Ausstellung
Zentraler Teil des HTP ist wie immer Jahr die Ausstellung zeitgenössischer (Medien)Kunst. Rund zwanzig Arbeiten hinterfragen Systeme und eröffnen Möglichkeitsräume. Denn dass das Aufbrechen von Bestehenden derzeit vor allem als ökonomische Disruption verstanden wird, ist gesamtgesellschaftlich nicht wirklich hilfreich. Und im Grunde sehr unkreativ. Hier hat die Kunst viel beizutragen, sie spielt mit Konzepten, weil dabei eben neue Ideen entstehen.
Performances
Dieses Jahr ist auch die Performance-Kunst stark vertreten am HTP. 10 verschiedene Performances sind kreuz und quer ins Programm gestreut und bieten einen mal poetischen, mal subversiven Zugang zum Thema Hacking.
- AntiwarAI
"Antiwar AI" is a provocative testament to the power of hacktivist art. The project infiltrates public spaces in Russia, transforming hijacked IP cameras with speakers into vehicles for a antiwar message. This endeavor employs Artificial Intelligence as its artistic muse, appropriating the language and style of preach and propaganda to craft an antiwar call. The hacked cameras with speakers serve as a alternative form of media, an untamed channel of communication,
subverting the traditional information channels in an era of dictatorship and total control. "Antiwar AI" is a beacon of resistance, transforming everyday spaces like bars, hospitals, offices, and beauty salons into platforms for dissent. It's a rebellious whisper in the wind, a bold declaration of defiance against the drumbeats of war, reminding us of the power of art to challenge, provoke, and inspire.
Helena Nikonole
Helena Nikonole is a new media artist, independent curator, researcher and educator based between Berlin and Istanbul. Her field of interests embraces AI, hacktivism, hybrid art and bio-semiotics. One part of her practice is dedicated to utopian scenarios of post-human future and art as innovation l, while another is focused on dystopian present and critical approach to technology.
She presents talks, lectures and workshops in the field of Art & Science and AI & Art at different institutions including transmediale festival (Berlin), Paris College of Arts, Art Laboratory Berlin, Mutek Festival (Montreal and Tokyo), Leiden and Eindhoven Universities (Netherlands), Swiss Interactive Media Days, Creative Days Vienna, IMAL (Brussels) and many others.
Her artistic work has been presented internationally by institutions and festivals such as Ars Electronica, ZKM Museum (Karlsruhe), CTM Festival (Berlin), Athens Digital Arts Festival, Kapelica Gallery (Ljubljana), Chronus Art Center (Shanghai), Drugo More (Rijeka), Digital Art Zurich Festival, "YouFab Creative Award 2019 Winners Exhibition" at SHIBUYA QWS (Tokyo), Open Source Body Festival 2022 (Paris), Warsaw Biennale 2022, Cairotronica Festival 2025 etc.
Her curatorial projects include exhibitions such as Learning Machines (Electromuseum, Moscow, 2019), Art Code (Solyanka Gallery, parallel program of Art for the Future International Festival, Moscow, 2021), Cybernetic Serendipity (Akbank Cultural Center, Istanbul, 2023) and Golden Horn Light Festival (funded by Contemporary Istanbul Foundation and opening in Istanbul in September 2025).
In 2019, Nikonole received special prize from the YouFab Creative Award (Tokyo, Japan).
She was awarded a prize in the Web Art category by the Athens Digital Arts Festival (ADAF) in 2021.
She was nominated for the S+T+ARTS Prize of the European Commission in 2022 and won the Falling Walls Science Breakthrough of the Year 2023.
In 2025, she holds fellowship from the Berlin Senate for her artistic research on AI and political ideologies. - Basel.Loves.Unsorted.Code
B.L.U.C » Basel.Loves.Unsorted.Code
4x sets of audio/visual live-coding performances:
- A/V_01 » 21:00 » Ella Haecler aka Haella (Sonic-Pi) x Siiri Tännler (paint.stx)
- A/V_02 » 21:45 » Hannah Wirnsperger (Supercollider) x Ted Davis (P5LIVE)
- A/V_03 » 22:30 » Yann Martins aka Younger Sibling (MD5 encoding) x Alper Yagcioglu aka ayayay (P5LIVE)
- A/V_04 » 23:15 » Mark Lando (Strudel) x Paulina Zybinska aka Krata (Screamer)
Basel.Codes is a welcoming collective of coders, artists and designers. Unsorted.Love is a swiss-based collective exploring the intersection of technology and artistic expression. Together we are B.L.U.C! unsorting code, loving A/V performances.
In its first iteration of B.L.U.C, this group of algorithm casters will enchant the room with the most exquisite sounds and visuals. Expect the conjuring of arcane sonic engines, like Strudel, Sonic-Pi and Supercollider. While the visual sorceresses and sorcerers will summon intricate visions from Hydra, Screamer and P5LIVE. The MD5 sigil will be broken unleashing 128-bit spirit hashes to enchant patterns and compositions.
A/V_01
Ella Haechler: lives in Zurich and works in tech and media art. She writes live-coded music that blends algorithmic composition with improvisation. Using Sonic Pi, she likes to generate soundscapes that move between ambient atmospheres and electronic beats.
Siiri Tännler is a Swiss-Finnish graphic designer and art director with a decade of experience, currently based between New York City and Switzerland. Her practice focuses on concept-driven design systems that span print and digital environments, taking form as books, environmental graphics, exhibitions, visual identities, and websites.
A/V_02
Hanna Wirnsperger: Hannah Wirnsperger is a flutist, improviser and sound artist from Austria, currently based there, in Liechtenstein and Switzerland (Lucerne). Their favourite work is interactive and -disciplinary, multimedial and uncompromisingly exploratory. So far they have written and played music for opera, theatre, clubs, film and installations with their beloved tool improvisation always by their side.
Ted Davis is a media artist / designer / educator based in Basel. His open source projects (basil.js, XYscope[.js], P5LIVE, p5.glitch, HY5) enable designers to program within Adobe InDesign, render vector graphics on vector displays, collaboratively live code visuals with p5.js, glitch media in real-time within the web browser, and bridges the gap between visual frameworks Hydra and p5.js.
A/V_03
Yann Martins: I am a debugger && researcher && artist working within various media: sound, noise, algorithms, browsers, photography, micro controllers, 3D, game engines and story telling.
Alper Yagcioglu is a multidisciplinary media artist and designer based in Zurich. My work spans graphic design, digital media, art, and tattooing, focusing on abstract drawings and graphic compositions that explore new and unexpected imagery. My experiments with tools and forms are playful and engage with media across video, sound, performance, live coding, and installation.
