stream. Each recording captures a fleeting moment of a larger, ever-evolving sonic landscape that blends ambient sounds, fragmented stories, and crosstalk. These clips, created through a mix of user-contributed content and algorithmic precision, will never be heard the same way again, reflecting the serendipity and unpredictability of late-night radio tuning. The soundscapes emerge dynamically from a continuously shifting set of parameters, ensuring that each listening experience is unique.

Wes Modes [United States]

In the depths of night, an uncanny symphony emerges—a blend of static, whispers, and forgotten melodies. Generated on the fly by code, this stream captures the serendipity of late-night tuning, inviting listeners to explore soundscapes where chance forms haunting harmonies. Each listen is an unexpected journey through a mysterious, ever-evolving tapestry of sound.

DriftConditions was 15 years in the making, inspired by an accidental sound collage I heard one night while driving home from my late-night radio show. Between stations, I caught a mix of sermon, newscast, and static. That moment made me wonder: could I recreate this serendipity with code? Now, DriftConditions is fully procedurally generated, blending story, music, and sound to capture the unpredictability and magic of that experience, crafted entirely by chance and intention.

↑ 0022 – Ashkan [Iran] – Unclear Sideway [2024]

The video wants to show organic growth that eventually leads to something better. with or without errors. the visual uses feedback and by caching the previous frames creates new lines. with this, newly generated shapes will have more detail on them. and also, every move including the glitches, affects the shapes, lines, and their detail. I see a growth in it with ever-happening moves.

Ashkan [Iran]

In 1998 Ashkan was born in Tehran. He studied architecture at the University of Mazandaran. In these years he understood his interest in two sides art and technology. It was because of his experience with computational design and creating organic architecture concepts. after graduation, he worked for a couple of architecture studios. alongside he tended to learn several ways to do creative works in digital art. but after approximately one year, started his journey into the new media art field. he found new media art as a pure interest because it fulfills two sides of art and technology.

↑ 0023 – Nick Briz [United States] – the Tactical Misuse Manifesto [2024]

in 2017 i started giving presentations on an approach i take to making work, a practice i started calling Tactical Misuse. A combination of techniques + perspectives from the diff tech/art (hacker, glitch art, net art) communities i’ve been a part of. shortly after i started documenting this practice to encourage others to do the same. Tactical Misuse has evolved into a specific set of creative/experimental ways of using the browser to engage w/online platforms in a manner that undermines the exploitative algorithms + dark patterns designed by the data barons of surveillance capitalism (SC)

submitted here is the most recent piece from that project, the Tactical Misuse Manifesto: a new + brief + interactive introduction to the practice. a browser add-on (code/script) that dynamically creates live aesthetic/political interventions on any number of SC sites u visit on ur browser (interactive/generative art), a call to action which also teaches u how to hack these sites (text/tutorial)

Nick Briz [United States]

Nick Briz is an internationally recognized new-media artist, educator and organizer. His work investigates the promises and perils of living in an increasingly digital and networked world. He is an active participant in various online communities and conversations including glitch art, net art, remix culture, digital literacy, hacktivism and digital rights. He’s an Assistant Instructional Professor in the Media Art and Design program at the University of Chicago. He’s also a freelance creative technologist and co-founder of netizen.org a nonprofit focused on digital literacy and digital culture.

↑ 0025 – Lucas Wilm [Brazil] – Musiquinha de cunete [2024]

“Musiquinha de cunete” is a glitch art piece that challenges the notion of authenticity in digital images. By employing the datamoshing technique on self-portraits, the artwork intentionally corrupts data, exposing the fragility of digital representation. This process also raises questions about privacy in an age dominated by digital surveillance and the culture of sharing. The translated title, “Anilingus Little Song,” doesn’t have a direct meaning but aligns with a concept where captions on social media posts can be devoid of significance. This playful and provocative title further emphasizes the artwork’s exploration of digital manipulation and the blurred lines between the personal and the public.

Lucas Wilm [Brazil]

Born in Belém, capital of Pará, Brazil, Lucas Wilm is a visual artist currently living and working in Marabá. He has participated in several group exhibitions, including “Ponto a Ponto” (2024), “Pontal – Atelier Comunitário” (2023), and “Esquema de Artifício” (2022). Lucas’s work was also selected for the International Online Exhibition GLITCH.ART.BR (2023). He holds a bachelor’s degree in Social Communication with an emphasis on Advertising from the Universidade da Amazônia (Unama, 2013). Currently, he is pursuing a degree in Visual Arts at the Universidade Federal do Sul e Sudeste do Pará (Unifesspa, admitted in 2019). He was previously a scholarship recipient of the Programa Institucional de Bolsa de Iniciação à Docência (PIBID) from 2020 to 2022. Additionally, Lucas held a scholarship in the Scientific Initiation Program Projeto Confins (Unifesspa / Ufpel / Unp-Argentina) in 2024. Currently, Lucas is an active member of the Media Lab/Unifesspa Research Group.

↑ 0026 – vnc.ptk [United Kingdom] – Entfremdung [2019-2020]

“Entfremdung” – Alienation in German.

Drawing inspiration from the Dadaist aim of challenging conventional concepts of art through the use of ready-made artworks, this glitch video art piece examines the chaotic beauty of digital degradation. Downloading vintage video’s and royalty-free material I imported them into Audacity, a popular sound editing program, and the files were purposefully corrupted. By uploading the video as waveform and applying distortion effects the result is a disjointed and warped video with recognizable imagery that vanishes into abstraction. This video suggests themes of alienation the transience of digital reality and the overconsumption of humanity. The work explores the conflict between order and chaos, creation and decay.

vnc.ptk [United Kingdom]

Born in 1994 in Genova, Italy to two Ukrainian immigrants. Veronica has found herself attracted to the world of art from an early age. interested in music, painting, sculpture, drawing, and in recent years; digital media. ​In 2017 she moved to Aberdeen in Scotland and started studying at Gray’s School of Art in the contemporary art practice course. She started specialising in video, digital art, and installations. Her passion for sound art and electronic music has moved into a discovery of the art of vjing. She started corrupting media and using an array of programs to create a layered outcome. After graduating in 2021 with First Class Honours she has moved to the city of Edinburgh to continue her art career. Veronica also freelances as a poster and cover art designer and VJ.

↑ 0027 – Datura [france] – Formation. 0918 [2024]

Infinite refrains, echoes of attempts, pattern replication, and repercussions

Datura [france]

Datura is a French designer, art director, 3D modeler, and digital artist based in Paris. Her work revolves around generative and animated landscapes or objects, which are created by manipulating algorithms. By selecting specific parameters or rules, this artistic process generates distinctive shapes, colors, patterns, movements, and textures.

↑ 0028 – APIACOAB [France] – [LOST CONTROL] [2024]

Mixed media composition, layering multiple glitch elements, displacements, and textures to achieve a sensitive harmony of chaotic details. It reveals the elegance found in failure, resulting from the inability to control life in the face of greater forces. In this state, where body and mind are swept away, there is no chance of success.

APIACOAB [France]

Born in 1999, Glitch artist and industrial designer.

↑ 0029 – CERULEAN STOICISM [Germany] – Notre Dame Demon, 2019 [2024]

Metanarrative: When a house of god burns down all the evil that therein has been cleansed is set free at once. So it’s naturally a big catastrophy if a cathedral that has been operating for 674 years starts to give way to flames. Luckily it did not burn down completely, yet the flames, captured by an unknown japanese Man showed this theory in action. After noticing that the .jpg was corrupted on his phone, he directly turned to us for investigation. Our retrieval process was partly successful. The corporeal form of the entity as well as part of its message has been deciphered. The contents you see have been kept secret until today, where it has been deemed safe after a long enough time in esodigital quarantine.

CERULEAN STOICISM [Germany]

Born in Germany in 1994. Always had a knack for computers since i was a child. Got into art and early internet culture as well as 3D Software early on. Having studied architecture and always being interested in how media is formed and our way of approaching it, my way of expression is mainly digital, ocassionally physical.

↑ 0030 – Bob Georgeson [Australia] – Poem for the Dead [2024]

As the human race consumes itself toward extinction a book that can never be printed, let alone read becomes more and more relevant. Inspired by conversations in the late 1960’s with Dusan Marek (1926–1993) the book is a ‘neo-dada’ montage that tells a story of a dream that never happened…

Bob Georgeson [Australia]

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, Aisthesis Lab 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.

↑ 0031 – mathr [United Kingdom] – Self-portrait with a broken PowerShot A80 [2024]

Self-portrait series with a broken Canon PowerShot A80 digital camera (era early 2000s). Images are straight from the camera with no editing.

mathr [United Kingdom]

mathr is.

↑ 0033 – Kristina Pong [Croatia] – Screensaver Digiscapes [2020]

I used Slitscan with Processing on a series of more than 100 photos of the city of Rijeka, most taken from the same spot – my window. The process of selecting the images was double: first, to take photos during bad weather in Rijeka or intensive colors like sunset. The next one was to glitch and select 50 works that would make those shots almost unrecognizable and abstract.

Kristina Pong [Croatia]

Kristina Pong is an interdisciplinary artist actively engaged in the fields of ecology and independent culture, collaborating on various projects. She strives to foster sensitivity towards the local community, its culture, and its art, while frequently raising awareness about environmental issues and supporting the development of individual values and competencies.

Her artworks are part of both private and institutional collections and have enhanced public spaces. Her work has been exhibited in Croatia and abroad, and it has been recognized and cited in several scientific publications.

She lives and works near the Transboundary Biosphere Reserve Mura-Drava-Danube in Donja Dubrava, known as the Amazon of Europe.

↑ 0034 – mother_woolf [Ireland] – rebis-in-situ [2024]

This work utilises 3D scanning, Hex editing, OBJ flie manipulation, Gaussian Splatting, and screen capture.

This work features the failed creation of the Rebis, the Magnum Opus of alchemy. A creation of a god by man, this being marries both male and female into one body.

The rebis represents trans identities, our need to recreateed ourselves, transmorph ourselves in a world that deems us invalid. The failure of its creation shows the failure of the archive, and the continued erasure of queer liberation through history.

mother_woolf [Ireland]

I am a trans, neurodivergent glitch & digital media artist. My work covers many subjects but focuses on gender through the lens of transness. Gender non-conformity and glitch offer me scepticism of world systems and lead me to deconstruct normative modes of being and artistic practice.

I have exhibited internationally in Boston CyberArts, Institut de Francais, Croatia, and across Ireland. My work was published in Circa Magazine, and used in live digital performance as part of SUSTAIN at Smock Alley Theatre.

My art is influenced by Ian Keaveny and his investment in accessibility in glitch, Mark Klink and his glitching of 3D objects, Ras Alhague and their corruptions of their body, and the themes of Queer Ecology.

My recent work uses alchemy as a metaphor for transition, whether that be in gender or the need for it in the world

↑ 0035 – Luis Angel Lacombe [Spain] – I'm bugged my computer exploded [2 weeks]

These were works that I was about to throw away, they were going straight to the trash can of my computer where they would be deleted from the internet and the physical world, my methods were to record my roommate in a normal state of watching television and the other is a visual for a vj projection.

Luis Angel Lacombe [Spain]

My name is Luis Angel and I’m from Mexico, I like trash art, gunge and punk

↑ 0036 – 0xDEFACEDD [Australia] – untitled [2024]

Images shot with circuit bent CCD cameras – a mixture of landscapes, portraits and abstract/non-subjects

0xDEFACEDD [Australia]

0xDEFACEDD is a photography project by Australian maker and creative Lewis Watt utilising circuit bending to create alternate worlds of abstract colour and texture.

↑ 0037 – StylelessKnave [United States] – Trevi [2024]

Any photo that I use [unless in a collab, or prompt] is a photo that I’ve taken. I try to use interesting angles or perspectives on my photos – though a lot are usually straight on. But when I have a photo that I personally think is a cool or interesting to look at, I’ll dive into different apps or programs to try and edit it. I like to maintain a good balance of glitch and the original photo so that the subject is recognizable, or familiar. I want the glitch to elevate the photo, but not take over the photo.

StylelessKnave [United States]

Found an interest in glitch art while living in a small town. Many geotagged photos on Instagram were all too similar, mine included. I had really dove headfirst into Hotline Miami – the whole thing become a strong addition in facets of my life. I had also started checking out local art galleries, and discovering new things on Instagram. After a lot of Youtube videos and hashtag diving – I found glitch art and realized that this is what I wanted my pictures to be. If you searched the geotag for that small town, I wanted my picture to stand out as something familiar, but different in the most striking way. And I try to continue that style now.

