Performance: Inland , Pacific Romance and Rêver
Time: 2015.9.13 14:00-17:00
Venue:Chronus Art Center
Address: Building 18, No.50 Moganshan Road, Shanghai, China
Performance: Inland , Pacific Romance and Rêver
Year: Wednesday September 9th, 2015
N-minutes Video Art Festival | Taiwan Video & Media Art Program
N-minutes Video Art Festival | Taiwan Video & Media Art Program
Time: 2015.9.12 13:00-14:40
Venue: Chronus Art Center
Address: Building 18, No.50 Moganshan Road, Shanghai, China
List of works
tamtamart Taipei :
1. 吳梓寧Tzu-Ning Wu/ Cyber Native : 5‟21”
2. 杒珮詩Pei-Shih Tu/ Last will : 7‟15”
3. 陳依純I-Chun Chen/ Little Black's Whole Life in the Factory : 10‟00”
4. 葉育君YuJun Ye & Alexis Mailles/ Pacific Romance : 3‟48”
A.S.C. :
5. 吳燦政 Tsan - Cheng Wu/ the Walking City: 8' 00"
6. 詹育杰 Yu-Chieh Chan/ At the end of the game: 4‟20
7. 孫瑞鴻 Ruey-Horng Sun/ car wash: 11‟56”
8. 樊智銘 Chih-Ming Fan/ landscape: 5‟20”
9. 侯建呈 Hou Chien Cheng/ All the Others: 10‟16”
10. 何昱達 Yuda Ho/ The Dundee Train: 1‟36”
11. 徐嘒壎 Hui-Hsuan Hsu/ Settlement?: 10‟04”
12. 吳宜曄 I-Yeh, Wu/ In the future: 3‟35”
13. 李若玫 Jo-Mei LEE/ Ishigaki Jima: 12‟32”
14. 鄭先喻 Xian-Yu Zheng / isISis：5' 00" version/ flexible 即時生成無片長（5分鍾輸出版本）
About (CON)TEMPORARY OSMOSIS - Audiovisual Media festival 2015
TEMPORARY OSMOSIS - Audiovisual Media festival 2015 is conducted by tamtamART Taipei and A.S.C.
BERLIN tamtamART, founded in the early 2009, is an association dedicated to international cultural exchange and the advancement of Taiwanese Contemporary Art in Berlin. After 4 years’ contribution, tamtamART had invited variety of Taiwanese artists and artworks to Berlin. In order to increase the visibility of Taiwanese Contemporary Art, our team cooperates with different famous art spaces, and also participates in many major thematic festivals in Berlin. Through the ways of co-organization and cooperation, tamtamART has built up an international conversation bridge and a deeper connection with local organizations.
During spring and summer of 2013, tamtamART starts cooperating with IPIX Imagination INC. and inaugurates tamtamART TAIPEI .IPIX in the center of Taipei. Offering an experimental contemporary art platform, this art space congregates various artists and creations of different domains and disciplines. At the same time, tamtamART TAIPEI .IPIX and Berlin tamtamART connect together and build up an international bridge to offer artists and publics both in Berlin and Taipei a prominent exchange platform.
The ART SHELTER AND CINEMA is a contemporary media platform especially aimed at emerging artists and new generation. The ASC challenges experimentation, creativity and exchange with visitors.
The ASC encourages radical art and culture via communications, exhibitions and events to break through the social and political predicament as well as makes alternative visions and bold imagination.
About tamtamART program
The subjects of five art works presented at tamtamART theme encompass existence, such as environments of existence, identities of existence, and appearances of existence. We can see the artists in their images, the unique variation of time and space in their images and the diversified character transformation.
About A.S.C. program
TAIWANew VIEDO ART program focuses on Taiwanese emerging artists who are working from everywhere such as UK, USA, Germany, France, Netherlands, Belgium and Taiwan. These art works are collected together to bring thriving atmosphere; it also seems like onomatopoeia of the meaning of “Tamtam”. The multicultural experiences and arts are echoing the vivid and vigorous “FormosART”!
