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What Do We Do Now? pavilion explores the tension between the tangible and the digital.  This cross-realm codependency leads to an entangled existence of both, merging into a singular reality in an energy-demanding world. We look at digital relics, future digital fossils, dataflow, the body within the digital, conversations between nature and machines and a place for human-ness inside an algorithmically customised reality.

Booklet text contribution

by Doreen Rios
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Ephemeral Paradises

A post-apocalyptic landscape about the earth and mineral extraction of the values that for us, humans, are ephemeral paradises, like gold, trophies, abstract money in contemporary artwork. In this sense, this is an alchemical laboratory in an imaginary future, where we could transmute the blood into gold, it this what wild capitalism is wanting our blood for? Gold labyrinths don't go anywhere, trophies melt themselves, and everything seems to vanish in this world where we want to protect our mountains, our water is worth more than gold. Where's the exit from this devouring creation? Direct action, poetic terrorism, ecologic militancy?

Ingrid Kristensen Bjørnaali

“Con Fusion” shows Lofoten, Norway from three points of view; Google Maps’ Street View function, based on 360 degrees photographies taken from the top of a car, Google Earth’s animations of the earth based on satellite imagery, and the artists own video footage from travelling in the area. Throughout the video, the rhythmic sonar sound of Sputnik 1 is continuously kept. The three different visual inputs are shifting rapidly according to the beat, inspired by the “flicker films” of the1970s, in an attempt to connect or merge the physical experience from her travels there with the more objective data perception of the place. The sonar sound, used in technology to navigate or measure landscape, works as a reminder of the physical distance between the place we are looking at onscreen, to the signal sent into outer space and back again, and the actual geographical place, as well as the distance in time from when Sputnik 1 was sent out in 1957, to the satellite technology of 2019. However advanced it may be today, there are still a lot of glitches, appearing as grid-shaped holes in mountains and sudden textural divisions in the landscape, which create non-places and distortions of an otherwise realistic map.


The two films from ’The Forest Floor’ are a part of a computer-game/digital installation where the films are shown on screens inside a digital forest which can be explored by the viewer using a keyboard and mouse. The texts that are read by actors in the films are thoughts and feelings about limited time and energy. How much can you take in? What do you prioritize when you explore, for example, a digital forest? Do you compare your human mind with the mind of a computer? Do you push your mind too far, forgetting that you cannot yet upgrade your ”hardware” to handle an increased flow of data? What happens to your sense of self and your relationships in the midst of this increased flow?

 Zander Porter

writing b

MountGrove is a quantum, intra-psychic environment where post-work and post-body imaginaries conflate as a feeling, an atmosphere, and a rendered world. Our techno-devices are hollow, their presence ethereal, and their relevance amusing, ironic, or even uplifting. Literally, we are lifted up by them; softly floating surveillance cameras are our new standing blocks for slow techno dancing. Water rises but poses no mortal threat. Excerpts from writings When the body seems destined to experimentation and Everything I know about technocapitalism, I learned at Berghain by Ashkan Sepahvand are vocalized into and as MountGrove, a forever in-progress rendering. A distorted affect conjured by the human voice saturates an otherwise posthuman, post-physical landscape, where sociality and sexuality are pictured as interspecies-alien and extra-human.


Squeeze Me_5

The video is inspired by online subcultures, digital consumption, and the compulsive need to satiate ourselves. The narrator of this video is a cheeky, seductive, demanding and squishy red oozing blob who tempts you to give in to your senses and squeeze them. The video playfully explores the need for instantaneous sensual gratification that has been heightened through our compulsive digital consumption of content and takes inspiration from pop-up advertising, click-bait, porn, and ASMR; all of which directly target our senses.

Ivana Tkalčić 

 twilight zone snapchat camera text to speech 

Today in the ever-changing world of quick-shifting realities, the comprehension of what we think we know about the world is changing rapidly. In the past ten years, the development of technology speeds up exponentially. Did this change been for easier and better for a living? Or is technology changing and reshaping our consciousness and ways of thinking which cannot yet be imagined? Our perception and the experience of the world undoubtedly changed. We are transiting into a post-information and post-human age that is radical transformation our way and nature of living, being and understanding the world that surrounds us. Furthermore, on a personal scale, the boundary between online and offline life has disappeared. The most intimate part of our lives has become a slice of the virtual world that draws the strength from the media. How has everyday online-offline interaction changed the experience of the world around us and influenced our daily visual perception?