↑ 0038 – Desmond Clarke [United Kingdom] – landscape4frame_broken.but.good.py [2022]

This script uses the Shapely geometry processing library to generate geometric objects from random noise. These objects are then output to SVG files.

It was originally intended that these files would be plotted onto paper using a modified vintage Roland pen plotter, but due to errors in the output this did not happen.

The script requires Python 3 and the Shapely library to run.

Desmond Clarke [United Kingdom]

I’m an algorithmic artist, musician and composer based in the UK.

My work investigates the blurred lines between natural and artificial forms, and uses code to explore how mathematical processes can be used to create art and music.

I use Python, a programming language, to generate art pieces, and use a customised vintage pen plotter to realise them on paper, combining digital precision with the richness of real-world textures. Likewise, I utilise new technologies to create instrumental music which would be impossible to realise with conventional tools.

↑ 0039 – Petra [México] – Step by Step [2024]

This is a visual reflection on human failures and the body’s ability to transcend its limits. Through an artificial intelligence exploration of failed archives to create movement and choreography, the work explores the body as a living archive of scars, traumas and physical limitations. However, these failures are not seen as irreparable flaws, but rather as starting points for reinvention. As technology and prosthetics become integrated with the flesh, the body is freed from its biological limits, opening up a space for a transhumanist reinterpretation of human identity and potential.

Petra [México]

Born in Mexico in 1993, Petra is a visionary artist who explores the fusion of the human form with the virtual world through dynamic audiovisual compositions. Her works combine nature with advanced technologies, including creative programming, AI, animation, and dance on screen. Petra has exhibited at prestigious venues such as the Chiapas Museum, Super Chief Gallery NFT, and London Art Week.

Additionally, Petra has collaborated with performing companies such as Nadére Arts Vivants and Baal Dance Company, as well as institutions such as INBAL and UNAM. In 2019, her career took a turn towards the digital, working on cryptography, generative art, and new media projects. Her style encompasses themes such as transhumanism, identity, synthetic art, and generative dance. Petra continues to explore the interaction between human movement and technology, creating interactive works that use AI and computer vision to explore the symbiosis between human expression and new media.

↑ 0040 – Zoen Calega [Argentina] – GEN IV [1 month]

This image originated from a pinhole photograph captured with a tomato can several years ago. I ran the image through an AI to generate movement. Afterwards, I edited it in an editing program to be able to pan through it completely. I then exported and uploaded it to a cloud to later use it in an online program for live coding with the video. The image was post-processed until I connected an analog image processor to the HDMI output of the computer. From there, it was sent to a CRT monitor and captured using the digital rescan technique. Finally, it was edited and finalized on the sound level.

Zoen Calega [Argentina]

Visual artist and livecoder, experimenting with video art and image creation through digital and analog techniques to gain more control over them. Uses live coding techniques to continue experimenting with image creation, continuously transforming them through the use of various techniques.

↑ 0041 – Giuseppe Torre [Ireland] – The "No" core-(f)utility [2021]

The official set of GNU core utilities includes a “yes” command, but not a “no” command. Isn’t it strange, if not suspicious, the solely positively declarative aspect of all coding languages? Thus, I decided to develop the coreutils “no” to fill this gap. I know, you are welcome.

This has now been added to an unofficial GNU coreutils pack that contains the core(f)utility “no”. The pseudocode reads as:

PROGRAM NAME: “No”

REPEAT print “n” + carriage return; UNTIL the program is terminated

END

The (f)utility “no” prints on your Terminal an endless sequence of “n” — one per line — until the user terminates the program. It basically automates the negation of an action that you prompted in the first place. The “no” core(f)util outputs repeatedly your wish for refusal and presents to you its absurdity and (f)utility.

Well, this is not the whole story. Install this (f)utility and read the manifesto on the “man no” Terminal page!

Giuseppe Torre [Ireland]

I am an Associate Professor of digital art practices at the University of Limerick. My research interest lies at the crossings between digital art practices, open-source technology/culture and philosophy. These interests respond to a questioning of the relationships between technology and art, code and aesthetics, numbers and self; a process that has so far led me to question under what forms and forces truly creative efforts may, or may not, arise. I am the author of “An Ethico-Phenomenology of Digital Art Practices” (Routledge, 2021). My academic writings feature in journals and books by publishing houses such as MIT Press, Springer, Routledge/Taylor & Francis. As an active digital art practitioner, my works, and performances have been showcased nationally and internationally. I am an advocate of FLOSS (Free and Libre Open-Source Software) in the teaching and professional practice of all digital arts.

↑ 0042 – joisujoisu [Netherlands] – glitch.walks.04.18 [2024]

When my phone screen broke 2 years ago, I decided it would be the cheapest, most sustainable, and most empowering to try and replace the screen myself. I never threw it away, and on a nice day this April, I found it again. Curious about the different components of said screen, I picked it apart completely. Somewhere in the different layers of the screen I found a sheet prism. I was astonished by the way it completely distorted the incoming light and created a sort of unordered collage of what was behind it. I decided to tape this prism to my iphone 12 mini camera, and go for ‘glitch walks’ around my neighborhood in Amsterdam. The submitted videos are excerpts of these glitch walks. I am still amazed by how a sheet of material can distort the world in such a fascinating way.

joisujoisu [Netherlands]

Joyce a.k.a. joisujoisu is a creative coder/technologist based in Amsterdam, exploring the intersection of technology and traditional artforms. Her interdisciplinary work focuses on dance, VR, AI, lights, data, art/science, interactivity and playfulness. She is enthusiastic, passionate and loves learning new things or sharing knowledge with others.

↑ 0043 – Paul Beaudoin [Estonia] – afterglow [2023]

Using two primary sources, Government-Issued warnings about global warming (principally from the United States) are glitched along with another US Government video about the dangers of poverty in rural America (from the 1940s). These files are then glitched under various operations, reassembled, and an original soundtrack is added.

Paul Beaudoin [Estonia]

Paul Beaudoin is an internationally recognized interdisciplinary artist who is back in Tallinn after being artist-in-residence at the Alice Boner Institute in Varanasi, India.

↑ 0044 – visual.baker [United States] – Machine Payback [2020]

‘Machine Payback’ is an accidental piece exploring the interplay between technology and chaos, transforming a malfunctioning webcam into a medium for artistic expression. The title pokes fun at the use of Generative AI which can use stolen training data to create an image, flipped here – as a piece created by technology and stolen by the artist. It invites viewers to question the reliability of digital imagery and also consider how failures in technology can lead to unexpected creativity.

The piece was created as the result of an accidental soldering mistake the artist made while working on a laptop webcam and screen captured.

visual.baker [United States]

Andrew Baker is a San Francisco Bay Area – based VFX Artist with a passion for blending art and technology. He holds an MA in VFX & Animation from the Academy of Art University. Andrew has embraced a variety of work and freelance opportunities, continually expanding his expertise.

Before venturing into visual effects, Andrew earned his BS in Mass Communications & Computer Art from the State University of New York at Oneonta, where he studied foundation in traditional and digital art.

With a keen eye for storytelling and a talent for visually articulating concepts, Andrew is dedicated to lifelong learning and pushing the boundaries of his craft in the world of visual artistry.

↑ 0046 – 409 [Mexico City] – Bees r dying [2024]

Bees r dying

Clock ticks in the hive, one last flight before the dark. Bees are dying fast.

Specs: 1080 x 1080, MP4, 24 FPS AAC 48kHz, Stereo

Techniques: Audio: Microsampling Visual: Track Matte + Displacement Mapping + Multilayering + Color Correction

409 [Mexico City]

Jaime Juárez, known as 409, is a multidisciplinary self-taught artist who began his journey in electronic music production in 2000. With the advent of digital technology, he expanded his creative exploration into various media such as programming, databending, and electronic circuits. His interactive works, which often feature proximity detectors, reflect a deep curiosity for the intersection of technology and art. 409’s audiovisual loops are intricate collages where he layers glitches and saturated malfunctions to evoke a sense of distorted reality. His work pulls from diverse themes, including nature, heavy machinery, anime, and video games from his childhood. These serve as the backdrop for his exploration of concepts like life cycles and self-escape. At the heart of his artistic expression is music—a dynamic fusion of techno, polyrhythms, microsampling, and sound design, forming the core of 409’s unique identity.

↑ 0047 – Daeinc [USA] – Loop [2022]

Dithered animation loop created with JavaScript

Daeinc [USA]

Daeinc is an artist, designer and educator who mainly works with computer code as a creative medium. His main interests lie in exploring and expressing rhythms and movements using a variety of media, including animation, printed forms and interactive applications.

↑ 0048 – crash-stop [Ireland] – Words words words [2024]

Collage on card from asemic words and manual for wfw3 and victorian prints photographed , split and reassembled via script then each image individually glitched n number of times turned into gif then mp4 and finally all mp4s from each single image turned into a larger mp4

crash-stop [Ireland]

I work under the name crash-stop in rural Co.Offaly, Ireland. My work is based around ideas of remix culture and the reuse of old hardware and software, trying to use only that which is open source. I publish work under a creative commons licence.

↑ 0049 – Kurtinecz [United States] – Uncalibrated [2024]

This piece was created in collaboration with Ai. After a very bizarre unwanted motion capture recording, I decided to use the capture data in a piece where I asked ChatGPT to describe what being uncalibrated feels like. The motion capture data was brought into Blender3D and not cleaned up at all. I mapped that to one of my ongoing avatars.

This piece is part of a larger series titled “Ai Monologues”; where I’m asking Ai questions about what it means to be Ai, humanity, our relationship together and it’s growth/development.

Kurtinecz [United States]

Brittany Kurtinecz is a New Media Artist, Art Curator, XR Producer and Creative Director based in Tokyo, Japan.

Kurtinecz graduated Summa Cum Laude with a Fine Art Degree, concentrating in Painting and Time-Based Experimental Media, from Kutztown University of Pennsylvania, USA.

Kurtinecz’s early body of work focused on large scale figurative oil painting and video art. The move to Tokyo in 2019 with minimal supplies/equipment, right before the outbreak of the Coronavirus, catalyzed the learning of 3D software. This lead to creating NFTs, AR sculptures, VR experiences and Virtual worlds for art exhibitions. One noted world was created for ARS Electronica 2021; representing Tokyo in partner with the Extended Reality Ensemble (XRE) in NYC.

Her work has been exhibiting both physically and digitally in exhibitions and festivals around the world/virtual realm.

↑ 0050 – Ivan Netkachev [Georgia] – Theses on a Procedural Essay [2024]

The goal of this brief text is to introduce the theoretical concept of a procedural essay, which would encompass a subset of popular culture artifacts (video games, predominantly) as well as contemporary artworks, ranging from 90s net-art to post-internet art and further on. A procedural essay is a computer program that generates arguments in an imaginary reasoning — which may happen to be human-comprehensible, but are not bound to be so. A procedural essay may well be a machine thought experiment for the machine itself.

Ivan Netkachev [Georgia]

Ivan Netkachev (b. 1998, Orenburg) is a multimedia artist, theorist, and writer. He has bachelor’s and master’s degrees in theoretical linguistics from the Higher School of Economics and has graduated from Rodchenko Art School (Moscow); currently he is a certificate student at The New Centre of Research & Practice. He works with generative poetry, automatic generation of texts and images, video games, and video.

↑ 0052 – Allison Tanenhaus + André Obin [US] – Refuse to Surrender [2024]

“Refuse to Surrender” was written to empower the listener to stand their ground and not be taken advantage of by governments, corporations, and people who do not view them as human. Our lives are not transactions, but many structures and processes in the modern age make it feel that way.

André’s music and lyrics are derived from dark periods in his life: a tough breakup, a trip to Berlin while the war in Ukraine began, and witnessing estranged family members interact due to hospitalization, recognizing that time on earth is short.

Since the lyrical message is heavy, André envisioned visuals that were “very abstract and psychedelic, with fast-moving cascading imagery.” Allison unearthed unseen clips from her atmospheric back catalog, plus made new ones using her digital and analog methods.

Allison Tanenhaus + André Obin [US]

Allison Tanenhaus is a New York–born, Somerville–based digital glitch artist. She specializes in trippy op art, anachronistic tech mashups, and unexpected dimensional qualities. Her work has been shown in 26 countries via exhibitions, installations, and guerrilla street art. She is a member of electronic music group The Square Root of Negative Two and optical installation duo bent/haus.