Casey Reas: Tox Screen
On view: 2015.9.6-10.4
Opening reception: 2015.9.5, 5-7pm
Venue: Chronus Art Center
Address: BLDG.18, No.50 Moganshan RD., Shanghai
Chronus Art Center (CAC) is pleased to present Tox Screen, an exhibition by the American artist Casey Reas.
Tox Screen features a generative animation that scrambles, fractures and distorts the intended images and narratives, to craft alternate, imagined space. Taking a Dada approach to the raw materials, it intentionally disrupts the information of local broadcast signals and subverts software’s capacity for precision and order. As a result, the programmed logic is visible as a geometric lattice, building the illusion of a surface.
The work investigates the field of technical images, as theorized by philosopher Vilém Flusser, such as visual information transmitted as data, which relies on text-based instructions to “write” a picture; the construction is comparable to early twentieth century collages built from the media of that time, and mid-century video collage.
Tox Screen
Casey Reas | 2013 | diptych | custom software, two computers | dimensions variable, unique | each: 1920 x 1080 pixels
Tox Screen is a wall-sized diptych of video projections that explores the behavior of television signals and entropy. Television content was captured through an antenna then processed with custom software.
The work is named after a specific moment from the original television script.
About the Artist
Casey Reas
b.1972, United States
Lives and works in Los Angeles, CA
Casey Reas writes software to explore conditional systems as art. Through defining emergent networks and layered instructions, he has defined a unique area of visual experience that builds upon concrete art, conceptual art, experimental animation, and drawing. While dynamic,generative software remains his core medium, work in variable media including prints, objects,installations, and performances materialize from his visual systems.
Reas' software, prints, and installations have been featured widely in solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. Recent venues include the San Francisco Museum of Modern Art and the Art Institute of Chicago, and recent commissions have been awarded by the Whitney Museum of American Art and the New World Symphony in Miami. Reas' work is in a range of private and public collections, including the Centre Georges Pompidou and the Victoria and Albert Museum.
He is a professor at the University of California, Los Angeles, and holds a masters degree from the Massachusetts Institute of Technology in Media Arts and Sciences as well as a bachelors degree from the School of Design, Architecture, Art, and Planning at the University of Cincinnati. With Ben Fry, Reas initiated Processing in 2001. Processing is an open source programming language and environment for the visual arts.
Reas recently co-wrote and designed the book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (MIT Press, 2013). Reas and Fry published Processing: A Programming Handbook for Visual Designers and Artists, a comprehensive introduction to programming within the context of visual media (MIT Press, 2007). With Chandler McWilliams and Lust, Reas published Form+Code in Design, Art, and Architecture (Princeton Architectural Press, 2010), a non-technical introduction to the history, theory, and practice of software in the visual arts. Reas' Process Compendium 2004—2010 documents six years of his work exploring the phenomena of emergence through software.
About the Series
Tox Screen is the fifth exhibition in a series of screen-based works organized by the Chronus Art Center. Conceived by ZHANG Ga, this exhibition series examines, through seven international artists’ projection works, each presented in a month-long solo exhibition, dynamically generated audiovisual systems that artists have custom-made, real-time transmitted images which demand protocols other than those readily available, idiosyncratic animation techniques for which given rules will be rewritten, and subject matters estranged from the populist safe haven. The artists presented in this series often exploit an algorithmic logic distinct from the predominant language that speaks the parlance of video art—software presets and editing routines for visual manipulation and content authoring—thereby disrupting and sabotaging the economy and the ideology of image production implicit in the very tools and means that produce narrative and construct meaning. In doing so, they have developed a new aesthetic sensibility beyond the received notion of video art as such, extending the rich tradition of media art seen in the pioneering experiments of Walter Ruttmann and Dziga Vertov of the 1920s; by the canonical works of Michael Snow, the Vasulkas and Nam June Paik, to name just a few, of the mid-century; to the digital contemporary, and opened new potentials for tending individuated perceptual spaces that can acculturate the spectacles of cosmic magnitude and the facticity of the everyday, imagined or otherwise.