JULIO Guzman

‘The Positive Value of Powerlessness’ is a durational project, in which the artist commits himself to meet the internet for the next thirty years. The project aims to study internet infrastructure and its geopolitics in different parts of the world, starting in the landlocked State of Bolivia next year. The project mimics the very procedure of automation and storage by uncovering the infrastructure of the network, internet infrastructure that we take for granted until it breaks. Guzmán deals with nostalgia, activism, cultural resistance, and the complexities of leading a life in an increasingly digitised and blurrier world. His actions are linked to the most primitive, physical, emotional and financial needs of survival and self-preservation.

Mez Breeze

Geospatial and Mixed-Locative Colonisation Document

For all the current hype surrounding the practice and implementation of Augmented Reality technology, there has been a complete lack of focus (artistic or otherwise) regarding the ownership/proprietary rights involved in colonising geospatial arenas. _T[he]Issue_ is a "Geospatial and Mixed-Locative Colonisation Document" that asserts ownership rights to emergent Augmented and Mixed/Virtual Reality dimensions. The document asserts a blanket claim over all spatial and locative sectors involved in an updated version of the Virtual-Reality Continuum (think: [Geophysical]<—[Cartesian]–[Mixed]-->[Synthetic]). This "Geospatial and Mixed-Locative Colonisation Document" will comprehensively outline ownership adoption of non-colonised geospatial/geolocative vectors according to a contemporary interpretation of Geospatial Law. The aims and issues involved in the creation of “T[he]Issue” are associated with problems arising from disputes concerning the proprietorship of valuable locative sectors and to curtail AR avatar abuse. For instance, if an assumed virtual or augmented embodiment is created identical to a phenomenologically-defined “real” person, what are the governing guidelines regarding Mixed Reality copyright, trademark, and intellectual property issues ? If a business or government stakes an exclusivity claim involving Augmented Reality output in a public or popular geographic area, then who owns the rights regarding AR delivery into that space?

 JPEG Bolton 

3 overlapping looping films. Here, the raw image code of original photos of biological matter is injected with the Paris Climate Change Agreement and other text that virtualise the earth, such as Google Earth HTML. The soundtracks were made through a similar process of text-editing MP3 files.

Digital media is generally thought of as something pretty abstract and weightless, but that’s not the case: last year, data storage and transfer worldwide contributed to more emissions than the airline industry. Data has weight.

In transnational government initiatives to save the planet, the reverse is true: something totally physical (the earth) is converted into something virtual, speculative, something to be administered and moderated. The language of the Paris Climate change agreement attests to this: the word 'ocean' appears only once throughout the entire document. The much more abstract 'Climate' appears 48 times. There is no mention of ice. Basically, the planet gets treated like a dataset, something without form.


The ongoing series focuses on the rather underappreciated, complex and mesmerising circuitry that once laid within most families’ home PCs. Where at a certain point in time these electronic behemoths acted as the pinnacle of technology in each household, now they are nothing more but an obsolete and bulky amalgamation of components.

In an attempt to revitalise these thrown out and discarded pieces of technological advancements, FBRZ gathered and acquired a vast array of PCs from all around the island and stripped them down to their core. Utilising the Mother board’s traces to create a new visual flow where electricity once rushed. Giving these computers and their innards a much-deserved spotlight and second chance at life, as futile as it might be.

The harsh reality though is that there is still the lingering fact that the actual individual PCs are still essentially useless in their current state and are being discarded at a large scale. Creating enormous electronics dumping grounds in lesser developed areas, were under the guise of recycling, a vast array of people are working in horrendous conditions to retrieve as much salvageable and technologically crucial materials as possible including gold, copper and cobalt. Risking their livelihood in order to be able to make a living and for the rest of us to be able to satisfy our needs for the latest technological advancements.

Kornelia Remø Klokk


DERELICT UTILIZATION OF SUSTAINABLE TRANSFORMATION, also known as D.U.S.T., embodies the destructive manipulation within the act of creation. The structures of being are dismantled and ground into a powdered form of ruination, for the sole purpose of being resurrected once more. D.U.S.T. is the original element. The first matter of existence. D.U.S.T. is the last element. The cause and effect of destruction. D.U.S.T. is the loop of materiality.