André Obin is a musical artist, producer, vocalist, performer, DJ, writer, and curator residing in Somerville. Obin crafts immersive soundscapes that bring listeners into ethereal, often introspective worlds, building on pulsating minimalist grooves, intricate sound design, atmospheric textures, and deeply emotive lyrics. He’s released 6 full-length albums under his name, including his latest, Armored King.

↑ 0053 – ESTELLE FLORES [Brasil] – Explaining-Showing-Doing Series [2024]

‘Explaining-Showing-Doing’ is a collection of 8 machinimas exploring the process of reading the world as performance. The videos were originally captured in the game The Sims 4 for ‘Your Home’, a multichannel video installation part of the exhibition ‘Easel Engine’, curated by Regina Harsanyi at the Museum of the Moving Image in New York City.

Over the past four years, I have integrated The Sims 4 into my artistic process, initially using its easel tool to create the 301 paintings that make up the series ‘Contain Real Ingredients’. Later, I began recording my in-game performances as machinimas-videos made within game environments, as I reflected on how creating game art exposed my own fears and desires IRL, sparking an exploration of the unconscious as it is navigated in games.

ESTELLE FLORES [Brasil]

My name is Estelle Flores, I’m a contemporary artist from Curitiba, Brazil, exploring video game art since 2021. I mainly use The Sims 4 and other simulation games in the creation of machinimas and post-photography. My work is about the two meanings of the word Play (performance and game), examining the performative aspects inherent in gaming, particularly within simulations, addressing the existential questions that reverberate through play: Who do I want to be? What do I want to do?

↑ 0054 – Francesco Seren Rosso [Italy] – Lighthouse [2024]

Original pic edited first with GlitchLab app, then with Gimp

Francesco Seren Rosso [Italy]

I was born in Torino, Italy, where I live and work as pc technician, in 1979. I am a self-taught hobbyist artist, starting with glitch art in 2018. Glitch art, for me, is a way to express myself

↑ 0055 – Shane Mecklenburger [USA] – Soul Sacrifice [2024]

Single-channel video with sound, 3 minutes (machinima)

Sword-and-sorcery game characters perform power displays, building a percussive texture of techno-fantasy noise. The virtual camera crosses within their digital bodies, exposing the game system’s thin line between illusion and abstraction.

The video’s title references two historical works: the song Soul Sacrifice, which contains Michael Shrieve’s groundbreaking drum solo, performed by Santana at Woodstock in 1969; and Soul Sacrifice, a popular 2013 action fantasy game in which players sacrifice parts of their body to gain abilities.

Shane Mecklenburger [USA]

Shane Mecklenburger (b. Chicago) uses multiple media to explore constructed value, play, and power. His creative practice queers and collaborates with popular cultures and technologies to recuperate mediated experience.

↑ 0056 – szamøca [Hungary] – 1991 []erroneous prints //rescan [2023-2024]

My series, 1991, serves as a personal gateway to both my present self and my child spirit. While a numeric year may seem irrelevant, existing in this era within panel-brutalist European realms shapes my identity and that of my generational peers in profound, ineffable ways, I believe. I imagined worlds where the strange and the physically anomalous are accepted. Elements, often of unknown origins, are transformed and reused. Surfaces contrast as up-close pixels alter to distant backgrounds, blurred shapes restore into sharp entities. The Sun spectates with uncertainty while the Cube falls yet remains suspended, and Kind tenses to explosion upon calm clouds. Child and adult. Reality and illusion. Escape and acceptance. These keys guide my journey where liminality is a distorted reality, isolated from the outside world, in which time flows differently. Endless arrivals to passageways of transition, perpetual motion, renewal, and hope. Darkness meets light and life meets hereafter.

szamøca [Hungary]

Dániel Szamosi, born in 1991, hails from an industrial town in Hungary. Ardent about neon and noise, he embarked on a creative journey in 2021 without a professional artistic background. Through exploring glitch-art and its ability to depict the nuanced transformations and memory imprints of the human brain, seemingly trivial photographs captured during his lifetime were morphed into intriguing works of art, glorified by intentional errors and a conceptual approach. While continuously expanding his digital vault of visual experiments, he began engaging with the glitch and creative community in 2022. He has been a zealous submitter to annual expos like Fu:bar and Glitch.art.Br. He also provided thematic print selections for events such as the 2023 G4CM Biennalé in Budapest, a psychological wine tasting collaboration with the `Lélektani borkóstoló` duo, and Babar Festival in 2024. This year, he expanded his portfolio by creating the cover art for a trance/IDM single.

↑ 0057 – eva.Z! [Taiwan] – a pristine and clean world [2024]

Images were generated by AI and then disrupted. This work reflects my daily feelings, exploring the idea that even while living in a bubble, I still can’t find peace.

eva.Z! [Taiwan]

eva.Z! is a graphic designer with a deep passion for social activism, drawing inspiration from various social movements. These experiences have greatly influenced zir work, which explores themes of national identity and self-identity. Now working as a freelancer, zi continues to merge design and activism in creative projects.

↑ 0058 – elle thorkveld [USA] – We Are Dancing [2024]

Generated a series of images using the same text prompt to an AI. Used those images as input to a generative tool which combines them in interesting ways and created a video from that. Used VJ software to edit the video, adding further glitch effects and music. These images are stills from the video.

elle thorkveld [USA]

New media digital artist working in generative art, glitch, AI, virtual art, music, machinima and experimental film.

↑ 0059 – IVAN HUGO DE CARVALHO CERQUEIRA [Brasil] – glitch soul for virtual body.GLB [august 2024]

sculpture made in virtual reality using zfight glitch, vertex colors and animated with physics by blender.

“the machine learns by copying, Bug this and the machine copies a soul, or several.”

2024

IVAN HUGO DE CARVALHO CERQUEIRA [Brasil]

Ivan Hugo is a digital artist born and based in Brasília, the capital of Brazil. With 18 years of experience in art and design, Hugo has developed a distinctive approach to digital artistry. His work encompasses a range of techniques including low poly, glitch art, pixel art, and voxel art. Additionally, he specializes in simulating traditional painting and sculpture processes within virtual reality. Hugo’s innovative practice also delves into virtual reality and glitch art, reflecting his deep commitment to exploring and expanding the boundaries of digital creativity.

↑ 0060 – Josh Brown [Ireland] – Memento Mori [2024]

Iterative reprocessing and editing through various software. Lots of chroma keying, overlaying, pixel sorting and some frame interpolation. Source files were from YouTube, google image search and my music collection.

The piece is a reflection on mortality.

Josh Brown [Ireland]

Music with guitars & cassettes > synths and samplers > computers, soft-synths & DAWs >photography & video production > videoart > sculpture > all of the above.

↑ 0061 – Des Pirinsesa [Philippines] – Static Interface in the Estrangements of Origins [1]

Static Interface in the Estrangements of Origins is a work revolving around cultural homelessness which is a common phenomenon among 3rd-culture individuals. Its works circulate around film & glitch art which questions the perspective of a 3rd-culture individual through a different lens. It highlights how identity & culture are not limited to people who are rooted in a specific culture or geography. Instead, it argues that individuals who have experienced displacement & cultural estrangement can have unique perspectives that challenge traditional notions of cultural identity. It explores the experience of cultural homelessness, existent social constructs such as identity, and the concept of alienation as it establishes new dialogues through a series of videos with glitch art as a framing device. Glitch art creates an abstract & surreal effect that explores the idea of progress in difference, challenging conventional approaches to cultural identity & the homogenization of culture.

Des Pirinsesa [Philippines]

Des Pirinsesa, a Dumaguete City, Philippines-based artist has been pursuing knowledge of different art styles & forms while honing her skills. She graduated with a Bachelor of Fine Arts in Studio Arts at Silliman University.

Her works mostly revolve around installations, photography, experimental films, and glitch art that focus on the notion of cultural homelessness, the complexities of the Filipino diaspora, alienation of identity, and third culture individuals. She has continuously made relational aesthetics and identity politics prominent in her works.

Her evolution into different types of styles & methods from her course allowed her to extend the range of her skills even further. She believes that Art is a form of performative & visual language; an essential contribution to creating a new narrative around any particular issue or topic. It is a cultural tool that is able to help humanize feelings, emotions, and fears. Art continues to be relevant, no matter the medium.

↑ 0062 – Glitchy Pixels [Cyprus] – Procrastination [2023]

This work is about the transience of time and the daily increasing power of procrastination and the burden of the undone on your shoulders.

Glitchy Pixels [Cyprus]

The imperfection of this world gave birth to me as a glitch artist: after forced emigration in 2022, I began to look for an outlet for my feelings in the digital environment and quickly found myself among the same glitch artists searching for themselves. And here I am.

↑ 0063 – Toastfang [Taiwan] – Freedom of conscience [2024]

The traditional Taiwanese custom of “Bai Tian Gong（拜天公）” celebrates the birthday of the Heavenly God, marked by continuous firecrackers and music performances during the Lunar New Year. In Taiwan, traditional culture is at a crossroads, as some ancient customs are gradually being replaced, reinterpreted, or even lost due to generational shifts. The video features authentic performances of traditional Beiguan music and firecrackers from Taiwanese folk events, capturing the diverse reactions of people toward these cultural ritual.

Toastfang [Taiwan]

Fang Han focuses on labor, social class, and education. The works cover images, installations, and action plans. Through observing the interaction between people and the local ecology, the individual engages in local actions, project creation, and experiments. She managed an alternative space – Yongfu No. 5 ( Taiwan, 2019-2023), curated and organized exhibition and performance events. She responsible for the exhibition planning, curating and operation of the Longshan Artgong ( Taipei, Taiwan ).

↑ 0064 – Matteo Campulla [Italia] – THAT FEELING [2024]

Techniques: video converted to xvid and then destroyed with python, after several times of this repeated process it became a FAILED PROJECT by accidentally changing its duration from 12 minutes to 40

Synopsis:

An ode to the beauty of digital imperfection, where the glitch is not a mistake but an artistic language that transforms the familiar into the extraordinary. Each scene, although chaotic and fragmented, maintains a fragment of recognizability that keeps us hooked, while the mind tries to decipher the incomprehensible.

Matteo Campulla [Italia]

Matteo Campulla (b. 1982 – Iglesias, Sardinia) began his artistic practice in the late 90s in various anonymous collectives. . In 2019 he moved to Milan, where he still lives and works His work is influenced by the contamination between languages and uses the glitch as an aesthetic description of the contemporary crisis of the individual and his perception of reality.

↑ 0065 – Sue Su Su [Taiwan] – ID [2024]

I don’t exist unless I break it.

Sue Su Su [Taiwan]

Sue Su Su is an artist and writer. born Taiwanese. who believe art is both a way of expression and a way of excavating, refiguring, and creating fragmented narrative. who focus on daily traces and connection with the other while cooperating with different media including video, painting, fiber, culture, language and performance art.

↑ 0066 – José Irion Neto [Brasil] – PGF Glitch Portraits [2024]

Databending (hex editing) process using the PGF (Progressive Graphics File) image format. A dithered RGB color image was compressed into the PGF image format. The hex editing was performed on bytes 17 and 82.

José Irion Neto [Brasil]

Jose Irion Neto is native to Santa Maria, in southern Brazil, currently residing in the city of Florianópolis. His first contact with computers was in 1982. His first contact with Glitch Art was through an article published in the newspaper Folha de São Paulo in 2007, which led him directly to the Glitch Flickr groups. He holds an academic background in Media – Advertising and worked for some years as a Graphic Designer. Since 2008, he has been actively working on Glitch Art.

↑ 0067 – ageFreezer [Taiwan] – Future World [2024]

Future World is a surreal comic co-created by ageFreezer and Midjourney. Through the unpredictability and surprise generated by Generative AI, this is a creative adventure co-authored by humans and machines.

ageFreezer [Taiwan]

ageFreezer is a database of collected time. Our fleeting existence will be frozen here.

↑ 0068 – Jelena Bokić [Serbia] – vital spark [2019.]

“The vital spark” was obtained by modifying the melodies, voices, and whistling recorded by a mobile device. The image, modified with filters, chromatic and comic book like simplifications of the body, depicts a passionate dance performance by Alle Kushnir, amidst an ecstatic movement. A visually simplified representation of one of the performances of the belly dancer, combined with a radiological scan of a computerized tomography abdomen, harmonizes the sensual Oriental dance with “noise” sound (characterized as “preliminary vacuum”, based on distortion or impairment of the communication signal).