A/V_04
Mark Lando is a musician, dj, and coder interested in the transcendental … of intentional repetition. For the performance at B.L.U.C, this interest in loops will be explored using the strudel live coding platform.
krata is a creative technologist and lecturer who hacks her way through design, machine learning, and GitHub repos. She’s good at failing, but still making things run, proving that chaos is a valid coding strategy. In her free time she abuses TouchDesigner.
Der in der Rubrik wird in deutsch gehalten, findet um Saturday 04.10. 21:00 für 180 Minuten im Padelhalle statt und endet um 00:00Uhr.
B.L.U.C » Basel.Loves.Unsorted.Code
Basel.Codes is a welcoming collective of coders, artists and designers. Unsorted.Love is a swiss-based collective exploring the intersection of technology and artistic expression. Together we are B.L.U.C! unsorting code, loving A/V performances.
In its first iteration of B.L.U.C, this group of algorithm casters will enchant the room with the most exquisite sounds and visuals. Expect the conjuring of arcane sonic engines, like Strudel, Sonic-Pi and Supercollider. While the visual sorceresses and sorcerers will summon intricate visions from Hydra, Screamer and P5LIVE. The MD5 sigil will be broken unleashing 128-bit spirit hashes to enchant patterns and compositions.
- Computer smoking
The workings of a computer consist of a power supply, mainboard, storage media and a central processing unit (CPU). Inside the CPU of a computer, every input and task of the computer is calculated and executed, these processed workloads create excess heat and engage a mounted thermal system to keep it from overheating. Airflow through a cooling block on the CPU is used to dissipate the excess heat and relieve the system. This system 'breathes' a cigarette, leaving residue throughout the system and inhibiting its own performance.
Malte Oing
Malte Oing is a Berlin-based artist whose work focuses on the interfaces between digital and analog life and the effects of capitalism on people and society.
He explores topics such as technology, humanization of computers and consumption, always in the field of tension between capitalism and digital infrastructure. He combines photography, digital techniques and installations to reflect on complex social issues in a humorous and critical way.
Otto Ostermann
Otto Ostermann is a spatial designer, media artists and researcher based in Berin. In his practice he deals with collective negotation of spatial ressources and social-geographic relations of gamified militarization. He has a Bachelor of Arts in Interior Architecture (Detmold School of Design) and is currently studying Design and Computation at UDK and TU Berlin as well as Emergent Digital Media (class Hito Steyerl) at AdbK Munich.
- Curves & Reverbs IV
Curves & Reverbs IV is a participatory sound performance that retools affective computing technologies to expose and reconfigure the systems they were designed to serve. Instead of treating biometric data as emotionally legible input, the project transforms such metrics—pulse and skin conductance readings in this case—into a soundscape rendered in real time as participants collectively engage with video footage of socio-political events. These bodily signals, captured through a shared wearable passed between participants, modulate the sonic environment to stage a field of dissonant, intersubjective intensity. Foregrounding methods of data materialization and visceralization, the work resists the reductive tendencies of emotional AI and refuses normative frameworks of capture and recognition. By combining real-time sonification and sound modulation, Curves & Reverbs register collective, embodied response to devastating events on view without disclosing the context. In doing so, it points to global instances of crises circulating through (social) media, generating conflicting responses to point to complexity and unrecognizability of emotions. By shifting biosignals away from predictive classification toward shared aesthetic experience, Curves & Reverbs IV opens a space of relational and embodied emotional exchange. The performance undermines systems of affective control by reclaiming the body not as a source of emotional data, but as a site of co-presence, opacity, and collective sensing. In a time when emotional legibility is increasingly weaponized by sociotechnical infrastructures, the work poses a vital question: what alternative futures emerge when sensing systems are not about controlling and regulating, but can induce a sense of embodied interconnection?
Der in der Rubrik wird in deutsch gehalten, findet um Friday 03.10. 20:00 für 45 Minuten im Padelhalle statt und endet um 20:45Uhr.
Mona Hedayati
Mona Hedayati is an Iranian-Canadian artist working across computation art, sound design, and sensory studies. She studied digital media and social-political art and design. Her work has been constantly informed by bringing audiences together to think of building otherly social constitutions even if in a live performative context only. She has designed participatory sound performances to question the individualist attitudes and explore speculative possibilities of collectivity. Hedayati has worked across an array of contexts and implemented multiple technologies to compose her performances. As a result, she has disseminated her work at international venues as diverse as Fylkingen New Music and Intermedia Center (SE), NYC Electroacoustic Music Festival (USA), Hessian Center for Artificial Intelligence (DE), IMPAKT Center for Media Culture and Radio WORM (NL), Kunsthal Extra City (BE), ISEA x2 (FR-AU), Body Electric Retrospective (CA), Ars Electronica x3 (AT), Kasko Center for Art and Performance and MESH Festival (CH), Barents Spektakel Festival (NO), among many others.
- Dial-Up Utopia
Eine audiovisuelle Reise zurück zur 90er Web-Utopie.
Das Werk knüpft direkt an das diesjährige Festivalthema an. Im Zentrum steht die Auseinandersetzung mit der Entwicklung des Internets – von seiner utopischen Vision hin zur heutigen Realität.
Das Werk schafft eine Synergie zwischen Musik, live programmierten Visuals und Internet-Technologie. Es läuft vollständig im Browser und wird als Webseite zugänglich sein, wodurch es selbst Teil des Internets wird, das es thematisiert.
Ästhetisch bedient es sich bewusst bei Elementen der 90er Jahre, insbesondere dem Stil von Bildschirmschonern und Anklängen an Frutiger Aero. Diese Ära repräsentiert eine Zeit, in der das Internet oft als positiver, futuristischer Raum wahrgenommen wurde, der freies Wissen und Bildung für alle versprach.
Diese nostalgische Oberfläche wird jedoch aufgebrochen: Das Werk regt zum Nachdenken darüber an, wie viel von dieser ursprünglichen egalitären Vision des Internets heute noch vorhanden ist. Es integriert Aussagen von verschiedenen Personen, die sich dem Thema aus unterschiedlichen Blickwinkeln nähern und die Entwicklung des Internets kritisch reflektieren. So fordert es dazu auf, die aktuellen Machtverhältnisse im digitalen Raum zu hinterfragen und über alternative Zukünfte jenseits aufgezwungener Begrenzungen nachzudenken.