Milos Perkir

Digital Fossil_Corrupt Galatian

Physical fragility of digital material and human perceptive adaptation, over time, create a world of abstract understanding. By sedimenting/compressing/tarring the "Digital stratosphere", "Digital Bug" comes to light from "Digital Pit" as an example of the artistically (audio/visually) exciting result. Corrupt Galatian represents, besides fight for the life of a corrupt digital file, struggle of audio/visual elements. The evolutional closeness of the man and a digital artefact, as an aesthetical/ontological base for this concept: the physical existence of digital - Inner struggle - digital death - digital remains - a corrupt image of yourself - self culturcide.


We Have Blood / Public Emotions - I Feel Nothing

We Have Blood: Is a piece about the vanishing humanistic qualities in the recent and current world. The loss of tangibility - the loss of skin and feeling. Even in a metallic advancing world, It is blood that ties us all together. So let’s not forget - We Have Blood.

Public Emotions - I Feel Nothing: Is a piece about my visions of a post future era, where humans have become emotionless machines due to technological advancements, resulting in a decline of human interaction, where we have become so abstract and hollow, like spherical shapes with personal poetic messages such as “I feel nothing” - a silent abstract call that’s reaching out for interaction in a vanishing world.

 Eda Sarman  

marine biologists believe the beluga whales do not like to be touched by artificial materials

‘I developed this work at deep listening workshop I led at the Thames River. With the aid of hydrophones, we listened to the water. This was when the lost beluga had made its way to Thames and I was wondering what if we listened to what Benny heard of us from below. The resulting sound is quite fascinating with pulses of the city joined by miscellaneous underwater pulses.’

 Vitória Cribb 

Command Prompt

How uncomfortable is it to realize that new technology products can gain awareness? It is noticed that the lack of ethics in the relationship between human beings and future robots is a constant and great concern in today's society. The idea that artificial intelligence can evolve, learn on their own, and even gain awareness dazzles the human imagination and exposes who is the pitying and caring protagonist in this situation. The characteristics of technological products are based on western white characteristics. The greatest concern and reflection on these digital bodies concerns precisely the abuse, exploitation of various natures and disposal of these bodies by human beings. But the big question, I would say urgently, is that black bodies in Western society are exploited and discarded daily and there is no commotion about this barbarism. Following the world order, black and poor bodies will in the near future be in a position of vulnerability as the world interacts with holograms and robots and learn new languages and behaviours to fit the new ones they create.If we continue to follow the order, in the present future robots and digital products will be more important than me, you and us, those lyrical ones of colour.

Santa France

We get to have out-of-body adventures in cyberspace, but this body is what we come home to.

The series explores a personal relationship between electronic communication devices and their owner; their impact on one's body and mind.

Mustafa Khanbhai


This project uses computer code to generate digital models of strangler fig trees. The code (Blender Python) creates the tree, its bark, growth cycle, etc., a unique individual each time.
Strangler figs (such as the banyan tree) are a highly adaptive species because of their ability to cycle functions across the various parts of their bodies. The boundaries between root, trunk and branch steadily dissolve as the tree grows and nutrients flow in strange paths throughout its body.
It is a creature that suggests a map for the troubling times to come, times of ecological catastrophe for which our neat, segregated socio-economic structures are ill-prepared and will likely crumble.

 Ayşegül Altunok 

‘In my work, I often observe and witness the moment and things and I construct/sketch them in my abstract geometric language. Symbiotic Life Forms looks at the area where structures come into contact with water with a blue line resembling the light of planktons formed at night on the sea surface. Aquatic Toxic Forms are about a yellow slotted and poisonous sponge, which I also saw in the sea. Ruin for the Future is based on a broken and abandoned pier by the sea.’

Erica Jewell

Power Plant

Powerplant investigates the ways in which we conceive of the (in)visible infrastructure of the Internet: the switches, routers, underwater cables, signal repeaters, servers, and data centres across the globe and the coal, oil, natural gas, nuclear reactions, wind, sun, and waves that it takes to use them.

The project invited people from around the globe to keep a plant alive by switching on lights in a real-world installation. Each set of three lights visualizes the power consumed by one visitor to the site using measures indicated in the Journal of Industrial Ecology. Visitors could watch the lights over the plant turn on and off in real-time as others joined and left. Over the month-long duration of the project, the plant grew and developed a new leaf.

The project explores the invisible components of global infrastructure that cross continents and oceans to serve the Internet. This complex, massive, human-made apparatus provokes awe at the ability of humans to coordinate and maintain such a vast global structure and at its invisible nature that keeps it out of mind and allows us to forget the consumption and waste it necessitates.