Series Artists
Michael Joaquin Grey
Tseng Yu-Chuan | Information-Procedure-System: An Aesthetical discussion on Digital Art
【LECTURE】Tseng Yu-Chuan | Information-Procedure-System: An Aesthetical discussion on Digital Art
Speaker: Tseng Yu-Chuan
Language: Chinese
Time: 2015.09.05（Sat.) , 15:00-16:30
Venue: Chronus Art Center
Address: Building 18, No 50 Moganshan Road, Shanghai
This is a free event, please click "here"to RSVP.
About the Leture
Digital technology influences the development of society, life, and culture. Artists work and live with digital technology in the digital environment. For artists, digital technology does not only tool, media, medium but also the subject of creation and mode of thinking. But, compare with traditional media of art works, such as oil painting and sculpture, does the aesthetic of digital art change? What is the digital art theory? In 1968, Jack Burnham published the article “Systems Esthetics”. He stated that the “system” is the logical thinking process of art creation. The core concept is Software and Hardware. In 1970, in the article “The Aesthetics of Intelligent Systems”, Jack Burnham gave a further explanation of the aesthetic of intelligence system. There are the information transition of art creation, the procedure of art, the transform of viewer’s role, and the necessity of environmental system. He also mentioned that artists have to aware the influence of technological progress. Artists need to be the ideologist, ethicist, persuader, and visionary. Artists have to provoke the viewers to concern the issue, to care about the subject, structure, input, output and relational activity during the system. The lecture will introduce the System Aesthetics of Jack Burnham and his curation「Software Information Technology: its new meaning for Art」in 1970. The lecture also will discuss the aesthetic of digital art. It is in the process of information transmission, the control of process and connection, and the systematic relation of whole.
About the Speaker
Tseng Yu-Chuan
Associate Professor, Department of Public Relations and Advertising, Shih Hsin University
Supervisor, Taipei Digital Art Foundation
Board member of Taiwan Women's Art Association
Board member of Taiwan Information Design, Art, Technology, Education Association
Tseng Yu-chuan obtained her PhD from the Graduate Institute of Applied Art, National Chiao Tung University. She specializes in research on innovation and theory in interactive digital art, with a PhD thesis entitled The Characteristics of Contemporary Interactive Digital Art. Tseng adopts Martin Heidegger’s (1889 - 1976) philosophy of technology, with its perspectives on objects, tools, and the essence of human nature, as her conceptual framework. She draws on Heidegger’s theories on human control as her theoretical foundation; while tracing the course of historical development to understand the origins, principles of, and discourse related to interactive digital art, and to reassess various aspects of the history of art, including art and technology, post-90s digital art in the West, and digital art in Taiwan. With this as a basis, Tseng identifies three central characteristics of interactive digital artwork that reflect Heidegger’s theories on human control. For example, interactive digital artwork comprises: programs, code, and execution; is random, automated, and is a derivative of the real thing; and contains logic, procedures, and a system.
Tseng began creating digital artwork in 1998. Starting from 2002, she adopted an interactive online format to produce interactive art. In 2003, Tseng began to ponder the status of the existence of humans in the digital age. Through a series of works, she explored this digital system – built of technology – which brings together the lifestyle, lives, and existence of the masses. In 2002, Tseng’s work was presented in a solo exhibition (“Let’s Make Art”) at the Taipei Museum of Fine Arts. This was the first ever art gallery exhibition in Taiwan to employ instantaneous Web-based interaction. In 2005 and 2006, Tseng’s respective works “Immersing Me” and “Flow” were selected for presentation at the ACM Multimedia International Symposium. In 2007, Tseng was honored for a series of works called “Who”, receiving a special grant for innovation in art and technology from the National Arts and Culture Foundation. She then showcased this series of works at exhibitions held during May and July, 2008, at the Taipei Hong-gah Museum and the National Taiwan Museum of Fine Arts respectively. In 2008, the works “Flowerman” and “All Ways – O’s Chatroom” were selected to be presented at the International Symposium on Electronic Arts, ISEA. In 2008, Tseng’s artwork “Flow” was published in the form of a written thesis in the international journal “Leonardo”.
