Digital Project Agenda

First formed as AES Group in 1987 by Arzamasova, Evzovich, and Svyatsky, the collective became AES+F when Fridkes joined in 1995. AES+F work at the intersection of traditional media, photography, video and digital technologies. They define their practice as a kind of "social psychoanalysis" through which they reveal and explore the values, vices and conflicts of contemporary global culture.

The group had more than 100 solo exhibitions at museums, exhibition  spaces, and commercial galleries worldwide. AES+F works have been shown in such prestigious venues as the ZKM (Karlsruhe), HAM (Helsinki), Moderna Museet (Stockholm), Tate Britain (London), MAXXI and MACRO Future (Rome), Centre Pompidou (Paris), Museo Thyssen-Bornemisza (Madrid), Today Art Museum (Beijing), Mori Art Museum (Tokyo), Leeum Samsung Museum of Art (Seoul), The State Russian Museum (St. Petersburg), Garage Museum of Contemporary Art (Moscow), National Gallery of Australia (Canberra), Faena Art Center (Buenos Aires), and many others.

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Claudia larcher's work explores video animation, collage, photography and installation with a particular cinematic approach to storytelling and the ability to extract narratives from apparently nondescript, everyday spaces. Based in vienna, she has presented her work in numerous exhibitions in austria and abroad, including tokyo wonder site (japan), slought foundation philadelphia, the weimar art festival, centre pompidou (paris), ars electronica festival (linz), museum of contemporary art in roskilde, manifesta 13 and anthology film archives in nyc.

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The camera eats into nothingness, it glides along an empty surface whose rough grain resembles minimalistic interplay of shapes and forms and material analyses that refer the spectators back to themselves. After a while the white wall which represented the initial focus is joined by a long hallway with doors, and after that high, spacious empty rooms enter the picture. The scene is reminiscent of abandoned underground bunkers or spaces in an industrial warehouse or workshop, spaces that do not have an obvious use, non-places whose utilitarian architecture Larcher examines as if they were monuments to their presumably simple economic purpose. With the aid of the finely structured, at times whooshing soundtrack by Constantin Popp, Larcher creates an uncanny mood, though at the same time she goes beyond representation of the weirdly whooshing emptiness and breathes life into these spaces, isolating certain elements and making the walls dance. The rooms and the objects they contain, such as lighting fixtures, assume the direction until the scene quiets down and a glaring white zero space is eventually created, a kind of idealized white cube that Larcher lines with the white wall elements visible at the beginning in accordance with its new — or possibly old after all — purpose. In Empty Rooms Larcher propels the impressive game which emerges in her other works by means of memories stored in rooms and their emotionally evocative qualities. This tends to make us believe the idea that objects are living beings, which has received an increasing amount of consideration, and serves as a reminder of history’s aftereffects that cannot be suppressed.

(text by Sandro Droschl)

Born in Jerusalem in 1969, Sigalit Landau is an interdisciplinary artist who works with installation, video, photography and sculpture. Landau graduated from the Bezalel Academy of Art and Design in Jerusalem in 1994. After several years in Europe and in the United States, she returned to Tel Aviv, and currently lives and works in Israel.

Landau's work has been exhibited globally in museums and leading venues including: MoMA, NY; The Brooklyn Museum of Art; MAGASIN III, Stockholm; Yokohama Triennale, Japan; KW Institute for Contemporary Art, Berlin; The Israeli Pavilion, The Venice Art Biennale (1997 & 2011), etc.

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A cord of 250 meters penetrates 500 watermelons forming a six-meter spiral raft in the saline waters of the Dead Sea. The spiral turns as a whirlpool in reverse from its normal direction. I am floating locked inside the layers of the spiral, between the center and the periphery of the sweet raft. I am reaching out against the direction of the turning raft towards a small area where the fruit is wounded, red, and exposed, like me, to the sting of the salt. The salt solution of the Dead Sea enables everything to float. The spiral gradually becomes a thin green line passing from the frame.

DeadSee was first exhibited as part of The Endless Solution, an installation at the Helena Rubinstein Pavilion, Tel Aviv Museum of Art, January–May 2005.

The film was shot in mid- August 2004 in the area of Sodom, south of Masada.

His paintings, drawings, and graphic works reveal fractures of a world that seems suspended in-between time and space. The major themes populating this tenebrous and sometimes surreal “counter-reality” tackle the relation between memory, matter, innocence and error.

“A scene manifold, theatrical. Black boxes are illuminated to allow you see the unsuspected mental machinery within, a column that penetrates the floor towards something you can't yet make out, closets that open and absorb you into a world of which you are suspicious, but there are no means of closing them. Andrei Gamarț's exhibition Mirror for The Full Moon places you in front of your own character, a character hitherto unknown.” (Excerpt from Răzvan Ion - "Mirror for The Full Moon")

“What makes me negotiate about the end of painting when I try to interpret the paintings of Gamarț is their force of mirroring various stages of the history of painting, of challenging our cultural memory as well as their surrealist content reflecting our ambiguous notions and understanding of the world we live in. These paintings with their content and references may indicate end of history, but with their re-configured aesthetics they re-generate a new experience for painted images.” (Excerpt from Beral Madra - “Negotiate about the end of painting”)

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Combining traditional oil paintings with new media installations that project live images from surveillance cameras placed in different corners of the globe, Gamart's approach to the subject is not necessarily a direct one. The works allure the viewer into more than just a visual story, inviting them to decipher the emotional architecture of a complex condition, that generates a variety of feelings - from impatience and excitement to boredom and despair. In his own words, waiting is not necessarily an action, as it resembles different senses, like seeing or hearing. It is like a sixth sense connected to the future that awaits us, an imponderable state, full of emotion and tension at the same time, like in a dream where you are caught with no means of escape.

Over the last years, Gino Rubert’s work has consisted in representing experiences and emotions from a cartooned and armored way of viewing sentimental relationships: the new woman, the new man, and their functions, dysfunctions, struggles and questions. He works with disciplines such as painting, video or installation. He believes in the tradition of art which, at first sight, seduces, and afterwards, invites to meditate through artifice like trompe-l’oeil or distortion. This way, his paintings are defined by his complex technique of mixing collages of photographs and materials like cork or artificial grass with acrylic and oil paint.

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Robert Lazăr, alias Eurosadboy, is a self-taught multidisciplinary artist and designer based in Bucharest, Romania, with over 15 years of experience as a music producer and performer. Blending 3D rendered visuals with original music, he uses art to express emotions and create immersive digital experiences in the metaverse. His style is amorphous, a constant exploration of themes and ideas that often materialize into near-future sci-fi pieces, sometimes assorted with Eastern European nostalgia.

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