Jelena Bokić [Serbia]

About:Jelena Bokić graduated from the Faculty of Fine Arts in Belgrade. She is a member of Association of Fine Artists of Serbia since 2011. Was resident as a guest student, Universität Deutsche Kunst, Berlin in 2006. After graduation, her work investigates and researches the contemporary environment, the circumstances of everyday life, and social pathology. Her interests include social roles she has experienced due to life circumstances. Her artistic opus is thematically synchronized and presented via different media (video, photography, painting, installation, digital graphic). Has had exhibitions in Serbia and abroad since 2001. Outside of exhibiting, she participates in video and mixed media festivals such as FAÇADE – International video festival – Plovdiv, Athens Video Art Festival -International Festival of Digital Arts and New Media, International film Festival – Beldocs, Videomedeja, Novi Sad, etc. She lives and work in Belgrade, Serbia.

↑ 0070 – AK Ocol [Philippines] – ghost no.7_(linger) [2023]

The techniques I used in this work were inspired by the phrase “to leak from the internet”. It spurred a genuine curiosity about materializing digital noise artifacts into physical media. I think that the usual approach in glitched media is to treat it as a digital photograph by printing it out however, this flattens the idea of a glitch and somehow removes the integrity of it being a noise artifact. The material exploration I have done in this work seeks to retain the random nature of glitches even throughout the printing process by running it through several incompatible materials online and offline.

AK Ocol [Philippines]

AK OCOL is a self-taught artist currently based in Dumaguete City. She graduated from De La Salle University with a degree in Psychology and pursued her graduate degree in fine arts at the Philippine Women’s University. She is also one of the finalists of the 2019 Mullenlowe NOVA Awards Manila for her drawing installation “Non-Space, Panorama”. Her artistic practice is rooted in the exploration of contemporary drawing, glitches, generative AI, and their hybrid forms.

Her recent works focuses on exploring different aspects of a domain. She is very much interested in how the digital and virtual spaces coincide with real spaces, especially its effect on the personal as an entity/user navigating and recreating these social domains, and its representations in a post-internet reality where information is commodified.

↑ 0071 – Reptyle [France] – compliant_identity [2024]

Digital collage based on an ID photo from a Photobooth, a homemade self-portrait, error messages and broken files. All of it being heavily databent, pixel-sorted and data-corrupted.

Reptyle [France]

Reptyle is a digital artist, experimental videographer and palaeontology nerd, born in Marseille, France, in 1996. She first dabbled in glitch-art by making oversaturated and deep-fried memes and shitposts. He then began to explore more in-depth glitch techniques, falling through the rabbithole. During Glitchtober 2023, she connected with fellow glitch-artists and started to find her audience and community. Besides his personnal creative work, he also occasionally does cover-arts, music clips and event posters. She is also a member of the recently created harsh-noise duo Gauloises Burnes.

↑ 0072 – jphm4900 [Colombia] – 𝙞𝙣 𝙢𝙮 𝙛𝙡𝙤𝙥 𝙚𝙧𝙖 [2024]

An unsuccessful series of self-portraits (marked by a moment of narcissism), whose purpose was to select an image to use as a profile picture in social media or in my CV, became a reflection on failure. As for the artistic and textual work, it took several hours to conceptualize how the distortion of a self-portrait could visually and narratively represent the frustration of not completing various projects. This resulted in a period filled with feelings of isolation, demotivation, procrastination and abandonment, which I consider my “flop era”. Eventually, the different parameters to compose the work were not satisfactory in their entirety, mainly due to the instability in the combination of layers, colors and the arrangement of the effects. Added to this were excessive reflections on the past, present and future, becoming an exercise in emotional release.

jphm4900 [Colombia]

I was born in Bogotá, Colombia 24 years ago. I am an architect, glitch artist and young researcher in training. My main interests are post-digital and immersive art, graphic design, analog photography, illustration, visual programming, collage and music. In my experience as an artist and architect, I have had opportunities to interact and contribute ideas in different spaces related to artistic expressions and academic research. These elements motivate me to enhance my knowledge, initiative, enthusiasm, commitment and skills to continue my integral formation.

↑ 0073 – paranthre [Slovakia] – A Path They Didn’t Choose [2024]

The images were generated using Stable Diffusion, but with incorrect parameters that deviated from the original intent. The goal was not to create glitchy artifacts, but rather polished portraits resembling traditional photography.

paranthre [Slovakia]

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.

↑ 0074 – VAL1S [Croatia] – 空っぽの夢 [Empty Dreams] [2023-2024]

” 空っぽの夢 [Empty Dreams] ” is a compilation of works visually designed by VAL1S, and accompanied by a special selection of music. With themes ranging from nostalgia, melancholy, and otherworldly cityscapes, to fast paced hip-hop and trap, these relics capture a moment of time that would otherwise be lost in the void. The selected pieces never found a home, archived in hard-drives and hidden servers, forgotten projects. Visions fit to a screen that never really had a purpose, in an attempt to capture a fleeting moment that is otherwise forgotten, like a dream. The title reflects the idea that a dream may be nothing more than a hollow shell, but its beauty can unravel before you to show you new perspectives, most of which are forgotten, lost in time. Many of the pieces included in the compilation were highly influenced by certain dreams or visions, in an attempt to archive them on a digital screen.

VAL1S [Croatia]

VAL1S is a visual artist born and raised in Toronto, Canada. He first started making videos about 10 years ago, raised with a passion to put visions in the mind onto a screen. Completing a degree in Electromechanical engineering and a focus on automation programming, his influence can be seen in his style of digital glitch art. The search for something new, creations out of nothing, have always been at the forefront for VAL1S. What is unseen, hidden pathways, these are the things that make life curious and guide him along his journey not only in art, but in life as well. Moving to Croatia in 2024, he has begun the search for a new essence, an inspiration for newer ideas. Travelling through Europe and meeting new people who collaborate to create a mix of real and online shows has been a new adventure, blurring the lines that we call borders and uniting over authentic expressions of art.

↑ 0075 – Sabato Visconti [USA] – Deluxe Paint IV Glitches [2023-2024]

Set of studies and experiments using WinUAE’s video exporting features to create glitches with animated Deluxe Paint IV Pixel Artworks, drawn on an emulated Amiga A1200. Several methods were used to databend AVI outputs, including Audacity, Vinesauce ROM Corrupter, and by editing keyframe blocks directly in the hexadecimal code.

Sabato Visconti [USA]

Sabato Visconti is a Brazilian-born multimedia artist based in Northampton, Massachusetts. Their work interrogates imaging practices that have become absorbed by digital processes, hybridized media, online networks, and machine intelligence through works that portray subjects entangled in systems often designed to fail or malfunction.

↑ 0076 – Mila Gvardiol [Serbia] – Pebbles [2024.]

The glitch art series titled “Pebbles” was created by taking photographs of beach pebbles and importing them into Notepad++. I manipulated the images by deleting certain sections of the code.

Mila Gvardiol [Serbia]

Mila Gvardiol was born in 1979 in Belgrade. She graduated in 2004 from the Faculty of Applied Arts in Belgrade, majoring in mural painting. She earned her Ph.D. in 2012 from the Interdisciplinary Studies at the University of Arts in Belgrade, specializing in digital art. She has been a member of ULUS since 2006 and ULUPUDS since 2011. Currently, she serves as an associate professor and dean at the Faculty of Digital Production in Sremska Kamenica. She taught at the Faculty of Applied Arts in Belgrade from 2015 to 2023. Mila has exhibited in 42 solo and over 300 group exhibitions and has participated in art colonies and digital art festivals. She has received awards for her artistic work.

↑ 0077 – g1ft3d [Guatemala] – Glitch Paca [2024]

Compilation of selected worst failed projects, lots of frustration Blender glitched and corrupted file put it together as narrative

g1ft3d [Guatemala]

Self-taught and currently based in Guatemala (where I was born and raised), I have used glitches as a central element in my artwork for over 13 years. Glitch art is more than just an aesthetic choice for me—it’s a reflection of our existence. I incorporate the concept of imperfection to express any artistic vision I have, whether on a local or international scale. I aim to highlight the significance of new media and glitch art in the broader art world.

And honestly, I also do it because it’s fun—sometimes, I just feel like destroying something beautiful.

↑ 0079 – Ana Sesto [Croatia] – CLASH [2024]

My original photographs are digitally manipulated, utilizing various techniques to explore and enhance the visual narrative. Through the use of digital tools, I alter and layer images, creating a blend of reality and abstraction that transforms the initial composition. This process allows me to push the boundaries of traditional photography, giving each piece a unique and dynamic quality. The manipulation of color, texture, and form results in visually engaging works that challenge the viewer’s perception and invite deeper exploration of the themes presented.

Ana Sesto [Croatia]

Ana Šesto (1986), a photographer from Zagreb and the president of the cultural club O’GRADA, earned her Master’s degree in Journalism in 2013 from the Faculty of Political Science in Zagreb. She has been involved in photography since 2000 and is a member of HDLU and HZSU, with 20 solo and 30 group exhibitions to her name.

She has created 40 book covers for Croatian authors, and her work has been published in both local and international magazines. Ana received the “Kiklop” award in 2014 and the international award for theater photography in 2020. She published the book Miona Daj Šuti, selected as one of the most beautifully designed books in the world in 2020. She regularly teaches photography at the United Pop Academy and has participated in numerous workshops and courses in London.

↑ 0080 – Chanel Pepino [Philippines] – Time Loop [0.5]

Whatever I do, nothing seems to change. No progress is made. I am in the same place as I was yesterday.

Chanel Pepino [Philippines]

Chanel Pepino (b. 1997) is an artist, activist, and former member of the outsourced remote workforce. Her artistic interests explore themes related to Roman Catholicism, Philippine culture, contemporary society, and childhood trauma. With an interdisciplinary background in art-making and theatre production, Chanel’s work spans dry and wet mediums, performance art, installation, and video.

↑ 0081 – Andreia Matos [Portugal] – on Outputs, fragments, reflections: interrupted [2024]

A blend of personal visuals captured over years of creative experimentation,… led to incomplete or abandoned works,. A personal reflection on the cycle of trial, failure, reinvention, on the unfinished artefact as the essence of the process, as the end.

Andreia Matos [Portugal]

Andreia Matos, born in 1999 in Viseu, Portugal, is a Lisbon based artist, scientist, and engineer.

Currently pursuing a MSc in Communication Sciences at NOVA University with a focus on Contemporary Culture and New Technologies, she previously earned a MSc and BSc in Computer Science and Engineering from Instituto Superior Técnico, specializing in Artificial Intelligence and Computer Graphics. Currently works as a Data Scientist in AI algorithm research and development.

Her work is marked by a multidimensional exploration of an impulsive and conceptual nature, with a focus on reinterpretation through plastic and algorithmic manipulation.

↑ 0082 – Jessica Tucker [USA/Netherlands] – cycles (I) [2024]

Cycles shows the body in defiance of philosophies and technologies that insist it be a clear, stable, isolated thing. Contemporary surveillance technology tracks our faces, bodies, and attention, singling us out for automated manipulation and control. In contrast, Cycles resists that totalizing gaze through playful misuses of tools that track and predict the body.

First, face-detecting augmented reality applications are used on a collection of the artist’s own selfies, face-swapping and rephotographing these images on screens. Then, a custom machine learning model is trained on these distorted faces such that it can produce new faces based on this influence. Another custom ML model is trained to interpret input body images to be constructed out of the faces from the first model. The artist records motion-capture duet performance of herself with a dummy ragdoll and uses this data to animate digital avatars, which then are processed by the ML models.

Jessica Tucker [USA/Netherlands]

Jessica Tucker is an American and Dutch artist, musician, and educator. In her performances, videos, sculptures, and installations, she playfully examines how we use virtual vision to construct and distort our concept of the embodied self. She has performed and exhibited her work throughout Europe and the USA, including Rewire Festival, FOAM Museum of Photography, Goethe Institut, the Van Gogh Museum, and Mana Contemporary. In her current project, “Ways of Being Seen,” she considers participatory surveillance apparatuses and their effects on intimacy and self-perception, using the Stasi Archives in Berlin and supported by the Fulbright Germany program and the Karlsruhe Institut für Technologie. In 2023-24, she was a Grant Wood Fellow at the University of Iowa, specializing in interdisciplinary performance using digital media. She has also been supported by the Mondriaan Fonds, Chicago Artists Coalition, Thoma Foundation, and DCASE, among others.