In 2010, at the request of Prof. Lin Pey Chwen, Tseng took part in the Taiwan Digital Art “Pulse Stream” Plan, serving as the organizer of the Plan’s first exhibition, held at the Taipei Digital Arts Center and entitled “The First Phase: A Digital Art Exhibition on the Body, Gender, and Technology”. In 2011, she helped to organize the “Photon+ 2011 International Techno Art Exhibition of New Taipei City”, which discussed the transmission of meaning through particles of information composed primarily of light. In the same year, Tseng hosted an interactive theater performance called “Dinner of Luciérnaga”, which was produced as part of an art and technology cross-discipline initiative held by the ROC Council for Cultural Affairs (now the Ministry of Culture). In 2012, the Department of Cultural Affairs, Taipei City Government, commissioned Tseng to research and publish the book Life Dialogues – Chen Cheng-po and Paul Tien-shen (published by the Paul Tien-Shen Memorial Museum). Subsequently, Tseng participated in the Leonardo Digital Art Initiative; and then worked with Dr. Chiu Chih-yung and Dr. Ching-Yueh Tseng to organize “The Third Phase: Body / Interface Digital Art Exhibition”. Later in 2012, she coordinated an exhibition for the Taiwan Women’s Art Association (WAA) entitled “Sensoria – New Media Art by Taiwanese Women Artists”. She also traveled to Japan to participate in the 2012 ACM International Conference on Multimedia, where she delivered a presentation on the theater production initiative “Dinner of Luciérnaga”.
Summer Sessions Artist-in-Residence: Teun Vonk | Open Studio and Mid-Term Presentation
Open Studio: 11:00- 18:00, August 22, 2015
Mid-Term Presentation: 16:00-17:00, August 22, 2015
Venue: Chronus Art Center (Building 18, No 50 Moganshan Road, Shanghai)
Artist-in-Residence: Teun Vonk
Host & Interpreter: Bruce Bo Ding
For the past few weeks, artist-in-residence Teun Vonk has spent his time in Shanghai cycling around and observing movements of the city. He is particularly interested in the ways that people collect styrofoam on the street and deliver take-aways on special scooters as well as the movements associated with these practice. For him, these two common activities are great demonstration of the city’s movement through social interaction and informal appointment.
In developing this concept, Vonk has been testing a device to capture the images of these movement and tried to react to and intervene with them. This mid-term presentation is an opportunity for the artist to share some of his developing ideas and an invitation for the audiences to offer their feedbacks.
About the Artist
Teun Vonk (1986) is a photographer and video artist. In his work he observes how a group affects an individual. He explores different groups, ranging from teams to clubs to communities. Both during his working process and in the visual result, the continuous interaction between the group and the individual, as well as the interaction between the visual director and the subject, play an influential role.
Vonk records his subjects noticeably neutral. His objective is not so much to portray but rather to conduct a visual analysis. In this visual analysis, the camera and the eventual framing of images are his instruments. As images in motion, the individual body and that of the group are taken into account as dynamic studies of form. They abstract real behavior and function as mirrors to our minds. The result is a layered combination of an abstract imagery that indirectly represents, and a figurative portrayal that directly depicts. This, in sum, constitutes a rise of individual identification, both physically and playful, while simultaneously analytic and intriguing.
http://www.teunvonk.nl
About Summer Sessions
The Summer Sessions are short-term residencies for young artists organized by a network of cultural organizations all over the world.