Der in der Rubrik wird in deutsch gehalten, findet um Saturday 04.10. 20:30 für 30 Minuten im Padelhalle statt und endet um 21:00Uhr.
- Exit Through the Debt Shop
Dies ist die Insidergeschichte der Revolution - ein brutaler und aufschlussreicher Bericht darüber, was passiert, wenn Schulden, Korruption und Protest aufeinandertreffen. Exit through the Debt Shop folgt der exzentrischen Katze Déjà-Vu in Kenia, die zum Dokumentarfilmer wird und versucht, einen der korruptesten Machthaber mit der Kamera einzufangen, bis ein paar dramatische Ereignisse die Katze dazu bringen selber President des Landes werden zu wollen.
Jan Schekauski
Vielleicht ist es egal, woher Jan Schekauski kommt, was er zuvor tat. Was zählt sind neue Ideen, gemeinsam realsiert mit unterschiedlichen Menschen an unterschiedlichen Orten. Und neue Ideen können jederzeit entstehen, jederzeit alles verändern. Genau davon, worüber sein aktueller Film "Exit Through the Debt Shop" erzählt.
- Hotlink Collapse
Hotlink Collapse is a 3-channel video examining embodied digital amnesia in the context of Chinese cyberfeminism. The work presents four speculative vignettes: a journey through a dark tunnel in search of feminist caches; a flying ant attempting to see its colony's complete picture from above; vintage Macintosh Classics displaying fragmented cyberfeminist chronicles drawn from known and obscure historical materials; and a matrix of static, genderless infants flowing overseas. Weaving together digital artifacts and environmental metaphors, each sequence explores how censorship-induced data loss and partial vision shape feminist resistance—from the ants' myopic yet persistent information exchange to the flowing waterscape that echoes both contemporary displacement and historical patterns of femicide.
- Humans-as-a-Service
Die audiovisuelle Recherche "Humans-as-a-Service" geht der Frage nach, mit welchen Mechanismen menschliche Arbeit an und für die digitale Infrastruktur unsichtbar gemacht wird – und zeigt, wie diese Unsichtbarkeit durch Formen des Widerstands durchbrochen wird. Anhand von vier Orten wird beleuchtet, wer und unter welchen Bedingungen dafür sorgt, dass wir rund um die Uhr connected sein können – vom Datencenter in der Schweiz das fast vollständig automatisiert ist, über ein stillgelegtes Rechenzentrum der PTT aus den 1970er-Jahren, das zeigt, wie die damals vorherrschende Rekrutierungspolitik dazu führte, dass die Arbeit von Frauen abgewertet wurde und damit verbunden bis heute kaum sichtbar ist, hin zu Fabrikarbeiterinnen in China, die Social Media zur Kritik an Arbeitsbedingungen nutzen, und Dataworkers in Kenia, die sich gewerkschaftlich organisieren.
Ivan Weiss
Nach einem Studium in Graphic Design und einer langjährigen selbständigen Tätigkeit als Grafiker an der Schnittstelle von Design und Technologie – gemeinsam mit Michael Kryenbühl unter dem Namen Johnson/Kingston – sowie Lehrtätigkeiten im In- und Ausland, verlagerte Ivan Weis seinen Schwerpunkt mit dem Abschluss des Masterstudiums in Transversal Design zunehmend auf gestalterische Forschung und projektbasiertes Arbeiten.
- ILOVEYOU: 25th Anniversary
On May 4 (Sun), we celebrate the 25th anniversary of ILOVEYOU or The Love Bug, the infamous computer worm that caused billions of dollars of damage worldwide in the year 2000. Created by Philippine hacker Onel de Guzman, the virus was initially developed with the purpose of stealing internet access passwords to distribute connectivity for users who couldn’t afford it. Among those that were affected were large corporations such as AT&T, Ford Motor Company, including big banks and schools, international agencies such as The International Monetary Fund, and US federal agencies such as the Central Intelligence Agency, the Immigration and Naturalization Service, and the Department of Defense. “Here is a Filipino genius who put the Philippines on the world map,” wrote a columnist from The Philippine Star. “...who has proven that the Filipino has the creativity and ingenuity to turn, for better or for worse, the world upside down.” Twenty five years later, the legacy of the ILOVEYOU virus lives on, as a matrix through which contemporary media culture continues to develop, never historically complete: from the digital divide and software monopolies, to the affective networks and figures that shape the Internet. What happens when we stop the everyday-computing and business-as-usual? ILOVEYOU: 25th Anniversary summons the present futures where the blue screen of death is imminently programmable. A three-hour radio special broadcasting on Manila Community Radio and Radio Alhara, we talk to the tech saboteurs, trade unionists, and cultural workers proving promise that the best hacks are still to come.
This installation is an excerpt of the first hour of the radio special, where host and programmer Mac Andre Arboleda together with The UP Internet Freedom Network glitched together interviews with Nexperia Workers' Union, BPO Industry Employees Network, Kiat Kiat Projects, Miriyam Aouragh, Computer Professionals' Union, Che Tagyamon & Joanne Cesario with field recordings of the recent Labor Day protests in Manila, Philippines.
Mac Andre Arboleda
Mac Andre Arboleda is an artist interested in exploring the sickness of the Internet through research and dialogue, art and text, organizing and publishing. They are the Founding President of the UP Internet Freedom Network and currently an artist-in-residence at Dreaming Beyond AI. They are currently based in San Pedro City, Philippines while finishing their MA in Media Arts Cultures under an Erasmus Mundus Scholarship (University for Continuing Education Krems, Austria; Aalborg University, Denmark; University of Lodz, Poland; LASALLE College of the Arts, Singapore). Visit their website at https://sickinternet.me.
- Instruction
From digital pinprick to collective disruption: Instruction transforms HackThePromise25 into a laboratory for collective algorithmic disobedience .The AI-generated instructions transform mechanisms of algorithmic control - turning them into instruments that can both constrain and liberate. Through this transformation, it generates a complex web of interconnected actions, where players challenge the space, themselves and existing power structures in order to rewrite the grammar of resistance.
Louis Voelkel
Louis is an interdisciplinary artist, educator and crafts-person based in Basel and Berlin. Their interests lie in more-than-human relations, resistance and social transformation. They studied social pedagogy, history, politics and sociology in Scotland and Germany and are currently studying the MA Transversal Design at HGK Basel. Louis artistic practice revolves around collective change, ecological interconnectedness and technology, utilizing performances, games and social interventions.