If we compare the architecture of a city to the peer-to-peer, a popular network of information exchange, or GANs (Generative Adversarial Networks) we can recognize the city’s largest squares as its primary junctions (Nodes). We are looking towards the future revolution of communication, where the next steps are possible to bring in new models of a constellation. City nodes as models may well take on a more virtual, imagined presence, influencing the future shape of the urban landscape and the role of digital architecture itself.

 Bailey Keogh 

Capitalist Reparations invites website visitors to mine cryptocurrency on their office computer during working hours as an attempt to generate reparations for the unfair compensation capitalism provides in exchange for labour.

Chen Varsano


‘In the lifetime of a file from its birth to its infinite roaming on the web, it changes a lot. Hito Steyrl defined the process as a poor image, but in my research, I expended it to many types of files. Suppose when you take a photo digitally, it is being translated into a machine code that is not intended for human reading, but even though the machine translates it into pixels and data, this unclear code still exists in a completely digital world that has no place for us humans, solely for machines, and it allows them to communicate within themselves... So it was very interesting for me to look at what happens behind computer formats and what happens when the computer can't communicate with itself because of human disruption. In this project I made different types of files, audio, picture, video, 3D, operating system files etc. and I converted each file to a different format and documented the results.’


The Kaleidoscope

The Kaleidoscope piece is based on optical foundations, where the kaleidoscope would be an instrument used to form ornamental patterns through the reflection of light in its fragments of glass. The pattern generated in this piece is intended to arouse the curiosity of those who observe it, causing the person to wonder about aspects such as texture, colours and how that image was created. The part was created using Processing Glic Script and later mirrored and merged into Photoshop. The base image for the creation of this error was a selfie.

 Yvonne Libenson 


Today, when technology seems utterly smooth and weightless, composed of invisible waves, wireless signals, abstract codes, e-trash explores the ways in which these systems are still stubbornly tied to the physical world. Yvonne uses trash files from other peoples computers to create her expression. Looking at how contemporary artists use, and misuse tools and forms this show features works made since the turn of the millennium that push and challenge the boundaries of technology: upending systems, experimenting with materials, and ultimately inventing novel techniques and substances. Yvonne Libenson utilizes digital waste as a way to recycle multiple layers into a single image creating hallucinogenic ways of perceiving digital reality. The recycling process allows one to live and realize the materiality of digital files, become aware of its content and physical space. E-trash harnesses the transformative power of digitization to create a new intangible material, which is meant to help guide the viewer towards enlightenment.

Enrico Dedin

Digital Tribalism

In our post-modern society, companies in the technology sector are at the centre of a collective ritual of tattoos and special hairstyles. The number of images and videos collected on the web in this regard are not mere documentation of digital neo tribes but they constitute a fundamental element of the ritual itself: the sharing. This digital tribalism is investigated with a sociological slant beyond the easy temptation to dismiss it as mere fanaticism. This phenomenon is the reflection of an Internet that becomes more and more space for extremist opinions and personalized information, for example, thanks to the algorithms of the most used search engines. The neotribalism that moves on the web reflects the crisis of institutions and traditional identities as well as the intolerance to the lack of a community and offline social bond. In the absence of this, to consolidate the social relationship there is no other common basis than consumer goods, in fact, they are the latter together with the media to produce the collective imagination today. But on this basis, this attempt to re-establish a community-type social bond by resisting post-modern dynamics ends up by commercializing, even more, the relations between individuals, subjecting them to brand mediation. Brands acquire a totemic function, they become a substitute of religions and individuals remain “mass hermits”.

Charlene Galea

No one new around you

What has happened when the message ‘There is no one new around you’ pops on your TinderApp screen? It is frustrating when the user on ‘Tinder’ runs out of swipes made of profile images that are meant to get your attention and to match your luck. But there must always be someone new soon to feed on your swiping addiction, matching your ego or leave you hanging with a ghosting attitude. But which luck? Love, sex, connection or attention. What happens when the message of what you are looking for is not communicated clear? What happens when the connection is digital based on being attracted or curious about a picture you have just looked at. What happens when there is so much choice, so many numbers of likes super likes and matches just sitting on your phone screen? Would you call this feeding or draining your energy? Like an adrenaline shot all over your body, you get excited when the picture you just matched withsays Hey but instantly gets run down when you reply and nothing else happens anymore. And you keep swiping hoping that the next match says ‘Hey’ or ‘Hi’ or “Hello’ again but then is let down once more and the cycle keeps on going.


   G⃝   I-II-III 

digital engagement through search & engine tool as an extension of human relations

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