The Summer Sessions offer a highly productive atmosphere with production support and expert feedback to jumpstart your professional art practice. The result is a pressure cooker in which you develop a project, from concept to presentable work, ready to show.
http://summersessions.net/
SHEN Xin: Shoulders of Giants
Speakers: Esther Leslie
Hannah Black
Mark Fisher
Simon O'Sullivan
Time: Wednesday, 29 July 2015 16.00 – 18.00
Venue: Senate Room, First Floor, Senate House, Malet Street, WC1E 7HU London
Chronus Art Center (CAC) and Centre for Chinese Visual Arts (CCVA) jointly presented Shoulders of Giants, a research project initiated by SHEN Xin who is recently awarded the “CAC Fellowship for Chinese Artist 2015”.
Shoulders of Giants appropriates and extends the model of a symposium through animation, performance and projection. The invited speakers will animate creatures derived from (Also known as The Classics of Mountains and Seas, C4th BC) as they speak, discuss and conduct Q&A.
The 11th China Independent Film Festival Short Film Screening
In collaboration with Cinephile Collective, Chronus Art Center (CAC) will host a screening program of short films from the 11th China Independent Film Festival, presenting about 20 great films through four viewing sessions from August 9th to August 29th.
Date
Session 1 2015.08.09 15:00
Session 2 2015.08.16 15:00
Session 3 2015.08.22 14:00
Session 4 2015.08.29 15:00
Venue
Chronus Art Center (Building 18, No 50 Moganshan Road, Shanghai)
This is a free event, please click to RSVP.
CAC-Qi Fang(Cinephile Collective) Short Film Screening Schedule
Session 1
2015.08.09 15:00
Overall Duration 106 min
| Title | Director | Duration |
| Barking | GENG Yi | 30min |
| One Child | MU Zijian | 40min |
| Zhong / Plant | WANG Yi | 7min |
| Chinese English Dream | LIU Xin | 29min |
Session 2
2015.08.16 15:00
Overall Duration 114 min
| Title | Director | Duration |
| Mingyue's Diary of Summer Vacation | ZENG Zeng | 25min |
| Marriage | HUANG Zhiyi | 19min |
| The Representatives | YUN Zijian | 44min |
| A Piece Of Time | CAI Jie | 26min |
Session 3
2015.08.22 14:00
Overall Duration 93 min
| Title | Director | Duration |
| Body at Large | YING Zhengru | 49min |
| Great Heat | CHENG Tao | 13min |
| The Concrete | LIU Wei | 14min |
| The Tortoise | REN | 17min |
Session 4
2015.08.29 15:00
Overall Duration 101 min
| Title | Director | Duration |
| One Day Dream | Agang Yarji | 16min |
| Spring Breeze | LI Yishan | 37min |
| A Pigeon of Public Market in Seattle | ZHANG Yong | 17min |
| Lovers In A Hotpot | ZHANG Zimu | 31min |
China Independent Film Festival
Established in 2003, China Independent Film Festival (CIFF) is an independent film event with various activities including screening, prize awarding, seminars, forum, publishing, etc. It is held in Nanjing every winter. Since its establishment, CIFF has been successfully held for 11 times. Its authority in films selecting and awarding has been widely acknowledged; and it has thus become a significant influence within the professions. CIFF, operated in line with international standard of film festival, has become a crucial platform for discovering new Chinese cutting-edge film and filmmakers.
Qi Fang (Cinephile Collective)
The self-organized film screening program Qi Fang (Cinephile Collective) was initiated by Indie Workshop and supported by dozens of screening communities, venues and private organizers across the country. Qi Fang is an open film-screening program that promotes independent films by means of screening on tour. It aims to provide more opportunities for the general audience to watch independent films. The organizers stated that this will be a long-term event that will be held regularly in future. Currently it has reached more than ten cities, including Shenzhen, Guangzhou, Shanghai, Kunming, Fuzhou, Quanzhou, Hangzhou, Jinan, Shenyang, Xi'an, Luoyang, Chengdu, Fenghuang and Hefei.
