Obvious

Obvious is a French trio of artists and researchers that uses artificial intelligence algorithms to create works of art. Their work was highlighted in 2018 with the sale of one of their paintings, Edmond de Belamy, at Christie's NY. Their works, at the crossroads of classical art and the most recent technologies, are subsequently exhibited in the great museums of the world. They are represented by Danysz gallery, renowned for spotting emerging artistic talents. Pioneers of digital art, they are also the first French artists to have created NFTs. Through its work and its collaborations (Nike, Alpine, Opéra de Paris), Obvious aims to bring the tools developed in research to creative people in all industries, in order to initiate the next visual and artistic revolution. Obvious created its Artificial Intelligence research laboratory in 2023 in partnership with the Sorbonne University, with the aim of creating new algorithms for artistic creation and offering them in open-source to the public. In 2024, they present Mind-to-Image, their first research result: a combination of fMRI technology and ML to read the mind's eye.

Dominik Jałowiński

Visual artist, painter, performer, curator of virtual visual experiences. Born in 1981 in Lublin, Poland. Dominik studied at the Faculty of Painting at the Academy of Fine Arts in Warsaw (2002-2008). He creates paintings, performances, and social situations that explore the boundaries of aesthetic and cultural limits on both social and personal levels. In 2015, he was a recipient of a scholarship from the Ministry of Culture and National Heritage. From 2018 to 2022, he was a co-creator and participant in exhibitions at the Galeria Śmierć Frajerom. Since 2017, he has been experimenting with various applications of new technologies in art. Since 2018, he has been using artificial intelligence algorithms as tools for creating images.

Boris Eldagsen

Domenec Miralles

Domenec Miralles (b. 1997, Barcelona) is an artist graduated in cinema, philosophy, and fine art. He specialises in digital media productions, usually powered by different forms of AI. His interests englobe topics such as the behavioral image of an end of history, the underlying rhythms of thought around new modes of production, and the phenomenology of working with AI based workflows. He has exhibited across Europe, both individually and with the artistic collective Majin Don Patch.

Rachel Maclean

Rachel Maclean is an established artist and filmmaker based in Glasgow whose films have shown widely in galleries, museums, film festivals, and on television. She has screened work at numerous festivals in the UK and internationally, such as Rotterdam International, Fantastic Fest, and BFI London Film Festival. She has received significant acclaim with solo shows at Tate Britain and The National Gallery, London, and she represented Scotland at the 2017 Venice Biennale with her film Spite Your Face. Her work A Whole New World (2014) won the prestigious Margaret Tate Award in 2013. She has twice been shortlisted for the Jarman Award, and achieved widespread critical praise for Feed Me at the British Art Show in 2016. She has also worked on a number of TV commissions for BBC1 and Channel 4.

Yuqian Sun

Yuqian Sun is an AI narrative researcher and artist based in London. She is currently a doctoral candidate at the Computer Science Research Centre, Royal College of Art. Focusing on the power of language, Yuqian aims to create 'alive' storytelling experiences through conversational AI, extending beyond games and permeating daily life. Her exploration spans chatbots, games, and experimental art projects. Yuqian’s works have been presented at various tech and art venues, including SIGGRAPH, CVPR, A MAZE, CHI, New York Times Square and the Lumen Prize. She was also a guest panellist at NVIDIA GTC and an invited speaker at Autodesk.
Personal website: https://fakecheese.me/

Tatsaru Arai

Japanese composer, sound and multimedia artist based in Berlin, known for creating innovative, tech-integrated compositions that he calls "Gesamtkunstwerk." After completing studies in composition at Tokyo College of Music (2003-2009) and the Academy of Music "Hanns Eisler" in Berlin (2009-2013), he has continued pushing the boundaries of music with works that blend classical music and cutting-edge technology. His opera Vitruvian, performed in Berlin and London, showcases this approach by merging traditional and digital elements.
His primary artistic focus, "TRANS-AGES MUSIC," seeks to reveal the universe's inherent structure through sound, exploring the intersection between human perception and the "geometric structure" of music. Since 2016, he has pioneered "Hyper Serial Music," algorithmic compositions that integrate AI to expand on Serialism principles, performed across 70 cities. His notable works include Face of Universe, which debuted at Seoul’s Zerone Festival and was recently shown at CIKE, ISEA, Madatac, and Share Festival. Other recent performances include Re-Solarization at the Berlin Philharmonic Hall, Nemo Biennale in Paris, and Sonica in Glasgow.