Nils
I traveled the seas aboard container ships, working as a ship mechanic before turning to the arts. I am now studying Art and Social Sciences at Burg Giebichenstein Halle and Martin Luther University Halle-Wittenberg. My artistic and academic focus lies in transcultural and collaborative practices, through which I explore questions of aesthetic synergies, structures, boundaries, and transitions. Currently, I am researching the relationships and synergies that arise between a person and an artwork during its creation, observation, and interaction.
Meredith Thomas
Meredith is an artist and creative technologist based in Berlin. He studied biomedical engineering and science communication at Imperial College London. After moving to Berlin he became interested in creative uses of technology. He has worked as a programmer and an artist to create transmedia experiences in virtual reality, for multimedia installations and for the stage. His work focuses in particular on novel uses of machine learning in creative domains and critiquing the broader technological and cultural manifestations of artificial intelligence.
https://merediththomas.co.uk - Never stop hacking
Unsere Augen sind fest an den kleinen Bildschirm in unseren Händen gebunden, doch was machen wir da eigentlich? Chatten, liken, haten, unsere tiefsten Vorstellungen und Überzeugungen mit unbekannten teilen und Analyse Software mit Inhalten trainieren, das sind wahrscheinlich die gängigsten Praktiken. Was würde passieren wenn wir anfangen diese Beziehung zu diesen kleinen Endgeräten hacken? Never stop hacking ist ein Versuch neue Möglichkeiten des Umgangs mit Smartphones und Computer zu illustrieren. Mit einfachen selbst entwickelten Smartphone Programmen, bilden wir lokale Netzwerke um gemeinsam Musik zu spielen und das kontemplative aufs Smartphone starren in etwas kreatives und erlebbares für Zuschauerinnen zu verwandeln.
Der in der Rubrik wird in deutsch gehalten, findet um Sunday 05.10. 17:15 für 45 Minuten im Padelhalle statt und endet um 18:00Uhr.
- Non-player character
This work explores the mechanistic existence of human beings. People there move like video game characters.
People go to work 5 days a week, come home to have dinner, and watch TV in the evening. Before bed, they get absorbed in their phones, quickly get ready in the morning, and go to work again. And again. And again. Over and over.
The world strives to make everything more comfortable, effective and fast. And mediated. And the mediator is technology.
We live in a game-like reality. In the digital age, the era of design, the boom of UX/UI, where one of the main tasks of business is the creation and exploration of the user journey. It is an illusion that the internet and digital technologies give you freedom. The user exists there according to permitted scripts. Thus, they adopt these patterns into their life in exchange for comfort. Comfort in exchange for themselves.
- Novocene – A Possible Future
Novocene ist eine Mixed-Reality-Experience auf Meta Quest 3, die eine interaktive Erzählung von der Entwicklung der Menschheit im Anthropozän entfaltet, jenem vom Menschen dominierten und geformten Zeitalter. So handelt es auch von Ressourcenverbrauch und Umweltzerstörung in der Gegenwart und stellt dem eine utopische Zukunftsvision gegenüber.
Nach einigen Zeitsprüngen wird selbst die Klimakrise in letzter Konsequenz erfahrbar, wenn die tatsächliche Umgebung in einem virtuell ansteigenden Meeresspiegel versinkt. Bis dahin wirft das Geschehen einen ebenso interessierten wie kritischen Blick auf die Rolle von Technik und KI bei der Lösung des endgültigen Menscheitsproblems und befragt auch das eigens verwendete, immersive Medium des Videospiels, auf dessen Eignung uns davon zu erzählen.
Zunächst liegt jedoch eine Mixed-Reality-Brille ganz unscheinbar auf einem Baumstumpf, der zentral im Ausstellungsraum steht. Bei dem gefällten Baum handelt es sich um eine improvisierte Konstruktion aus temporären Materialien wie Holz, Karton und Plastik. Diese treibt durch das Headset betrachtet, unverhofft junge, virtuelle Triebe und Äste aus und erwächst zu neuem Leben. Im weiteren Verlauf der Handlung, die sich um diese Baumskulptur entblättert, kann die Betrachterin aus den Artefakten und Totems einer sprichwörtlich untergegangenen Zivilisation das Monument für eine alternative Weltmöglichkeit konstruieren.
Jens Isensee
Jens Isensee is a multimedia artist with a focus on participative art and interactive video installations. His works are mostly made of temporal materials in combination with technical elements and software. These range from motors, loudspeakers and cameras to computer hardware, sensors, game engines and experimental short films.
Portfolio - https://jensisensee.de
2003 – 2011
Fine Arts Studies, Diploma with distinction at HBK Braunschweig, University of Art | Film class – Prof. Michael Brynntrup | Video installation – Prof. Corinna Schnitt | Sculpture – Prof. Thomas Virnich | Communication design studies – Prof. Eku Wand and Prof. Uli Plank
Grants, Awards
Fellowship – AURORA XR School for Artists, HTW Berlin – 2024
Winner – Deutscher Computerspielpreis, ‚Bestes Expertenspiel‘, München – 2022
Winner – Green Game Jam, ‚Best in Forests‘, UN Environment Programme – 2022
Scholarship – CoLab TechArt, Goethe Insitute Bangalore, British Council – 2020
Nomination – ‚Virtual Materialism‘, A Maze Festival award, Berlin – 2019
Nomination – Azplay Festival, Azkuna Zentroa, Bilbao – 2017
Scholarship – Exchange Program – Goethe-Institut Johannesburg – 2017
Winner – Game Jam, Humboldt Institut für Internet und Gesellschaft, Berlin – 2017
Artist in Residence – Künstlerstätte, Stuhr-Heiligenrode – 2016
Winner – Shortfilm Contest, ‚Transit‘, Public LED screening, VB Brawopark – 2013
Winner – Performance Award, Fulldome Festival, Zeiss-Planetarium, Jena – 2013
Winner – Best Simulation Demo, Intel Level Up Award, Online Award – 2012
Winner – Interactive Implementation, ‚The Imaginary‘, Koordinaten Festival, FH-Kiel – 2012
Winner – Student film contest, ‚Neo Kuben‘, HAWK Hildesheim – 2012Exhibitions
2024
Herbstausstellung – Group show, Atelierhof Kreuzberg
A Maze Festival – Group show, Silent Green, Berlin
Wash My Fur – Group show, G3, Berlin2023