Summer Sessions Artist-in-Residence: Teun Vonk
Summer Sessions Artist-in-Residence: Teun Vonk
Chronus Art Center (CAC) welcomes Teun Vonk (Netherlands) as the third artist-in-residence from the Summer Sessions Talent Development Network to conduct a residency at CAC from July 20 to September 14, 2015.
During his residency, Teun will work with his camera to find concrete objects and abstract concepts in the dynamics of the Shanghai city in a spontaneous manner, through incoming stimuli from my surroundings, without directing or staging any situation. Within his prospective project he wants to establish a playful interaction between cameras and the movements of objects from different perspectives at the exact same time. By collecting the multiple points of view into one hyperreal video collage, the visually divided piece becomes one again.
August 22 and September 12 have been scheduled for the artist open studio and for his final presentation respectively.
About the Artist
Teun Vonk (1986) is a photographer and video artist. In his work he observes how a group affects an individual. He explores different groups, ranging from teams to clubs to communities. Both during his working process and in the visual result, the continuous interaction between the group and the individual, as well as the interaction between the visual director and the subject, play an influential role.
Vonk records his subjects noticeably neutral. His objective is not so much to portray but rather to conduct a visual analysis. In this visual analysis, the camera and the eventual framing of images are his instruments. As images in motion, the individual body and that of the group are taken into account as dynamic studies of form. They abstract real behavior and function as mirrors to our minds. The result is a layered combination of an abstract imagery that indirectly represents, and a figurative portrayal that directly depicts. This, in sum, constitutes a rise of individual identification, both physically and playful, while simultaneously analytic and intriguing.
http://www.teunvonk.nl
The Collective Motion of The Singel Mind, Teun Vonk
The human figure in motion (2014), Teun Vonk
Rûntsje om‘e tsjerke (2014), Teun Vonk
Photo courtsey of the artist
About Summer Sessions
The Summer Sessions are short-term residencies for young artists organized by a network of cultural organizations all over the world.
The Summer Sessions offer a highly productive atmosphere with production support and expert feedback to jumpstart your professional art practice. The result is a pressure cooker in which you develop a project, from concept to presentable work, ready to show.
http://summersessions.net/
WANG Yuyang: Lettering
Chronus Art Center (CAC) is pleased to present A work of The Dictionary Series: Lettering, an exhibition by the Chinese artist WANG Yuyang.
A work of The Dictionary Series: Lettering is the fourth work of a series of parallel online projects under the theme of Folklore of the Cyber World organized by Chronus Art Center, the new media art partner institution of the Chinese Pavilion, la Biennale di Venezia 2015. Folklore of the Cyber World extends the Other Future envisioned by the Chinese Pavilion to cyberspace, revealing the vigor and brio of the younger generation of Chinese artists in their critical engagement with the pervasive media society and creative use of new technologies.
WANG Yuyang transforms the strokes of Chinese characters into “0”s and “1”s and molds these digits into myriad three dimensional objects that can be culled by the millions to create words in sculptural forms at a mouse click.
The work’s interactive online version will premiere on August 8th 2015 to coincide with WANG Yuyang’s large scale solo exhibition at the LONG Museum in Shanghai.
A work of The Dictionary Series: Lettering
2015 | Wang Yuyang | Interactive Online Version
On View: 2015.8.8-9.16
The process of the work starts by converting the stokes of Chinese characters into “0” and “1” sequences. A computer program then transforms the binary codes into distinct three-dimensional models. The strokes are therefore hypostatized with unique sculptural forms ready for a new type of “character creation” whose semantic significations are substituted by iconographic rendition either as individual characters or combined as words in “writing”.