Leon Butler

Artist, designer and educator based in Galway City working at the intersection of art and technology. Leon’s work has been recognized by The Type Directors Club, 100 Archive, the Future Makers awards, Digital Media awards, Young Directors Awards and the Irish Design Awards. Recent shows include Emperor 101 (SxSW, Dublin Theatre Festival, Boca Del Lopo, Vancouver), Shelter and Place (Cork Midsummer), Desired (Los Angeles). Has completed residencies with SVA New York, 72andSunny in LA, Adobe, SnapChat and Science Gallery. He has been Research Fellow at University Galway 2016, Designer in Residence in Otis College of Art, Leah Hoffmitz Milken Fellow at ArtCenter College of Design 2022 and is a Fellow of the Royal Society of Arts since 2021. He has exhibited work both nationally and internationally and received a number of commissions and research funding from the Arts Council, European Media Arts platform, Enterprise Ireland, the National Sculpture Factory, the Digital Hub and the Science Gallery. Leon was a Selected Artist of the European Media Arts platform 2022 with RIXC Center for New Media Culture, Riga. The work, Performance Surveillance premiered at the Biennale WRO, Wrocław May 2023, before showing at NEME, Cyprus June 2023, and a solo show at RIXC, Center for New Media Art, Latvia from July to September. Leon latest work is Dwelling an XR Dance performance and installation which premiered as part of the Beta Festival Dublin in November 2023 and showed as part of the Galway Film Fleadh 2024.

Agata Konarska

The project is an interactive virtual experience that references video games such as “maze” and “fighting game”. The person playing the role of orant moves through a virtual labyrinth, meeting mythical animals that absorb their own genesis and dream animals that materialize in our unconscious. At the end of the game, the recipient becomes part of the eternal dispute between the Priest of Species Extinction and the Antihuman.
Work explores themes of biodiversity, humanity’s expansive relationship with nature, and the role of AI in the conflict between nature and culture. The work also addresses the role of machine learning in creating new myths and reinterpreting existing ones. In this anti-human dystopia, AI becomes a divine creation through which the timeless rite of passage can continue.
Aria
Libretto Aleksandra Konarska
St. Margaret voice Aleksandra Kliczak Dragon voice Piotr Michalczuk
St. Margaret face Kaja Janiszewska

Rafał Kruszka

By exploring the spaces within the VR 6DoF experience, the participant gains access to digital tools that enable the expansion of senses. The synesthetic language of simulation provides the immersed individual with the opportunity to discover content generated by artificial intelligence models. The simulation of thoughts, speech, and emotions, as well as the self-awareness of technology and the mechanisms constructing it, undergo self-analysis by the system itself. This allows the experiencer to gain insight into the digital world, creating a portal to the brain and heart of algorithmic structure.

Anže Sekelj

In the project Acts of Data: Stones, I investigate the speculative nature of computers generating—via Generative Adversarial Networks (GANs)— new potential historical artefacts created through image synthesis of pre-existing publicly available datasets of 3D models. Within this framework, I used the dataset provided by the “Scan the World” initiative, a repository that hosts scanned 3D models of historical statues from some of the world’s most prominent museums.
With utilizing the rich resources of the “Scan the World” dataset, my project goes beyond the mere generation of 3D models. It critically examines the historical bias inherent in archiving and presenting artistic works. This endeavor aligns perfectly with the ethos of questioning and redefining museological approaches and practices. By utilizing the extensive collection of scanned historical objects, I explored how the algorithmic creations of the application reflect upon and potentially challenge the gender spectrum and cultural symbolisms embedded within these artifacts.
One of the focal points of my exploration within the ‘Stones’ project is to investigate the historical context of statues and sculptures, which have often been representative of societal norms, power dynamics, and cultural values. I am intrigued by the prospect of observing how the algorithm’s creations interact with these contexts and how they might challenge or reinforce prevailing narratives. By generating new forms that may not have existed in reality, I aim to provoke discussions on alternative histories and perspectives, encouraging viewers to contemplate the biases and assumptions that shape our understanding of art and history.