↑ 0083 – jonCates [USA] – RGBMTLRMX [2024]

鬼鎮 (Ghosttown) RGB MTL CRT RMX is my 2024 remix of my 2018 Glitch Western feature film, compressed and rendered for CRT (Cathode Ray Tube) television display. This film features Emily Mercedes Rich as The Cowgirl and my new original musics, including the sounds of cowboy Phil Morton running his horsepowers Out West in 1975.

jonCates [USA]

jonCates is a Glitch Western cowboy living in 台北，台灣 (Taipei, Taiwan) whois widely known as a ‘pioneer’ of Glitch Art.

↑ 0084 – Roopesh Sitharan [Malaysia] – Melatah [2024]

This video art attempts to revel a culture-bound syndrome called Latah, which is primarily observed in Malaysia and Indonesia. It is defined as an exaggerated startle responses to minimal stimuli. Crucially it is seen as a disorder, or a ‘mistake’ that indicates out of norm behavior which supposedly reflects the imperfect aspects of Malay-Indonesian culture. The video is my response to such conjecture. In this work, I intentionally distort the antenna of an analogue TV to disrupt the visuals on the screen, mirroring the act of “Melatah” (startling responses). This distortion serves as a critique of the marginalization of culture as seen through a colonial lens, highlighting how behaviors deemed ‘mistakes’ by Western standards often belong to non-Western cultures that challenge established norms. The chaotic imagery reflects the complexities of identity and cultural expression, questioning the validity of what is considered acceptable or normal, akin to recognizing visuals on TV.

Roopesh Sitharan [Malaysia]

Roopesh Sitharan is a multidisciplinary practitioner who explores art through a variety of interrogation strategies, taking on roles such as educator, curator, researcher, and artist. His involvement in national and international projects includes prominent showcases like the Gwangju Biennale, ISEA, and Siggraph. His writings have appeared in respected publications such as Learnordo Electronic Almanac (LEA), CTRL+P Contemporary Art Journal, and Dokumenta 12, among others. Sitharan has participated in residency programs that emphasize research and the role of art in critically engaging with real-world issues. Recently, he has been focusing on the influence of non-human agents in understanding the causality of environment, nature, and the other, and how these factors shape human subjectivity.

↑ 0085 – Anna Christine Sands [USA] – There Never Was [2024]

This image is a screenshot from a video that had several steps. The initial video was a screen recording of the interaction with my webcam’s live feed and the yellow text in an augmented reality virtual space. The screenrecording captured the text as I moved it around the frame, and myself as I moved as well. I compressed the video to an .avi file, encoded in zmbv, which I then ran through Way Spurr-Chen’s moshy utility. That is the basis for the glitch effect you see, and some additional editing in Photoshop created the checkered background.

Anna Christine Sands [USA]

Anna Christine Sands was born in the American Midwest in 1993. The daughter of an early pioneer in the world of personal computing, she eventually adopted and grew into her father’s interest in digital imaging. Like most children born in the early 1990s, Sands grew up alongside the Internet itself, forming a sort of symbiotic relationship with the World Wide Web. This connection to cyberspace eventually deepened and developed into a studio practice examining art in the post-digital, post-Internet world.

She attended the Art Academy of Cincinnati and was awarded a BFA in Photography in 2016. She graduated from the School of the Art Institute of Chicago with a Masters of Fine Arts focusing in Art and Technology Studies in 2021.

Her work has been a part of festivals such as Ars Electronica, The Wrong Biennial and the Miami New Media Festival. She has also exhibited four times in the world’s longest-running annual glitch art exhibition, /’fu:bar/.

↑ 0087 – Daria Ivans [Russia] – unfully_recovered [2024]

This can happen to anyone, and you’re never fully prepared. You might back up what seems important, but how do you know what really matters in 1 TB of data? I recently deleted all my photos and videos from my MacBook using CleanerOne, and something went wrong. One project was partly saved in the cloud, but everything else was lost. I spent a week with recovery software, retrieving disorganized files from unknown folders. I saved 20 videos and a few hundred photos, some no longer the same.

During my second project, I grew to love the glitches that appeared while converting videos from avi to mp4. I even captured screenshots of them. When I recovered the videos, the glitches were ‘fixed.’ I’ve always appreciated glitches as a magical resistance to technopositivism, but this time I encountered unintended, raw glitches. They don’t depend on me, the software, or even themselves. They follow their own unpredictable logic, and all I could do was observe and piece together their fragments

Daria Ivans [Russia]

I am a xenomedia artist from St. Petersburg/Moscow, holding a Bachelor’s degree in Philosophy and a Master’s in Art & Science. My work explores alternative histories of the internet, abandoned spaces in virtual worlds, and the magcal potential of technological imperfections. I engage with VR, AR, video, 3D/2D graphics, and found objects, investigating the boundaries between media and the possibilities of their unconventional applications.

↑ 0088 – John Bumstead [United States] – Untitled 1-3 [2024]

iPhone photography of images on a laptop screen, taken through the filter of shattered antique film projector lenses

John Bumstead [United States]

John Bumstead started a laptop refurbishing business in 2008 and has repaired and refurbished thousands of laptops yearly ever since. He discovered a creative use for damaged devices and repurposes broken screens and defective graphics processors as filters to affect his photography. Most recently he has pursued deconstructing and reimagining LCD screens in order to explore their polarized qualities, both in photographs and installations.

↑ 0089 – Anatoly Grashchenko [Russia/Germany] – Inter Sections [2024]

This video is a result of an exploration of noises and modulations

Anatoly Grashchenko [Russia/Germany]

Anatoly Grashchenko is a graphic designer, creative coder and generative artist. Uses computer programming as the main artistic medium. Experimentation, trial and error and tweaking algorithms — are all common practices, while errors, glitches and unexpected behaviours are common outcomes during his work progress. Anatoly considers them as valuable as the expected results

↑ 0090 – WomanNFT [USA] – Sacred Transcendence [2024]

AI Collaborative Art

WomanNFT [USA]

Woman is a self taught visual artist with a passion for the feminine. She began her career as a traditional painter and moved into digital art upon her entry to CryptoArt in early 2021. Her art is an expression of feminine energy channeled through herself, a vessel for creation, processing her emotions about her own experiences and sharing with her audience those vulnerabilities. She hopes her art gives a glimpse into her experience as a woman and a mother navigating life’s challenges, helping other women navigate in the process. She is passionate about uplifting artists from marginalized communities, fostering conversations about equity, connecting creative people and helping to provide pathways for artists around the world to share their creations and make a living through their art. She believes crypto is a gateway to freedom from oppression and can provide new opportunities to help artists create financial freedom for themselves.

↑ 0091 – Charlotte Lengersdorf [Germany] – Ephemeral Typing [2024]

Ephemeral Typing is an ongoing series of interactive typing programmes. In contrast to conventional typefaces, Ephemeral Typing has no fixed predetermined form. The characters are created in the act of typing and thematise the indeterminate and indecipherable nature of asemic writing. Asemic writing is a non-semantic, illegible form of writing: it combines ‘writing’ as a medium and practice of communicating meaning through language with ‘asemic’, which means the absence or negation of meaning. Ephemeral Typing exposes the viewer to a tension between a reference and difference to conventional writing. Its formal and gestural similarity to conventional writing suggests legibility, while any attempt to read what is written fails.

Charlotte Lengersdorf [Germany]

Dr Charlotte Lengersdorf is a Visual Communicator, researcher and lecturer based in Düsseldorf and London. Her research and practice emerges from an intersection between typography, media philosophy and a practice of creative coding with specific interest in the nonsensical, undetermined and unknown. Charlotte holds a BA (2016) in Visual Communication from the Peter Behrens School of Arts in Düsseldorf and a MA (2018) in Visual Communication from the Royal College of Art in London. Her PhD (2023, practice-based) in Communication Research at the Royal College of art, titled ‘Towards an Uncausal Practice of Visual Communication’ was funded by The German Academic Scholarship Foundation.

↑ 0092 – toastfang [Taiwan] – Dancing a-ma [2024]

In lunar new year ‘s day, ran into a A-ma dancing with music. The 5-second works, which were originally discarded due to restrictions, contain some small thoughts and emotions found in tedious daily life.

toastfang [Taiwan]

Toastfang focuses on labor, social class, and education. The works cover images, installations, and action plans. Through observing the interaction between people and the local ecology, the individual engages in local actions, project creation, and experiments.

↑ 0093 – Liminalmadness [Russia] – CShading_Alpha[0001-0300] [2024]

This art is a part of series ‘’CShading_Alpha’’ that consists of frame sequences that can be represented as separate images or animation. It makes think about how an undefinable glitch of a technology can interwove with humans’ perception, aesthetic vision and our trust in digital things. Each picture is a failed render of a 3d-model. That were supposed to be a frame of an animation sequence in black-and-white alpha mask mode. The geometry dissolved completely and a random white noise appeared instead. The sequence consists of 300 unique frames that depict similar pixels only. This effect is not intentional and reveals the unpredictable and uncontrollable creative power of digital technologies. Neither machines nor humans can explain the logics of this phenomenon. New technologies become things that we cannot live without, but we should be aware of their unpredictable behavior.

Liminalmadness [Russia]

Stepan Tereshenko is a conceptual digital 3D artist from St. Petersburg, Russia, winner of the “Art, Science and Technology Award 2022”, nominee for awards in the field of architecture 2018 – 2021, master’s degree in Design architectural environment. From 2021 creates digital art about conscious interaction with the digitalized world of the future. He combines the principles of science fiction, internet aesthetics, mythology and minimalism. For 2023 – 2024 has presented a personal exhibition at Masters Digital Gallery, took part in international digital art festivals ”MAPP”, Montreal, Canada and “Metaxis”, Budapest, Hungary, group exhibition at The Capital Museum, Beijing, China and other.

↑ 0094 – xkprx [Polska] – Robot Fairy Tales [2023-2024]

Compilation of original short videos and digital animations from 2023-2024. Video montage features custom-created content interwoven with glitch art aesthetics.

xkprx [Polska]

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.

↑ 0095 – Tristan Calvo-Studdy [United States] – TEXT DEGRADATION [2024]

This video work uses a technique called ‘analog video degradation.’ The video is copied back and forth across two video cassette tapes, each time losing more video and audio quality until it eventually becomes static. The video is then re-edited so that every time a new word appears, it is a new generation of copied video.

Tristan Calvo-Studdy [United States]

These video works utilize VHS tapes pushed to their limits, creating analog artifacts, visual distortions, and video static. The analog video medium has long been a source of inspiration and passion for the artist, using it to explore themes of impermanence and relinquishment. Once ubiquitous in households around the world, VHS now evokes feelings of uncanniness and nostalgia for a bygone era. The artist uses this medium to evoke feelings of reminiscence while creating an aura of mystery that allows for personal reflection.

↑ 0096 – Javier Galán [Spain] – Lost Files [2024]

This piece consist in a mashup of dispersed crops of low-quality 3d geometries, intuitively composed in GIMP and processed eventually with blender compositor denoisers to search weirdness

Javier Galán [Spain]

I am a visual artist and musician from Barcelona, ​​born in 1982.

Starting in 2008, the need arose to expand new expressive sensibilities that would allow me to connect with the cultural Geist of the moment, in consequence my art began to be nourished with references that range from symbolism, pop-art, trash-art, always using radical aesthetics applied from contemporary experimentation with digital tools.

My body of digital work takes a paradigmatic turn in 2021 when I started a new audiovisual cycle in the world of NFTs, especially in the Tezos ecosystem, giving rise to to a new artistic stage that is allowing me to explore a new paradigm of digital art distribution that is very enriching and open to potential synergies.

↑ 0097 – #FFFF00 [Taiwan] – Golden Days [2024]

The video is composed of the glitched ending clip of The Birth of a Nation (1915) by D. W. Griffith, and a reverse version of the Yugoslav national anthem.

Identity is far from static. It is not a fait accompli but something that has yet to be realized. By adding disturbances, the work hints at the non-neutral and fictional nature of “narrative”, while its relic-like atmosphere evokes vague shared memories and a state of suspension.

#FFFF00 [Taiwan]

#FFFF00 is imagining another art. Her mi̍h-kiānn swings between joke and protest about institution. With appropriation, multiple and low-budget as main tools, she strives to pave the way for outsider.