re:publica – Presentation, The climate crisis in video games
European Games Showcase – GDC, Swissnex, San Francisco
Winner – Serious Play Award, Serious Play Conference, Rochester, New York2022
Arbeit – Screening, 48h Neukölln, Rollwerk Atelier, Berlin
Nomination – Games Without Borders Award, Imagine Earth
Winner – 3rd Price, Devcom Indie Award, gamescom, Köln2021
Federal funding – BMWK, Imagine Earth, Climate crisis simulation
2020
Befantastic Triennial – Jaaga, Bangalore, India
Narben – Interactive app, presentation, LOT-Theater, Braunschweig
Netz Werke – Group show, re:publica, Berlin
Voyage – Interactive video installation, Luftfahrtmuseum, Wernigerode2019
E-Dentity – Group show, KeinMuseum, Zurich, Switzerland
A Maze Game Festival – Group show, Berlin
Imagine Earth – Audience award, White Nights, Berlin2018
Meta – Solo show, Kunsthaus BBK, Braunschweig
Surviving the Fitness – Group show, Kunstverein Wolfenbüttel
Residence II – Group show, Syker Vorwerk, Syke2017
Game Mixer – Group show, Goethe-Institut Johannesburg
Money Money Money – Group show, Städtische Ausstellungshalle, Braunschweig
Reversed Festival – Group show, Museumsquartier, Wien
Artcore – Group show, Städtische Ausstellungshalle, Braunschweig
Too Much – Screening, Extra Filmfestival, Kub Galerie Leipzig2016
Kern der Dinge – Solo show, Künstlerstätte, Stuhr-Heiligenrode
Wechselspiel – Group show, Städtische Ausstellungshalle, Braunschweig
Indie Expo – Group show, Respawn Conference, Köln2015
Hier und Jetzt – Group show, Konsumverein, Braunschweig
IdeenExpo – Group show, Expo, Hannover
The Forest – Group show, Group Global, Berlin
Neu – Group show, Torhaus Galerie, Braunschweig
Nachts sind alle Katzen Grau – Group show, Aula Galerie, HBK Braunschweig2014
Primat des Privaten – Exhibtion with Deborah Uhde Malerhof, Voigtholz
Funding Aproval – Nordmedia, Imagine Earth, Expo Plaza, Hannover
Intensivstation – Group show, Raumlabor, Braunschweig
StattLAB Collective No.1 – Group show, Stattbad Wedding, Berlin2013
Objekte für Subjekte – Solo exhibition, Kunstverein Jahnstraße e.V., Braunschweig
Only the Winds – Music film, screening, B3 Bienale, Frankfurt - POLITUNES (2025)
Multiscreen Video Ensemble
"Laughter is the greatest weapon we have and we, as humans, use it the least." — Mark Twain
POLITUNES is a project about dictators and populists who keep singing the same simple tunes over and over again.
More than 100 political figures took part — unwillingly but truthfully.
All the sounds in this video come directly from the politicians you see on screen.
Only unprocessed sounds and videos were used.
Sergey Khismatov
Sergey Khismatov is a composer and multimedia artist whose works are presented at concert halls, art exhibitions and film festivals worldwide. Khismatov is drawn to unique and innovative projects, even if they are intended for a one-time performance.
From the outset of his career, Khismatov has been fascinated by the spatial distribution of sound. A pivotal moment came in 2009 when he attended the Stockhausen courses, which deeply influenced his understanding of spatial sound. That same year, he reconstructed Avraamov's The Symphony of Industrial Horns, an iconic piece, adapting it for eight loudspeakers positioned around the audience to emulate the atmosphere of a sounding city. This reconstruction has been performed in various countries and featured at documenta 14. Over the years, Khismatov has continued to explore and develop acoustic and electroacoustic spatial compositions, a theme that remains central to his work.
During the Covid-19 pandemic, he invented a new audio-visual format called Video Ensemble. This innovative medium intertwines spatial sound distribution with visual elements, creating intricate, mosaic-like structures. Despite the labor-intensive nature of the process, Video Ensemble stands as a testament to Khismatov's commitment to merging sound and visual material into a cohesive, immersive experience.
In addition to his artistic pursuits, Khismatov has served as an organisator for numerous projects, often tackling complex logistics. Among his projects are A-Muzik, Signals, Tuono del Cuculo and the concert series Tax Free. His work as an artist highlights his passion for pushing the boundaries of sound art.
RESIDENCES AND PRIZES:
2023 Villa Aurora artist-in-residence, LA, USA.
2021 bangaloREsidency, Goethe Institut, India.
2021 Schloss Wiepersdorf artist-in-residence, Germany.
2018 Künstlerdorf Schöppingen artist-in-residence, Germany.
2018 Saxony Work Scholarship, Leipzig, Germany.
2015 DEAC artist-in-residence, Budva-Kotor, Montenegro.
2013 Villa Concordia artist-in-residence, Bamberg, Germany.
2013 Hof Klang artist-in-residence, Leipzig, Germany.
2012 St. Petersburg Culture Award, St. Petersburg, Russia.COMPOSITION COMPETITIONS:
2023 The third prize of Wolfgang Jacobi Kompositionspreis 2023. Germany.
2015 The first prize of OSSIA competition 2015. NY, USA.
2014 Advocacy Award in Boston Metro Opera. Boston, USA.
2012 The first prize of Hof Klang 2012. Leipzig, Germany.
2012 The second prize of Franz Josef Reinl-Stiftung competition 2012. Vienna, Austria. - prussia.tech
The project tells the story of a domain name prussia.tech acquired by an author and tells the story about metaphor of the Internet domain, which is closely related to the concepts of state, power and control.
Projects includes:
HD video with sound, 12 min,
Website prussia.tech
Sara Culmann
Sara Culmann is a visual artist living and working in Amsterdam.
Their practice spans video, games, computer-generated imagery, and artistic research.
They explore themes such as anthropological perspectives on digital technologies, often viewed through the lens of marginalized classes and genders, the paradoxes of progress, and the ways digital tools both shape and are shaped by cultural representation.Sara graduated from the Rijksakademie van Beeldende Kunsten in Amsterdam and was a fellow of the AI Anarchies program at the Akademie der Künste in Berlin and Nieuwe Instituut, Rotterdam.
Their work has been exhibited at STRP Festival (2024), Eindhoven; Akademie der Künste, Berlin (2023); HeK – Haus der Elektronischen Künste, Basel (2021); Art Encounters Biennial, Timișoara (2021); and the Museum of Modern Art, Moscow (2018).