About the artist
WANG Yuyang was born in 1979. He studied at the China Central Academy of Drama and the Central Academy of Fine Arts. He has taught at the School of Experiment Art at the Central Academy of Fine Arts since 2008 and lives and works in Beijing. WANG Yuyang creates works using emergent media but does not deliberately emphasize the novelty of technology. He is more interested in the artistry brought about by “outdated” technology, “destructive” aesthetics and material waste. His work has employed all possible media. He uses humor, fiction and spectacles to explore and reflect upon the relationship between the human body, experience and cognition. At the same time he also investigates the relationship between artificial reality, media technology and historical perception. His work has been shown in major exhibitions and art festivals in China, Europe and the United States.
“Folklore of the Cyber World” Series Artists & Exhibition Durations:
SHEN Xin: Rhythms of Work - Means Something to You
2015.5.8-6.7
GUO XI & ZHANG Jianling: The Grand Voyage
2015.6.8-7.7
MIAO Ying: Holding A Kitchen Knife to Cut the Internet Cable
2015.7.8-8.7
WANG Yuyang: Lettering - A work of The Dictionary Series
2015.8.8-9.16
YE Funa: Nail to Go
2015.9.17-10.16
LIN Ke: Lens from E-world
2015.10.17-11.22
fito_segrera, Guo Cheng: Migrating Frontiers
Migrating Frontiers
Speakers: fito_segrera, Guo Cheng
Date: 2015.7.25 15:00 - 16:30
Venue: Chronus Art Center (Building 18, No 50 Moganshan Road, Shanghai)
Language: Chinese, English
Moderation and translation by DING Bo
Chronus Art Center (CAC) will present an event on July 25 titled “Migrating Frontiers”, featuring a presentation & exhibition by CAC in-house artists Guo Cheng (CAC’s Executive Director) and fito_Segrera (Head of Art and Technology Research lab at CAC).
The event will begin with an overview of their artistic practices in relation to the research directions of CAC’s research/creation program, emphasizing on how their individual creative processes are affected by trans-disciplinary collaboration, collective thinking and the appropriation of certain aspects of the scientific method. They will also announce several CAC initiated research/creation programs. The presentation will be followed by an introduction to the exhibition featuring five works by the two artists.
About Artist-Speakers
fito_segrera
Born October 15th 1983 in Cartagena, Colombia, fito_segrera is a contemporary artist whose work focuses on new technologies and digital media. He graduated with honors as a Technologist in audiovisual and Multimedia production and fine artist at the Jorge Tadeo Lozano University of Bogotá and MFA in Design and Technology from Parsons, The New School, New York; where he studied as a Fulbright scholar for two years. His creative practice has focused on problematizing around topics such as: the ontology of virtual worlds, man-machine integration and mixed reallity media which questions the boundries between the natural and the artificial. His main exhibitions are: SIGGRAPH 2014, COLLISION 20 Boston Ciberarts Gallery 2014, Huston International Performance Biennale 2014, SXSW Austin TX 2014, EYEBEAM New York 2013, AGORA COLLECTIVE CENTER Berlin 2013, Dorkbot NYC 2013, Harvestworks New York 2013, La residencia Tunja 2012, Web 2.0 Espacios alternativos 2012, Bogotá Biennale 2009. He is currently Head of Art and Technology Research of CAC lab and Research/Creation residency artist at Chronus Art Center, Shanghai.
Website: http://fii.to
Guo Cheng
Guo Cheng is an artist whose work mainly focuses on exploring the interrelation between mainstream/emerging technologies and individuals under the context of social life, culture and ethic, and uses speculation as a way to create narrative within alternative/future scenarios through installation, object and video. Guo Cheng obtained his BE from Tongji University, Shanghai, and MA from Royal College of Art, London. He is currently based in Shanghai, serves as Executive Director at Chronus Art Center and Visiting Lecturer at College of Design and Innovation (Tongji University).
His work is exhibited and screened internationally at STRP Biennial (Eindhoven), Digital Art Center (Taipei), UCCA (Beijing), OCAT (Shenzhen), UCCA (Beijing), Salone del Mobile (Milan) and “Get It Louder” (Beijing).
Website: http://chengguo.co.uk