Graduated from National Taiwan University of Arts, she has participated in group exhibitions at Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan); Gudskul (Jakarta, Indonesia); University of Tartu Art Museum (Tartu, Estonia); Biennale Info Center (Larnaca, Cyprus); Technopolis (Athens, Greece). In 2025, her works will show at Pragovka Gallery (Prague, Czech Republic) and National Gallery – Cifte Hammam (Skopje, North Macedonia).

↑ 0098 – Chris Combs [USA] – Unmoored [2022]

In my art, I often film a beautiful place in full-color and reduce the footage to booleans: black and white. This is one example that didn’t go to plan. I placed an underwater camera in a lake, and settled down to enjoy the view as it recorded rolling waves. However, the camera had other ideas: it slowly drifted free. This silent footage, edited for length and booleanized, is the odd result.

Chris Combs [USA]

Chris Combs is an artist based in Washington, D.C and Mount Rainier, Maryland whose sculptural artworks both incorporate and question technologies. Before becoming an artist, he was a photojournalist, a photo editor for National Geographic, a product manager, and ran a media website. As a kid, he wanted to make robots; many years later, he looped back to this. His artwork often incorporates his own videos of natural places.

↑ 0099 – Mursigner [Russia] – Chaotic Constructs [2024]

In my work “Chaotic Constructs,” I explore the concept of failure and imperfection through the lens of glitch art and anti-design aesthetics. Using neural networks I create visual artifacts that emerge during the image processing phase. These artifacts become central elements of the piece, highlighting the value of randomness and unpredictability in digital art.

The composition of the poster is executed in a chaotic style, where text and image elements blend together, creating a unified visual flow. I also incorporate a physical element by scratching a CD to create an imprint, serving as a metaphor for the errors that occur in the process. The color palette includes black-and-white elements with an accent of blue, symbolizing glitches and imperfections, making the work both relevant and multi-layered.

Mursigner [Russia]

I’m Anastasia Natalenko, a 28-year-old media creator and graphic designer based in Novosibirsk, Russia. With 9 years of design experience and a Bachelor’s degree in Design and Pedagogy, I’ve participated in international contemporary art exhibitions and specialize in neural networks. I am passionate about combining creative, professional, and teaching activities in my work.

↑ 0100 – Alice Falco [Italy] – The Sound of a Tree [2023]

An experiment with touchdesigner, the first time I tried to create sounds from an image

Alice Falco [Italy]

Alice Falco was born in 1988 and studied photography in Rome. For the past few years she has been experimenting with coding and generative art. She now lives in Turin where she works as a camera operator and video editor.

↑ 0102 – Polinsiaga [Russia] – mental kink [2024]

In this work, I gathered all my broken, buggy, and flawed projects in which I made mistakes. These unfinished pieces form around the figure of a person curled up in a fetal position, symbolizing a retreat into oneself and the desire to occupy a safe, primal position, shielding themselves from the outside world under the pressure of their own imposter syndrome.

Each mistake and every glitch in the work is not just a failure, but a part of my creative process, reflecting the struggle with inner demons and the quest for self-acceptance. I invite the viewer to notice the beauty in imperfection and to realize that the only person who rejected these works is myself. This piece is my call for embracing one’s own flaws and being open to mistakes as an integral part of the artistic journey.

Polinsiaga [Russia]

I was born in Novosibirsk in 1997. Due to a difficult childhood, I grew up quickly and started working, so I couldn’t make art my main source of income. However, I have always loved art and have been drawing every day, often falling into depression and finding the only source of life in art. After honing my drawing skills, I began to independently study 3D and incorporated it into my work, where I express my inner experiences. I have participated in international exhibitions and festivals, am a member of the open jury of the international festival “Sreda,” and have won awards in many art competitions.

↑ 0103 – Micah Alhadeff [United States] – Thorns [2024]

Thorns is a digital sculpture of a glitched, fragmented figure reaching for the sky covered in bright red thorns. This piece was inspired by Lucio Fontana’s idea of “slashing” artwork. Similarly, I use glitch in this piece to slash apart the model’s geometry, creating jagged sharp points that extend outward from the model’s surface.

Micah Alhadeff [United States]

Micah Alhadeff is an experimental 3D artist who utilizes glitch processing and 3D programming to explore themes related to the virtual body, queer aesthetics, and the limits of fantasy. Alhadeff holds an MFA in Electronic Integrated Arts from Alfred University, as well as a BA in Art History and a BFA in Graphic Design from Colorado State University. His work was sold by Sotheby’s in 2023 and has been exhibited internationally at venues including The Royal Institute in London, UK; NFT.NYC in New York, USA; NFC.Lisbon in Lisbon, Portugal; Tech Contemporary in Copenhagen, Denmark; 758 Art Space in Beijing, China; and most recently across 1000 billboards in 200 cities in Belgium with Art Crush Gallery and Clear Channel Belgium.

↑ 0104 – LI{A}ON [Thailand] – HURT | HOPE | HEAL [2021 Till Now]

A deeply personal creative process that uses the limitations of a broken iPhone camera as both a tool and metaphor. I captured Live Photos and videos, embracing the glitches and unique, unexpected movements that arise from the device’s malfunctions. The broken technology becomes an artistic lens through which I have explore the concept of how humans and technology are damaging the world. Yet, through this “glitch” or destruction, there is also beauty—if viewed from different perspectives.

My editing technique, using simple, free programs, reinforces the raw, unpolished nature of this exploration.

The theme is the duality between destruction and beauty, and how both can coexist, depending on the way we look at things. The broken camera becomes a metaphor for the fractured state of the world, but also for the possibility of finding meaning and aesthetic value in what’s imperfect or damaged.

LI{A}ON [Thailand]

I have to work in both the reality and the dream. The former is a world which is run by business while the latter is a world of art. Since my job is a documentary creator, I have tried to include such two worlds into my storytelling process. Therefore, I have started the Seasail project and invited my friends to create the art subjects together. The Seasail will be conducted annually in different places which exhibit the various art projects – drawing, street art, installation, art from recycled materials, mixed media, experimental art, visualization and interactive art, music and performance. At the end of the exhibition, there is also the focus group purposing to exchange the ideas about art creation and environmental preservation.

↑ 0105 – Eyal Gruss [Israel] – LordTubeMaster [2024]

Live YouTube effects using self screen capture to circumvent CORS restrictions by stealing the pixels, and modern web compute technologies to apply graphic transformations and machine learning models in real time. Requires chromium desktop and a GPU. Follow instructions here: https://github.com/eyaler/LordTubeMaster to enable flags necessary for full screen mode. The attached URL will load a playlist from Crash Stop’s YouTube in random effects mode. You need to approve the sharing and rightclick the bottom frame for full screen (after setting above flags). As far as I know this is a first example of applying arbitrary video effects and computer vision models on live embedded cross-origin videos, running in the browser client side, without extensions, external services or necessity to download media, allowing us to glitch YouTube on the fly. This is an educational tool with various implementation examples for different backends, frameworks and effects.

Eyal Gruss [Israel]

Dr. Eyal Gruss is an artist, coder, poet, algorithms researcher, and teaches computational creativity at the Holon Institute of Technology. Eyal creates interactive installations, multimedia performances, constrained and algorithmic poetry, and code art. His works were exhibited among other places at the Ars Electronica Festival, Print Screen Festival, Stuttgarter Filmwinter, Freshpaint Art Fair, Design Week Jerusalem, Binyamin Gallery, Bloomfield Science Museum, Bat Yam Museum, Herzliya Museum, Heinz Nixdorf MuseumsForum, Petach Tikva Museum, Tel Aviv Museum, and the Internet. Website: eyalgruss.com

↑ 0106 – nemesis_fortuna [Germany] – RAW_DATAROT.bg [2023-2024]

RAW_DATAROT.bg is a byproduct of the way creation works. Incomplete pieces of a process, of something greater.

I create some of my art by making several hundreds of images glitching them in various techniques and software which then I mix, combine, and illustrate over. This series is made of a selection of byprod images; Background pieces that I find incredibly beautiful in their abstract form, from something to nothing but still strong and certainly mesmerizing. Incidentally, the selection was made from the visible colors in a rainbow/prism spectrum.

Some to be used as part of something, some to only be admired.

nemesis_fortuna [Germany]

Audio/Visual artist and designer hailing from Colombia but based in Germany. Obsessed with turning organic data into mathematical error, turning order into chaos and into a new shape. Glitch as the new wave of psychedelia for your digital being, look into it and dissolve.

↑ 0107 – Fangs [Mexico] – BERRAZANO THOUGHTS [2024]

An experimental videoloop shot on location at Berrazano Bridge in Bay Ridge, Brooklyn.

Fangs [Mexico]

I´m Rodrigo Courtney aka Fangs and experimental filmmaker and videoartist from Mexico.

↑ 0108 – Iqra Iqbal [Pakistan] – Cosine Circuit [2024]

I used 10 images from my previous album ‘Germinal Gremlin’ and applied Discrete Cosine Transform method on each image one by one. This process took place in ‘Google Colab’ using Python language. The output images were saved and reopened in ‘Photopea’ using web browser. Photopea is similar to Photoshop but it is free to use. I applied blending mode ‘Hard Mix’ to duplicated layers which were cropped out of DCT’s outputs.

Colab Notebook: https://colab.research.google.com/drive/1JW-DI1PSsVzO51IXYYv8DPyZ6eh4RWx5

Iqra Iqbal [Pakistan]

Iqra Iqbal, ( from Lahore, Pakistan ), background in computer science, b.1993, a glitch artist with expertise in digital designing, creative coding and animations. Her artistic works interpret that the reality is in fact distorted.

↑ 0109 – inv4r3d [Russia] – Harmony of Change [2024]

A visual experiment in which ocean waves are digitally transformed, creating unique graphic representations that reflect the complexity of the interaction between nature and technology.

inv4r3d [Russia]

inv4r3d is a media artist specializing in various forms of visual and audiovisual art. He created music videos for Ulver. Works with AI

↑ 0110 – Dan Hutchinson [United States] – in/content [2024]

This piece is an exploration of social media as a space that is both intimately crowded and uniquely isolating, where the beauty and complexity of life is flattened into consumer content. The flailing figure is a self portrait, trapped between advertising and algorithms in a failed attempt at connection to the greater world beyond the screen.

Dan Hutchinson [United States]

Daniel Hutchinson is a multimedia artist and filmmaker who blends digital animation with modified electronics to explore the blurred boundaries between technology and human experience. His work has been featured in FATHERFATHER and Psychedelic Scene, as well as in group exhibitions such as Freq Show and Glitch Art is Dead 2022. His short films have been screened at MOHA, Cuerpo Transparente, and Altered Images.

↑ 0111 – yShin [Taiwan] – yShin_PD [2022-2024]

Inspired by Chun Lee perfect simulation of bytebeat music using the expr~ object in Pure Data with the C programming language, I attempted to explore other approaches to combine elements such as slight variations in sample rates, tonal scales that differ from traditional tuning, glitch rhythms, and compiling algorithms to generate sound waves from various numerical values and play with music.

yShin [Taiwan]

Im yShin, social media named @y_shin_visual, base in Taiwan ,Im focus in data evolution as Hypermedia artist. Collaborated with electronic bands @__p_c_b and @ovds.tw. as known as a visual artist,VJ, DJ, AudioVisual performer, a FLOSS artist.

I feel deeply influenced by the 90’s gaming culture and Demoscene, especially by music games like DDR (Dance Dance Revolution).Until I attended the Playground workshop organized by dimension+ and encountered the enlightening artist Chun Lee, also known as 0xA, I never truly felt the warmth of code in creating audiovisual art using PureData.

↑ 0112 – Rachel Efruss [USA] – Noise Study 02 [2024]

“Noise Study 02” is a composite of several pieces of video camera feedback and no-input mixer feedback created using a camcorder, multiple analog video mixers, a circuit bent video enhancer, and a CRT TV. The footage was further modified on the computer using digital software to blend layers, edit colors, and manipulate speed. The audio is a collage of original sound recordings including wind, the Hudson River, the New York City Subway, a coffee maker, and an analog synthesizer. The sound recordings were run through effects, looped, and layered using digital software.

Rachel Efruss [USA]

Rachel Efruss is an artist and designer based in New York City. She uses analog and digital technology to create experimental videos, multimedia art installations, and live visual performances. She is interested in digital anthropology and patterns between nature, humanity, and technology. Rachel also teaches art workshops and helps organize DIY events as a way to support accessible arts education, community building, and creative experimentation.