Konrad Smoleń

In the work “L’Amour Toujours,” I explore hidden, quiet spaces of everyday life, such as cables and routers tucked behind furniture, which I personify and intertwine into abstract, technological relationships. Referring to passive forms of resistance, such as the Tang Ping movement, I am interested in failures, transformations, and omissions that allow for the construction of alternative lives on the margins of error. The video, based on AI and recorded scenes, presents a looped world of imagined, overlooked spaces, blending human and technological sensibilities.

Piotr Stechura

Multidisciplinary artist. Graduate of the Faculty of Intermedia at the Academy of Fine Arts in Cracow, currently a student at the Faculty of New Media at the Academy of Fine Arts in Warsaw. In his art practice, he is most interested in the interdependence and mutual permeation of the physical and virtual worlds. He reflects on identity and unity in the context of the existence of virtual and mechanical bodies. He analyzes the current situation in the world, with a particular focus on dystopian references, and reflects on personal freedom in a world where the boundaries between reality and virtuality are becoming more and more blurred.
The item was designed as a “protector” for the hand and forearm. The “sampling” aspect of reality is important, the organic form of the shell, which has protected organisms for millions of years, has been “redesigned” and produced in a digital way along with artifacts (pixel texture occurring). The title shell alludes to the masterpiece Ghost in the Shell—also asking the question about the dystopian future of humanity and our planet in an era of increasing digitalization and climate disasters, where we are awakened daily by notifications of discoveries previously known only from cyberpunk cultural works. Can the technologies we see as innovative today contribute in the future to solving the problems they themselves co-create?
「SHELL」invites reflection on the boundaries between the natural and the artificial, and it further explores the uncertainties surrounding artificial intelligence. As we increasingly rely on AI to recreate existing forms and mimic nature, where do we draw the line between what is real and what is an imitation? In this process, are we losing something essential? What happens when the artificial begins to simulate life so convincingly that it becomes indistinguishable from the original? In a world where AI may be trusted to innovate, could it also be guilty of perpetuating illusions, blurring the authenticity of natural designs with digital recreations?

Ubermorgen

With 'The Silver Singularity', commissioned for the 2024 Busan Biennale, UBERMORGEN hack reality through alternate timelines, and unleash 'Happy Dystopias' into our Neo-Biedermeier age. In der Ruhe liegt die Kraft: unlocking hidden potentials and perspectives. Creak.
As the course is set, the work forks off clustered timelines at the exact moment when activist Carlo Giuliani was shot dead at the G8 anti-globalization protests in Genoa (2001-07-20/17:27h). This crucial event triggered a pandemic of passivity, crashed reality, artificial imaginations, and spaghettification.

Zuzanna Wudarska

Manifesto Against the Use of Artificial Intelligence in Art is a work written with ChatGPT and performed by ElevenLabs, based on samples of the artist's voice. It embodies the very duality it protests. Its paradoxical tone reveals both curiosity and fear—yet its delivery is itself a product of AI, challenging the authenticity of its own message.
Zuzanna Wudarska (she/her) - born in 2001, is an audiovisual artist based in Warsaw, Poland. Currently a 4th-year student at the Academy of Fine Arts in Warsaw, majoring in Media Arts. She was awarded the Rector's Scholarship three times, and her BA diploma earned the Dean’s Award and was voted the best diploma by students. In her work, she primarily uses photography, video, and sound to explore themes of discomfort and everyday life. She is a part of the collective "Zdjęcia do dokumentów," which supports people in refugee crises. Her works have been presented at numerous group exhibitions in Warsaw, Poznań, Katowice, Kraków, Łódź and Nottingham.