Sara also teaches animation software at the Prague Media School and has lectured in the educational program at the Moscow Experimental Film Festival, as well as Pause/Play: Culture Under Pressure in Tbilisi, Georgia. - re-c(O)unting: self-exploring bodies, stories, laboratories
"re-c(O)unting I. self-exploring bodies, stories, laboratories" is an artistic-scientific research questioning how we can transform the production of knowledge; it is an empowering journey from the transgenerational trauma our lands and bodies store. Deconstructing the binarisms between nature-technology, science-spirituality, male-female, we zoom out and into the colonial history between Europe and Latin America and link it to the colonial approach medicine has had on female-assigned bodies (i.e. the fallopian tubes are named after Gabriele Falloppio and Colombia after Christopher Colombus). Delving into our deepest insides, we hack our way into the technoscientific field to address its violent approach, while using it as a tool of reclaiming to know our bodies and their stories.
ella hebendanz
ella hebendanz (DE, 1997) is a transmedia artist, designer, technologist, film and performance maker exploring the art-sciences to create audio-visual experiences. Their work centers the corporeal, carnal, erotic, and their research begins at the peripheries of our bodies. A time traveler, ella positions their practice in between analog and digital and works across video, sound, graphic design, poetry, porn and performance. From nocturnal daydreams to mad thoughts on hell and desire, their mind is troubled with questions on how to escape a violently binary system, challenge the status quo of a world that is collapsing, free our bodies, and shift art into activism.
In 2021, they graduated from the BA Interactive/Media/Design at the Royal Academy of Art, The Hague. During their studies, they co-founded the cyber-feminist collective sWitches and explored the intersection of witchcraft and technology. ella has an ongoing collaborative practice with pamela varela, and in 2023, they won the BAD Award for their artistic-scientific research project re-c(O)unting. Recently they have pursued an MA in the performance practice program Live Art Forms at the Academy of Fine Arts, Nuremberg. They have exhibited their work at art spaces, museums, and festivals across Europe and in 2024 they had their debut in Mexico.pamela varela
pamela varela (MX, 1995) is a multifaceted artivist exploring poetic-political forms of movement, language, sexuality, mysticism, and research as expressive devices to reappropriate the body. She creates transdisciplinary performances mixing diverse media: video, sound, installation, electronics, bio art, words, body-based practices, among others, while using technology to extend the senses, enhance connection, and cross bodily boundaries. She is a Latin American woman who has been developing her artistic practice in Europe, which encourages her to place her creation within the symbiosis of both cultures and explore feminist and decolonial deconstructions of knowledge production and artmaking. Alongside Ines DeRu and ella hebendanz, she co-founded sWitches in 2019, a cyberfeminist collective reclaiming the witch as the wise rebel to hack the technoscientific field through art.
pamela studied architecture for two years in the Polytechnic University of Catalonia and graduated in 2021 from the Bachelor Interactive/Media/Design at the Royal Academy of Art, The Hague. Her individual graduation project together with the collective one of sWitches were nominated for the department's prize, and her personal thesis was nominated for the academy-wide bachelor thesis award, receiving an honorable mention. She published an excerpt from it at the Politics of the Machines Conference in 2021. In 2022, sWitches received the Digital Culture Grant from the Stimuleringsfonds (NL) to develop a technological system to create cyberperformances, a project that was presented in 2024 at the Mesh Festival Conference in Basel. In 2023, pamela and ella won the Bio Art & Design Award together with Joris Koene, a scientist from the Free University of Amsterdam, which allowed them to conduct an artistic-scientific research on the colonial history of the female body in relation to that of Latin America: "re-c(O)unting". The continuation of this work is currently being supported by the Stimuleringsfonds, as well as another upcoming project in collaboration with Marlot Meyer: "Venus Affect", which looks into the relation between audience and performer through technological mediation in performance art. In 2025, pamela graduated from the performative practices master’s degree Live Art Forms at the Academy of Fine Arts Nuremberg. Her work has been shown in several art centers in Europe and Latin America, and she lives between the two continents.
- Responsibility Loop
This installation examines how systems communicate through us and how we adopt their language. Positioned between meditation and automation, acceptance turns into ritual while responsibility becomes a silent burden borne alone. Using loops of language, fragments of digital interfaces, and collective murmurs, it probes the fine line between care and control, surrender and submission. It questions the nature of consent, the repetition of misunderstood norms, and the tendency to internalize fault when systemic failure is at play. The work invites reflection, listening, and the possibility of reclaiming responsibility that was never truly ours.
Elin Fredriksson
Elin & Annina met during their university studies in Cultural Studies and Social Anthropology. Their collaboration is driven by a shared curiosity for how technology—especially AI—can be used playfully and critically to explore social dynamics and future imaginaries. They approach their work as an open-ended process of experimentation, using artistic tools to investigate the shifting boundaries between human and machine, the everyday and the speculative. Always eager to broaden their own skill sets, they see their projects as spaces for learning, dialogue, and unexpected connections.
Annina Schmid
Elin & Annina met during their university studies in Cultural Studies and Social Anthropology. Their collaboration is driven by a shared curiosity for how technology—especially AI—can be used playfully and critically to explore social dynamics and future imaginaries. They approach their work as an open-ended process of experimentation, using artistic tools to investigate the shifting boundaries between human and machine, the everyday and the speculative. Always eager to broaden their own skill sets, they see their projects as spaces for learning, dialogue, and unexpected connections.
- RUNES
Reflections on the relationship between the biosphere and the technosphere; questions of entropy, negentropy, pharmacology, an exploration of aesthetic practice and its implications between fiction and the real world, between conformism and radicalism, connecting all theses matters with hacking gesture.
Romain Tièche
Romain Tièche’s work unfolds around three core dimensions: political, social, and aesthetic. Through a critical approach, he explores the complex relationship between the organic world and the technological sphere, examining the tensions, contemporary stakes, and narratives that emerge from this interplay. His artistic practice lies at the intersection of reality and fiction, questioning possible forms of expression and the role of aesthetics in a world in transformation. His work takes shape through installations, videos, visuals, and performances, combining body, space, sound, and material.
In recent years, he has presented his work in
exhibition spaces such as the Silencio in Paris, the Espace
Gantner in France and in Switzerland at Kunsthaus Baselland, the Kunsthalle Basel, the Tinguely Museum and the Haus für elektronische Künste (HeK) in Basel. - SONA – Virtual Reality aus der Perspektive blinder Menschen
SONA ist eine akustisch erfahrbare Virtual-Reality-Installation – gestaltet aus der Perspektive blinder und sehbehinderter Menschen. Ausgerüstet mit Motion Capture, Kopfhörern, Mikrofon und sensorischen Schuhen erleben wir Abenteuer aus interaktivem 3D-Klang. Wir hören unsere Schritte auf virtuellen Untergründen – durch Schnee, über Geröll und auf einem reaktiven Klangteppich. Wir laufen durch ein akustisches Labyrinth. Virtuelle Wände reflektieren unseren Echostrahl. Irrlichter rufen uns und zeigen uns den Weg. Wir lernen die virtuelle Realität mit den Ohren zu sehen.