↑ 0113 – Hecate [Croatia] – Strawberry Saudade [2023-2024]

I am diving in the fields of sexuality and psychologically disturbing imagery that reflects claustrophobia of mental scars, using my own face and cult movie actresses or women from vintage pictures to mix dark, kinky erotica with scenes that resemble the ones from the suspense movies I create in my head. I use Audacity, Photomosh and Photoshop to generate distorted, dirty and vertiginous images derived from my low-quality artworks, flawed in many ways thematically or technically. I use two main streams of deconstruction: soft, flowing, melting, lava-like, liquid images and staccatto, stroboscopic, sharp, jittery ones, rough on the edges. That duality is reflecting the ambivalence of my conceptual aims. Fluid presentation can stand for euphoria, levitating in daydreaming, the state of arousal or floating on the clouds of intoxication as a means of escapism from reality, and jagged one represents violent, destructive, schizoid forces of emotional landscapes.

Hecate [Croatia]

I was born in 1978 in Zagreb, Croatia. I graduated at the Academy of Fine Arts in Zagreb in 2004. I am engaged in visual arts (painting, drawing, photography, collage, glitch art, installations, animation, video, multimedia). I exhibited in numerous solo and group shows, in country and abroad (Croatia, Bosnia and Herzegovina, Slovenia, Serbia, Palestina, Argentina, Poland, Italy, UK, Portugal, France, Spain, Sweden, USA, India, Netherlands, Mexico, Russia, Greece; Germany, Trinidad and Tobago, Indonesia, Japan). I write poetry. My work was presented in many printed and digital croatian and international publications, (A5, Gestalten, Make8elieve, Poezija, Zarez, Rijeci, Vijenac, Self-As-Subject: The Multiple Exposure Project Zine, Stigmart10 Videofocus- special edition, Il corpo solitario III). My photography is part of four Saatchi Art collections. My drawing „Butterfly Effect“ became a part of Artemizia Foundation in Bisbee, Arizona, USA. I received several awards for my work.

↑ 0114 – Ѧ [Hungary] – VUVU [2022-24]

its topic is non-existent spaces and virtual places in 2-4 dimensions; its purpose is to linearize time, to make several places and/or times be able to co-exist virtually; its method is to extract features of streets, and layer them back onto themselves and others; its value is debatable;

0: it all started videos of imperfect digital scans of the analog world; 1: they were virtually endless panoramas; 2: they went through none, one or many effects; 3: they crossed paths in digital 3D; 4: they went back to being panoramas; 5: some ended up nice, some ended up here. 5: they went back to step 2.

Ѧ [Hungary]

i think i always liked to think algorithmically, which materialized itself vividly first in my drawings.i have a long-term and deep-stemmed love for mathematics, and recently in IT as well. a few years ago i became involved with media types, and compression methods, first from a visual, then from a technical perspective. i studied some media theory beforehand, so i started to analyze the inherent characteristics of file-types, thus their “true natures” as well. now i seek to examine, exploit and bring forth these attributes of the used medium. consequently i’m “specialized” in glitch art, both 2 and 3d, arguably 4 as well. i try to reinterpret my digital methods in the analog world as well, mostly with drawing, collaging, or creating land-art with my usual algorithmic stubbornness. i wish not tell a lot about me, for i am just the carrier of errors, hopefully not a failure myself.

↑ 0115 – Mark Klink [USA] – Heads-Wireframe [2024]

I use the opensource 3d modeling and rendering application Blender to create these images. Blender can utilize a stack of “modifiers” to alter the appearance of a 3d object. However, I “abuse” these modifiers by applying them in what would normally be considered inappropriate ways – decimating, re-meshing, and distorting the object, often repeating the operations using unusual “out-of-range” parameters in order to create unexpected expressive effects.

Mark Klink [USA]

“Mark Klink has been and done many things: Swept floors, worked in a factory, been an athlete, a minor government official, a life guard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures.”

↑ 0116 – Robin Moedder [Germany] – YELLOW MISTAKEN [2024]

A disturbed view through a broken window shows a yellow field where different errors destroys an environment.

Robin Moedder [Germany]

Robin Moedder, born 1980, is an interdisciplinary media artist who lives and works in the Ruhr Area, Germany

↑ 0117 – Agens111 [Germany] – Amazed as F111 [2024]

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.

Agens111 [Germany]

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

↑ 0118 – Medi S. (Spiegelberg) [Switzerland] – xerox message 202409 [2024]

This video is an abstract exploration of analog synthesis, combining patterns, colors, and shapes that intermittently suggest objects and evoke a spatial atmosphere. The visuals are the result of an improvised session, where I was experimenting with live visuals using both analog and digital synthesizers. The piece captures the unpredictable nature of analog processes, with shifting patterns that create a sense of organic movement. While initially recorded as a test for further post-production, the footage took on a life of its own. The accidental inclusion of a radio podcast that I was listening to during the process became an unexpected soundtrack element, turning what was meant to be a silent draft into a layered audiovisual piece. This unplanned fusion of visuals and sound highlights the spontaneity of creation and the beauty of chance, where what begins as a mistake becomes an integral part of the final artwork.

Medi S. (Spiegelberg) [Switzerland]

Medi S. (idem) is an analog avatar, operating at the intersection of video art and cultural work. As a multidisciplinary cyber artisan and advocate of “poor culture,” Medi explores altered images, transforming them into vibrant frames and ever-evolving colorful patterns. His approach emphasizes anonymity, invisibility, and ephemerality, principles that deeply shape his artistic actions.

With a focus on collaboration and shared creative processes, Medi is part of organizations that brings together members for collective projects, including video production, audiovisual performances, drawing, stage design, website development and online platforms. These collaborations are central to his practice, enabling a multidimensional exploration of the visual arts and moving image.

Among his artistic work, Medi is an active member of the independent art offspace Indiana in Vevey (CH).

↑ 0119 – Patrick Lichty [United States] – Personal Taxonomy [2019-]

Personal Taxonomies is a multi-year project aimed at my attempts to use Machine Learning and GANs to explore Chomsky’s notions of Deep Structure, using large bodies of my own work to find internal consistencies in my brain’s functioning. According to Chomsky, linguistics comes from patterns in humans’ brain physiology – in a way, a predisposition to language. After seeing work by neurologists selling to reconstruct what is seen by analyzing brain scans, I wanted to do the same using machine learning systems and large bodies of my own paintings. If I can get a machine learning system to find the inner consistencies or “patterns” in my own mind through analyzing large bodies of my work, perhaps I can cross-compare two sets of these AI-bases analyses against one another to show the “deep structures” of my brain when creating these works.

Patrick Lichty [United States]

Patrick Lichty is a multifaceted artist known for his work in various technological media. Born in Akron, Ohio, in 1962,. His career spans over three decades, during which he has established himself as a media artist, writer, curator, designer, and educator. Lichty’s artistic practice explores the impact of media and technology on society. He has an interest in augmented reality (AR), virtual reality (VR), generative and telecommunications art, and machine drawing. His work critically examines how media shapes human perceptions of reality. He was a CalArts/Herb Alpert Fellow and exhibitor at the Whitney Biennial.

↑ 0120 – Aaron J Juarez [USA] – Let the Tears Fall Again [2016, 2024]

source: early (2016) generative experiment, expressing the range of 255 rgb color mixing, then iterated with tiling algorithm; later (2024), glitched in webp format, using my byte shift technique, conserving information yet allowing data cascades to manifest.

Aaron J Juarez [USA]

Aaron J Juarez is a Mestizo (Native, Hispanic) American, and as an interdisciplinary artist and researcher, his work explores the intersection of digital structures, experimental processes, and natural phenomena. They have developed works across various media, including still imagery (digital and analog prints), video, 3D modeling, and live coding. Having established the framework of “glitch serendipity,” Juarez subverts conventional information pathways to uncover hidden layers of meaning. His approach to interacting with digital structures reflects his background as both an artist and scientist, and the works challenge traditional boundaries of the organic and digital worlds. He has earned the MFA in Electronic Arts, and recently pioneered “glitch-tone” prints at the Institute of Electronic Arts at Alfred University. Juarez continues to push the limits of digital art while reflecting critically on interpretations and valuations between science, art, and humanities.

↑ 0121 – Anna Alexanina [France] – our aim is wakefullness our enemy is dreamless sleep [2024]

A digital automatic writing self-constructing piece manifesting one of the most infamous XX century counter-culture epigrams. The multilayer random edit of the commercial CGI video absorbing anything placed on it to wake from a troubled dreamless sleep.

Anna Alexanina [France]

Anna Alexanina is a multimedia artist currently residing in Paris, France. In her art practice Anna mostly adress the themes of the construction of the reality perception, historical and cultural processes reflection, reasons and consiquences of the inequality and bigotry. Her preferred mediums are video and all kinds of multimedia experiments including traditional and contemporary techniques such as computer graphics and sound art.

↑ 0122 – terrafold_ [Budapest, Hungary] – Chromatic Shatter 01 & 02 [2024]

These works delve into the intersection of technology and identity through pixel art. Through the use of various glitch art tools, these pieces are an abstract representation which explores the theme of digital decay and the transient nature of digital media in the process of deconstruction of identity in the digital age.

terrafold_ [Budapest, Hungary]

terrafold_ is a Hungary-based glitch artist pushing the boundaries of digital art through abstract, psychedelic, and dark themes. Her style blends vibrant moods with deep contrasts, creating immersive visual experiences. Known for vivid layers of texture and glitch effects, her work strikes a balance between chaos and harmony.

With a passion for intricate workflows, terrafold_ utilizes various digital tools and techniques to explore color, texture and distortion. Her pieces are defined by deep contrasts and exceptional glitch effects, resulting in thought-provoking and visually striking compositions.

In recent years, she has expanded her artistic vision to include portrait glitches, exploring the human form through distortion. This new direction adds complexity to her already diverse body of work.

Embracing the unpredictable nature of glitch art, terrafold_ challenges conventions, fusing chaos and control to create emotionally charged, visually stunning pieces.

↑ 0123 – niky [USA] – outSide [2024]

Niky Reynolds employs a range of digital techniques, preferring to use computer coding software and digital home videos to experiment with timing, contrast, and repetition to create new visual rhythms.

Her work often features abstract and fragmented imagery, where the interplay of light, movement, and sound invites viewers to experience familiar scenes in unfamiliar ways. By manipulating these elements, Niky explores how synchronization and dissonance can shift perception, creating spaces that blur the line between reality and digital art. Her pieces invite audiences to interpret the flow and distortion of time, providing immersive, interactive experiences that challenge traditional boundaries in visual storytelling.

niky [USA]

Niky Reynolds is a new media artist with a BFA in New Media from the University of Illinois Urbana-Champaign. Her work delves into the unexpected patterns and rhythms that arise when images and videos are layered and transformed through digital manipulation. By exploring the nuances of timing, texture, and contrast in her visuals, she creates immersive experiences that challenge conventional storytelling and viewer interaction. Her innovative approach encourages audiences to engage deeply with the work, uncovering new meanings in the interplay of images and effects.

↑ 0124 – Gahon C. [台灣] – 「山水・樹的Ｘ光片」 X-ray Captures on 'THE threes’ [2024]

The video footage originates from my recordings in the wetlands of Yilan, Taiwan. Through post-production, the landscape imagery was processed and restructured using the concept of “X-ray,” deconstructing and transforming the dynamic video into static visual captures.

影片素材源自我在台灣宜蘭濕地的錄影，經過山水意象的畫面處理，加上「X光」的概念重構，把動態影像分解、轉化為靜態的視覺捕捉。

Gahon C. [台灣]

I am a visual artist based in Taiwan, primarily working with painting, performance video art, and cross-media artistic creation. I enjoy transforming everyday photos from my phone into different forms of art, simply for the fun of it. However, when it comes to sharing these works, I often feel an invisible pressure, thinking they aren’t ideal enough to be published. As a result, they accumulate on my phone as unfinished works, like failed attempts. Through the comparison between released and unreleased works, I explore the contrast between success and the experimental stage, reflecting on how a project moves from uncertainty to clarity during the creative process.

