The breakdown of a medium doesn’t merely mark its end but also generates its unique signature – e.g. the flare is unique to film, the glitch is the mark of digital code. More than that, the glitch is a way digital media can unfold beyond the mimickry of reality and unto its poetic potential; unto conquering new grounds for art as a way of knowing and assembling new temporalities. Thus the collapse of (mediated) language ensures its unique contribution to the collective dream of cult-ure.
Seeing Through the Cracks showcases the work of moving image artists from around the world who explore the breaking point of digital language. Grounded at the intersection of art, science and technology, the works span a range of digital dialects, with special focus on the semantic breakdown of neural network technology and AI visualizations. The programme features cutting edge digital animation works that explore ways digital tools and code distortions allow for pushing visual boundaries unto new oneiric realities.
Iona Pelovska, Curator/Programmer
Vadim Epstein is a Moscow media artist, theorist and practitioner, and renegade theoretical physicist. Focused on visual media, he has worked at range of fields such as net.art, science art, avantgarde club events, etc.
As an artist and curator, he had programmed visuals for hundreds of concerts, festivals, parties and commercial events. His works have been exhibited in art galleries in Paris, Glasgow, Stuttgart, Vancouver, Basel, etc. In addition to his commercial and personal art projects, he has delivered numerous lectures, workshops and training courses. Vadim Epstein is founder and creative director of in[visible] studio, one of the experts of hi-tech visual design in Russia.
With focus on generative graphics, new media art and on creative coding as a method, Vadim Epstein’s aesthetic is characterized by high impact visuals native to post-industrial culture.
Christian Hassler is a mathematics graduate student from the New England region of the United States. His current work explores neural network algorithms as a subfield of generative art. Motivated by a fascination with human perception, Christian eschews conceptual approaches in favor of the experiential or even physiological. Hypnogogia and illusion are frequent themes. He has been studying and working with generative adversarial networks for image synthesis since March of 2019, and releases his work online under various pseudonymous identities.
Themeltr is a Wisconsin, USA based artist working in the glitch/generative aesthetic. He is inspired by modern technology’s capacity to blend fiction and reality, and aims to capture this in his art. He believes that the destructive creativity of glitch portrays the ephemeral nature of today’s culture.
Alexa Momtaz is a Montreal based musician and sound and artist. Her work spans and amalgamates emotional melodies, rythms, drones, noises, blips, multilayers of analogue and digital samples sequenced in various machines. She is inspired by psychoanalysis, cycling, nature, travelling, space, technology, video games, movie soundtracks, anxiety, death and solitude.
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.
Ian Grant is a glitch artist working in video and photography, based in Northampton, Massachusetts. He arrived at glitch art after studying painting and photography, and from being active on the internet. To him glitch art is like painting with broken systems. He uses intentionally sabotaged hardware to manipulate and create audiovisuals. The pieces hopefully allow the viewer to have a connection with the process and the materiality of the medium. His interest is in attempting to control the inherent chaos of glitch and to create novel sensory experiences.
Adrian Dwitomo aka Tomo/Toxicmotel does not have a flair in verbal expression and decided to inhabit the niche realm of glitch art.
In the process of crafting his digital work, Tomo constructed his own style in digital destruction or glitching. This expressionist glitch approach derives from his interest in surreal art, collage and psychedelic art, which then he interpret it with his own touches. His purpose is to create his own ideal world in what he calls “Maximum Ultra Idealism.”
Jared Bruni loves to write code. He creates software and videos because they allow him to express his thoughts best. The Acid Cam project started in 2011 when he had read about how one could get video from a webcam and manipulate it. The project was started over from scratch in 2012-2013 in C++/OpenCV. The program offers different filters one can apply to video, such as glitch effects and distortion. He shares the code on GitHub and uploads videos to YouTube because he wants to share his ideas and thoughts. His software and videos are dedicated to people who experience mental illness.
Melt Dream is an experimental video project centered around analog glitches and unconventional video mixing techniques started by the Italian artist Martino Maranzana in 2018. Under this name he creates music videos, installations and visuals for the bands of Turin’s psych scene, as well as designing analog glitch devices for other video artists around the world.
ALGOMYSTIC [Peder Norrby] is a Digital Artist working mainly by writing code that generates or distorts images/videos/sound. Working with Glitch Art, Generative Art, Interactive Art and Audio Visualization. The aim is to express emotions that words cannot convey well.
Iona Pelovska is an Artist/Filmmaker and Doctor of Philosophy interested in the human capacity to assemble realities. Her work foregrounds art as the interface of perception and dream, exploring the limits of language through an open-ended trans-mediumatic approach. Glitch: Digital Dreams and Data Disruptions brings together the work of artists and researchers dedicated to pushing the boundaries of digital language, conjuring new realities, unthinkable before the emergence of digital vision.