Für das Sommerblut Festival 2025 gestaltete ein Team sehbehinderter und blinder Spielgestalterinnen die Geschichten, Klänge und Stimmen für das Virtual Reality Game. Sie wurden zu Guides, die live mit den Besucherinnen interagieren und sie durch die VR-Welt geleiteten.
Virtual Reality ist als visuelles Format für blinde und sehbehinderte Menschen kaum zugänglich. Bei SONA wird das Format so umzugestaltet, dass blinde und sehbehinderte Menschen zu Expert*innen werden und ihre Techniken in akustischer Orientierung zur zentralen Grundlage der Erfahrung. Der Ansatz Hacking als sozio-technische Praxis zu verstehen, liegt uns daher sehr nahe und wir freuen uns über die tolle Initiative des Festivals in Basel.
Homepage: www.sona-vr.com
Erklärfilm: https://youtu.be/mpjRMwF9LsE
Radiostück über SONA von Raphael Netolitzky vom Kölner Blindenverein: https://drive.google.com/file/d/1V3ISQj65meT7-yQmys9XEgvBzG2zPVo8/view?usp=share_link
Über das SONA-Team: https://un-label.eu/aktuelle-residenz-sona/
Thomas Meckel
Thomas Meckel arbeitet als Medienkünstler und Musiker. Er organisiert kybernetische Jamsessions und baut cinematische Spiele für kollektive Improvisationen. Seine Performance »Solaris« wurde im Museum Ludwig (Köln), der Universidad Nacional (Bogotá) und dem Ringlokschuppen (Mülheim/Ruhr) aufgeführt. Gemeinsam mit Tobias Thomas kuratiert er die Konzertreihe »Round« in der Kölner Philharmonie. Er hat Mediale Künste an der Kunsthochschule für Medien in Köln, Kulturwissenschaften in Lüneburg, Angewandte Theaterwissenschaften in Gießen und an der Universidad Nacional de Colombia studiert. Zurzeit arbeitet er mit SONA an einer Virtual Reality Installation aus der Perspektive sehbehinderter Menschen.
- Starry heavens above you
Today's loudest ethical debate is AI alignment: how can we ensure that artificial intelligence built by big tech aligns with "our values"? But who constitutes this "we", and what values do "we" truly hold?
I explored this question through the only unfiltered corporate interface beyond vague website platitudes: job interviews. As both artist and developer, I participated in a series of technical interviews as a job candidate at companies operating in ethically contested domains: cryptocurrency trading, high-frequency trading, and software development with ties to Russian state-owned corporations.
During these standard conversations about qualifications and compensation, I introduced questions about Kant's categorical imperative: the principle that one should act only according to maxims that could become universal laws without contradiction.
The resulting videos have been anonymized, with all identifying information removed and dialogue re-enacted by actors. By recording without consent, I deliberately violated the very Kantian imperative I questioned my interviewers about, creating a moral tension central to the work.
The starry sky, referencing Kant's famous quote about "the starry heavens above me and the moral law within me", is projected only onto the gallery ceiling, suggesting that the moral imperative remains intact solely for the viewer, who observes but doesn't participate in this ethical contradiction.
Aleksey Boriskin
Alexey Boriskin, b. 1986 in Izhevsk, Russia, is a multidisciplinary artist and a software developer, works on the intersection of digital ethics, machine logic, censorship, and media art. His practice is inherently collaborative, focusing on concept development, research, and co-creation. His work has been exhibited at major institutions, including the Moscow Museum of Modern Art, the Multimedia Art Museum, and the Ural Industrial Biennale.
Currently lives and works in exile following Russia’s full-scale invasion of Ukraine.
Education
2023-2024: _Machines of no more war_, Smolny beyond borders
2023-2024: _Digital ethics_, Free university
2021-2022: Concept art school
2003-2008: Penza state technological university, Computer science, master degree
Work experience
2015-2022: Yandex, Expert software engineer
Selected group exhibitions
2024
_Emotional tissue_, online exhibition
2021
_Biennale Art of the future_, Multimedia art museum, Moscow
_Postspeculative design and decolonization of the future_, Electromuseum, Moscow
2020
_Long desired_, abandoned villa Sushnevo-1
2019
_Moskauer Positionen_, Atelier am Eck, Düsseldorf
_After us_, Ural industrial biennale, Ekaterinburg
_Blind spot_, Ekaterina culture foundation, Moscow
- Synthetic divergence – Hacking Artificial Life
Enter a simulation of artificial life that unfolds over the duration of the festival. By answering a few questions, each visitor generates a digital creature whose behavior, appearance, and personality are extrapolated from their input.
Once released, it inhabits a synthetic environment. Here it interacts with others, reproduces, mutates, and adapts as conditions shift. Each interaction creates divergence, splitting paths and branching possibilities that can be followed, traced, and preserved.
The installation explores how simple rule sets generate complex behavior, and how interventions act as hacks that redirect the system. Fragments of code become agents of observation and empathy, while each participant’s input reshapes the evolving trajectory of the simulated world.
Simone Hörler
Simone Hörler is a graphic designer, motion artist and illustrator. She teaches design and animation at Schule für Gestaltung Basel and FHNW HGK Basel and holds a MA in Visual Communication & Iconic Research. Her current work combines illustration, graphic design and animation with creative coding to create live visuals, interactive animations and multimedia artworks.
Together with Lucas Löw she forms the media art collective Blitz & Donner who creates media art installations and immersive audiovisual performances.Lucas Löw
Lucas Löw is a musician and programmer based in Basel, Switzerland. His musical work spans a multitude of genres and instruments, his programming work is based in media art, computer systems and design. He has a BA in philosophy and history, studies computer science and works at Tweaklab in Basel, where he develops systems and solutions for media artists, museums and industry.