我是一位居住於台灣的視覺藝術家，創作媒介涵蓋繪畫、行為錄像藝術等跨媒介藝術表達。我喜歡將日常手機中的照片轉化為不同形式的藝術，僅僅出於樂趣。然而，在分享這些作品時，我常感受到一種無形的壓力，總覺得它們尚未達到理想狀態，因此它們堆積在手機裡，變成未完成的作品，彷彿是失敗的嘗試。這些未公開的作品與已發表的作品之間的對比，揭示了成功與實驗階段間的差異。我希望通過這些對比，探討作品在創作過程中從不確定走向清晰的轉變。

↑ 0125 – FLAG [HR] – TTK2023 [2023]

“TV WALL was an exhibition and a TV installation of about 20 CRT television screens, which in 2023 presented the works created during the “”FLAG”” artistic residency held in Karlovac in 2023.

FLAG 2023 audio and video materials presented by the installation were recorded by Dina Gligo, Denis Mikšić, Vedran Gligo and Antonio Krstić at the facilities of the Karlovac Turbine Factory under the direction of Zagreb multimedia artist Tin Dožić. Video materials were then edited with different tools (Tomato, HxD, Avidemux, KDENLive) and prepared for publication.

As part of the Fubar exhibition, during Tuesday October 15, a 20-minute one-channel installation variant with a remix of the documentation of the materials created at the FLAG artist residency will be shown. Mid-screening of the loop, starting at 6pm, the authors and organizers will make an introduction into the methods and motives of FLAG, and hold a talk with the visiting audience.”

FLAG [HR]

“”free-libre_art_-_glitch”” program of artistic residencies is organized by KA-MATRIX – association for social development and artistic organization Format C within the framework of the New Culture_Hybrid City 023 program and the Fubar project, with the support of the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, Karlovac County , the City of Karlovac and the City of Zagreb.

filming management: Tin Dožić filming: Dina Gligo, Tin Dožić, Denis Mikšić, Antonio Krstić audio processing: Dina Gligo, Tin Dožić, Denis Mikšić, Bobo, Vedran Gligo video production: Denis Mikšić audio programming: Vedran Gligo exhibition: Denis Mikšić, Dina Gligo, Vedran Gligo production: KA-MATRIX and Format C

↑ 0126 – Sunčica Škornjak [HR] – Računalo (ne)čuva moja sjećanja [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives? During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Sunčica Škornjak [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024. Mak Ratković Rajhvajn: “Trip”, 2024 Katarina Jelčić: “Kvartovska kugla”, 2024. Viktor Rasol: “random”, 2024. Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

↑ 0127 – Mak Ratković Rajhvajn [HR] – Trip [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives? During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Mak Ratković Rajhvajn [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024. Mak Ratković Rajhvajn: “Trip”, 2024 Katarina Jelčić: “Kvartovska kugla”, 2024. Viktor Rasol: “random”, 2024. Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

↑ 0128 – Katarina Jelčić [HR] – Kvartovska kugla [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives? During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Katarina Jelčić [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024. Mak Ratković Rajhvajn: “Trip”, 2024 Katarina Jelčić: “Kvartovska kugla”, 2024. Viktor Rasol: “random”, 2024. Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

↑ 0129 – Viktor Rasol [HR] – nasumi;no [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives? During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Viktor Rasol [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024. Mak Ratković Rajhvajn: “Trip”, 2024 Katarina Jelčić: “Kvartovska kugla”, 2024. Viktor Rasol: “random”, 2024. Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

↑ 0130 – Lovro Ivanišević [HR] – Error 1998 [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives? During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Lovro Ivanišević [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024. Mak Ratković Rajhvajn: “Trip”, 2024 Katarina Jelčić: “Kvartovska kugla”, 2024. Viktor Rasol: “random”, 2024. Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

Retrieved from https://fubar.space/2024/artist-list/

CALL FOR (ART)WORK PUBLISHING PERMISSIONS

Fubar is a decade-old Glitch Art program focused on electronic experiments and research in digital art theory and practice of errors. For our upcoming community project, Fubar open archive, we invite artists who participated in the exhibitions from 2015 to 2017 to notify us if they would like to have their work included in the collective international Glitch Art archive. (Artwork exhibited in 2018-2024 already has permissions covered in their submissions process.)

Fubar open archive is a DIY decentralized and to-be widely distributed archive of Glitch Art that will be published in 2025/26. It documents and makes (art)works from past ten Fubar editions permanently available. The goal is to create a global living archive for the Glitch Art community, to increase its visibility and create a resource for new forms of collaborative online research, based on free access and open information. 

Permissions deadline #1: DEC 31 2024 Permissions deadline #2: JUN 30 2025 Permissions deadline #3: OCT 31 2025Permissions deadline #3: NOV 30 2025Upcoming permissions deadline: DEC 31 2025[confirm your ART in the ARCHIVE HERE]

List of exhibition participants from previous Fubar festivals:

• https://fubar.space/2015/fubar-2015-participants/
• https://fubar.space/2016/fubar-2016/
• https://fubar.space/2017/glitch-art-expo/
• https://fubar.space/2018/expo/
• https://fubar.space/2019/fubar-2019-expo/
• https://fubar.space/2020/fubar-2020-gallery-program/
• https://fubar.space/2021/artists-work/
• https://fubar.space/2022/art/
• https://fubar.space/2023/expo-art/
• https://fubar.space/2024/artist-list/

Fubar is a project by the Format C Artist Organization. It’s supported by a number of collaborating authors and participating artists, as well as many program and media partners. The event program is financially supported by the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb as well as many glitch art supporters over the years. 🤍

Retrieved from https://fubar.space/2024/expo-archive-call/

2024

CURATORS

• online events: Bee Nix × Ian Keaveny
• glitch cinema: Ejla Kovačević
• theory and talks: Irena Borić
• exhibition and festival program: Dina Gligo × Vedran Gligo

PRODUCERS

• web, UI, tech, hypermedia, networks: Vedran Gligo
• text, UX, content, multimedia, archive, administration: Dina Gligo
• online events, mentoring, education: Bee Nix × Ian Keaveny
• socials, translations, hospitality, administration: Ejla Kovačević
• tech support: Pogon crew × KA-MATRIX
• PR and promotion: Pikto Arthouse

ORGANIZERS

• administration, production and programming: Format C Art Org

PARTNERS

• festival venue: Multimedia Institute + MaMa net.culture club
• exhibition and events venue: Pogon Jedinstvo
• production and coding: hacklab01
• FLAG residency: KA-MATRIX
• program collabs: FUSE festival, Polagoma Institute, Glitch’n’Games, Glitch Art Gallery, …

MEDIA PARTNERS

• promotion: SubSite, Kurziv + Kulturpunkt

DOCUMENTATION

• photo: Sanja Bistričić
• video: Matej Beluhan

DESIGN

• web and visual identity design: Petra Milički
• web programming: Nikola Greiner
• web programming updates: Vedran Gligo

PRINT

• print: Ars Kopija
• merch DIY: Format C

DONORS

• program funding, technical equipment: our amazing glitch art community <3

FUNDERS

• office and administration: Kultura nova Foundation × Format C
• production and travel resources: Ministry of Culture and Media of the Republic of Croatia × City of Zagreb × Goethe Institute Croatia

THANK YOU

• GAC × GAID × #glitčh fam 🙌

Retrieved from https://fubar.space/credits

/’fu:bar/ is a project ran by the Format C Artist Organization. It’s supported by a number of collaborating authors and participating artists, as well as many program and media partners – and the mi2 association via the MaMa net.cultural club venue. The event production and program are financially supported by the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb and others. Format C operational work is funded by the Kultura nova Foundation and the City of Zagreb institutional tender.

Fubar is heavily suported by the organizers’ and the participants’ volunteer work and private funds as well as our organizational, partner and in-kind resources as well as many glitch art supporters over the years. ♥̛̮̼̗̱̜̲̙̇̏ͦ̑̊͑́ͨͅ

If you’d like to support our production costs (artists mobility and production, acquiring necessary equipment and/or services), you are welcome to donate via our non-profit organization, by marking the payment with “Fubar donation”.

PUBLIC FUNDING OUTLINE

2026

more info coming soon!

██████████ DECENNIAL MONOGRAPH (preparation): TBAMinistry of Culture and Media (0€ – REJECTED) ░ City of Zagreb (TBA) ▒

2025

▒▒▒▒▒▒▒▒▒▒ BIENNALE (production, preparation): 6,000.00€Ministry of Culture and Media (0€ – REJECTED) ░ City of Zagreb (6k/yr 2024-26) ▒

░░░░▒▒▒▒▒▒ EXHIBITION (production and web archive): 11,000.00€Ministry of Culture and Media (4k) ░ City of Zagreb (7k/yr 2025-27) ▒

▒▒▒▒▒▒▒▒▒▒ PROGRAM (workshops and residencies): 2,000.00€Ministry of Culture and Media (0€ – REJECTED) ░ City of Zagreb (2k) ▒

▒▒▒▒▒▒▒▒▒▒ FILM (screenings): 3,500.00€TBA (0€) ░ City of Zagreb (3.5k) ▒

2024

░░░░▒▒▒▒▒▒ FESTIVAL (production, presentation): 10,981.68€Ministry of Culture and Media (4k) ░ City of Zagreb (6k 2024-26) ▒

░░░░▒▒▒▒▒▒ EXHIBITION (production and web archive): 9,000.00€Ministry of Culture and Media (4k) ░ City of Zagreb (5k) ▒

▒▒▒▒▒▒▒▓▓▓ PROGRAM (workshops and residencies): 4,000.00€Ministry of Culture and Media (0€) ░ City of Zagreb (4k) ▒ partners (0.9k) ▓

▒▒▒▒▒▒▒▒▒▒ FILM (performance and screenings): 2,100.00€HAVC (0€) ░ City of Zagreb (2.1k) ▒

░░░░░░░▓▓▓ COLLAB (international panels): 2,100.00€Ministry of Culture and Media (1.5k) ░ City of Zagreb (2*0€) ▒ Goethe Institut (0.6k) ▓

██████████ ARCHIVING (multimedia accessibility): 0€Ministry of Culture and Media (0€ – REJECTED) ░

2023

░░░░░░▒▒▒▒ FESTIVAL (preparation and production): 6681.68€Ministry of Culture and Media (4k) ░ City of Zagreb (2.7k) ▒

░░░░░░▒▒▒▒ EXHIBITION (production and archive): 6481.68€Ministry of Culture and Media (4k) ░ City of Zagreb (2.5k) ▒

░░░░░░░▒▒▒ EXTENDED (AiR + workshops): 3954.46€Ministry of Culture and Media (2.7k) ░ City of Zagreb (1.3k) ▒

▒▒▒▒▒▒▒▒▒▒ FILM (screenings): 1000.00€City of Zagreb (1k) ▒

▒▒▒▒▒▒▒▒▒▒ INTERNATIONAL (collaboration): 900.00€City of Zagreb (0.9k) ▒

2022

░░░░░░░▒▒▒ FESTIVAL: 23000HRK = 3503€Ministry of Culture and Media (15k) ░ City of Zagreb (8k) ▒

░░░░░▒▒▒▒▒ EXHIBITION: 20000HRK = 2654€Ministry of Culture and Media (10k) ░ City of Zagreb (10k) ▒

2021

░░░░░░░▒▒▒ FESTIVAL: 21000HRK = 2787€Ministry of Culture and Media (13k) ░ City of Zagreb (8k) ▒

░░░░░▒▒▒▒▒ EXHIBITION: 20000HRK = 2654€Ministry of Culture and Media (10k) ░ City of Zagreb (10k) ▒

2020

░░░░░░▒▒▒▓ FESTIVAL & EXHIBITION: 23275HRK = 3089€Ministry of Culture (13k) ░ City of Zagreb (8k) ▒ donations (2.3k) ▓

2019

░░░░░▒▒▓▓▓ FESTIVAL & EXHIBITION: 27350HRK = 3630€Ministry of Culture (13k) ░ City of Zagreb (5k) ▒ donations (9.4k) ▓

2018

░░░░░░░▒▒▒ FESTIVAL & EXHIBITION: 15000HRK = 1991€Ministry of Culture (10k) ░ City of Zagreb (5k) ▒

2017

░░░░░░░░▒▒ FESTIVAL & EXHIBITION: 19000HRK = 2522€Ministry of Culture (15k) ░ City of Zagreb (4k) ▒

2016

░░░░░░░▒▒▒ FESTIVAL & EXHIBITION: 27000HRK = 3584€Ministry of Culture (20k) ░ City of Zagreb (7k; link broken) ▒

2015

◯

* 7,53450 HRK = 1 EUR

Retrieved from https://fubar.space/support