Together with Simone Hörler he forms the media art collective Blitz & Donner, who create media art installations and immersive audiovisual performances. - Textile installation „Data“
The Data series, part of the larger Fragments of Navigation project, examines the manipulation and erasure of information in contemporary political and media systems. The installation consists of fabric labels printed with fragmented excerpts from international news reports from various countries and years. Stripped of essential elements such as names, locations, and specific events, these texts present only the skeletal remains of their original narratives. The intentional omissions evoke the experience of reading censored or redacted documents, where meaning is both suggested and withheld. By concealing key "trigger" words, the installation heightens awareness of the mechanisms of control and distortion that shape public perception.
Daria Goncharova
Daria Goncharova is a Russian-born interdisciplinary artist whose practice explores the intersection of language, social structures and documents. She has been in exile since 2022 and currently lives in Belgrade, Serbia, where she is actively involved in the local art community. With a background in civil engineering from the University of Architecture and Civil Engineering (2011-2015), she also graduated from the Joseph Backstein Institute of Contemporary Art in 2024.
Her work, rooted in research-based methodologies, explores themes of identity through the prism of various bureaucratic processes, as well as processes of interaction with everyday life. She has participated in various residencies each year since 2021. In 2024 she was awarded the Goethe Institute's "Culture Moves Europe" grant, which supports her ongoing exploration of liminal spaces.
Her work has been exhibited in Switzerland, Portugal, Serbia, Germany, Finland, Montenegro, Armenia, Kyrgyzstan and Russia.
She has participated in numerous educational programmes as a laboratory and collaborator, continually expanding her exploration of how art can mediate social transformation. - THREADS
THREADS is a movement-based sound performance that explores resonance as both space and physical presence, creating a visual and acoustic experience. Bodies and cello form the core, co-creating a unified installation where the audience participates by holding or pulling threads that alter the sound. This project delves into how tension shapes systems—how overexploitation leads to dysfunction and irreversible damage. Yet, can we strip away the layers and rebuild? In a world of overwhelming complexity, where countless causes interconnect, we use sound and movement to navigate, respond, and question how to move ethically within infinite consequences.
Der in der Rubrik wird in deutsch gehalten, findet um Sunday 05.10. 12:15 für 30 Minuten im Hauptbühne statt und endet um 12:45Uhr.
Alina Anufrienko
Alina Anufrienko (no pronouns) is a composer, sound designer, cellist and performer and founder of the Documentary Music Lab. Born in 1985 in Omsk, Siberia, Alina left Russia in 2022 after the outbreak of the war of aggression against Ukraine and the increasing repression against the LGBTQ+ community, and continues to work in exile as a performance composer and performer. Projects with Alina's participation have been presented at the Haus der Berliner Festspiele, the Werkstatt Exilmuseum Berlin, the Cité internationale des arts in Paris, KW Institute for Contemporary Art Berlin, Schauspielhaus Stuttgart, HAU - Hebbel am Ufer Berlin and MUDAM Luxembourg, among others. Alina works in various collaborations as a composer, cellist and performer.
Elisabetta Solin
Elisabetta Solin (she/her) is a performer, actor, and dancer, born in 2001 in Venice, Italy. After studying drama at the Accademia del Teatro Stabile del Veneto, one of Italy's top theatre academies, she moved to Berlin. Elisabetta’s further studies include working with Troubleyn Jan Fabre, Peeping Tom (with Carolina Vieira), and Johannes Wieland. Her work has been presented at Sasha Waltz & Guests Open Studio:Stage, HAU-Hebbel am Ufer Berlin, and Dock11.
- to heat a candle with the warmth of you
Every machine-generated thought consumes power and produces heat —a silent, residual trace of its activity. While we cannot see energy directly, its byproduct heat offers a way to feel and sense the invisible processes shaping our world.
Addressing the energy consumption of artificial intelligence through the medium of heat, the project directs the heat waste towards a candle. Running a large language model (LLM) on a small raspberry pi, the self-referencing system is prompted with “to heat a candle with the heat of you”. Addressing the LLM with "you" it will start to generate an answer that does not reflect how the system is actually heating the candle.
The resulting heat from the computation slowly melts and erodes the candle in the physical world.
Julia Vollmer
Julia Vollmer is a Bremen-based artist and creative technologist. Her practice explores machine learning, wearables, code and electronics. Interested in the errors and tensions in-between technology, human interaction and our perception she focuses on the hidden labor and resources behind digital tools and AI as they become integral part of daily life.
She holds BAs in Digital Media from Leuphana University and Creative Media from City University of Hong Kong and a MA in Digital Media from the University of Arts Bremen. - Vacillate
Vacillate is an immersive performance that transforms sound and light into a visceral, sensory experience. Sub frequencies ripple through the space, their deep vibrations bypassing the ears to resonate directly with the body. The audience, with eyes closed, feels sound as a tactile pulse—skin and bones become conduits of rhythm. Strobe lights flicker against shut eyelids, generating shifting patterns on the retina, like ephemeral visions within darkness. This interplay of low-frequency sound and rhythmic light crafts a meditative, synesthetic experience, dissolving boundaries between senses and inviting audiences to explore new thresholds of perception and embodied cognition.
The performance explores thresholds of perception, where the body becomes an instrument, attuned to the inaudible and the unseen. By collapsing the senses into one another, Vacillate opens a liminal space—where sound is felt, light is imagined, and touch becomes a complex, multidimensional language—leaving the audience in a state of altered sensory consciousness.Der in der Rubrik wird in deutsch gehalten, findet um Saturday 04.10. 19:30 für 60 Minuten im Atelier (viertel-ab) statt und endet um 20:30Uhr.
Farah Mulla
Farah Mulla is a multimedia artist based between Goa/Mumbai/ Basel. Her background in science overlaps with her art practice that explores the perception of sound and its effects on human neurology and subjectivity. Often investigating different media, she uses the human voice, field recordings and other modes of inquiries to explore aspects of our listening experience and the invisible agency of sound via multiple modes of perception.
Captivated by the intricate interplay of sensation and perception, Farah Mulla channels her explorations through sensorial interfaces, seeking to articulate the ineffable within our environments. With a profound curiosity for the thresholds where our cognition weaves harmony amidst sensory complexities of the environment, Farah's artistry transcends mere observation, aiming to evoke deeper connections to the spaces we inhabit. Blending her geological background with her artistic pursuits, she delves into the profound effects of sound and our environment, probing the nuanced intersections between natural landscapes and human consciousness. Through her works, Farah invites viewers to immerse themselves in a sensory tapestry where the boundaries between self and surroundings blur, inviting contemplation on our intricate relationship with the world around us. This artistic journey not only redefines our perception of sound but also challenges us to reevaluate our role within the greater ecological symphony.
