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New work and exhibition updates added regularly. From festival selections to studio experiments, follow the ongoing practice.

Originally submitted for the 60 Seconds Festival, Mirror Pulse No. 2 has been officially selected by its sister festival One Off Moving Image Festival and the Mirror Me exhibition curated by Noemata at TheWrong Biennale. 

Mirror Me brings together artists exploring AI cloning, imitation, and the way machines reflect or distort human identity and cognition. As part of a collaboration between One-Off and 60Seconds Festival, Mirror Pulse No. 2 was selected by One-Off from the 60-second submissions, showcasing the ongoing dialogue between these two festivals dedicated to ultra-short form cinema.

In Mirror Pulse No. 2, the piece evolves into a deeper exploration of signal degradation and formal experimentation with AI image modification. The work engages AI not merely as a reflective surface but as an active participant in meaning-making, one that introduces its own forms of entropy and emergence. 

Through cycles of degradation and regeneration, Mirror Pulse No. 2 questions the boundaries between preservation and destruction, asking whether the artifacts of machine vision—the glitches, compressions, and hallucinations—might contain their own aesthetic intelligence. It positions the viewer within an unfolding temporal architecture where identity becomes mutable, caught between the analog past and the synthetic future, neither wholly preserved nor entirely lost.

The other 10 films selected by One-OffF and Mirror Me from the submissions to 60 Seconds Festivals are: Awakening by Yael Claire Shahmoon; Dinner for Two by DuoDuo; A murmur of absences that arranges the nights like hung-out laundry by Mila Magof; The Fallible by Trinnis Thomsen; The Feast by Celine Hemmingsen; Superscan Me by Wijnand Bredewold; Insomnia by Nicole Nemesi; Machine Learning by Pascalle Bonnier and Malavida by Barbara Konopka

Mirror Pulse No. 2 will be screened online and at physical locations in Valencia, Spain and Gol, Norway as part of the One-Off Moving Image Festival in November 2025, and at CBS in Copenhangen as part of TheWrong Biennale from December 2025 through March 2026.

Other artists taking part in the Mirror Me pavilion are: Bruce A Barber, Lavoslava Benčić, Kasper Bergholt, Ricardo Bodini, Laurene Bois-Mariage, Oksana Bondarieva, Pascalle Bonnier, Wijnand Bredewold, Xek Breed, Christian Bøen, Ian Callender, Udi Cassirer, John Cayley, CDust Creative Engineering, osvaldo cibils, Elaine Crowe, Rolin Yuxing Dai, xavier dallet, Reynald Drouhin, DuoDuo, Penny Florence, Chris Furby, Diana Galimzyanova, Nadezhda Lisovskaya, Bob Georgeson, Kaare Golles, Scot Gresham-Lancaster, Emmanuel Guez, Celine Hemmingsen, Faust Hertz, Antoni Hidalgo, James Hutchinson, Bibi Jordan (nee Bliekendaal), Chris Joseph, agamemnon juunes, Timo Kahlen, Yar Kirsanov, Kenji Kojima, Barbara Konopka, Nicole Kouts, Laramzp, Teresa Leung, Yameng Li, Sarah Madeline, Mauricio van der Maesen de Sombreff, Mila Magof, Madam Memoticon, Zsolt Mesterhazy, Vincent van der Molen, Nick Montfort, Nicole Nemesi, Judith Nothnagel, Erdil Oral, Rudy Paganini, pdp8, Susanne Layla Petersen, Petra, Adrian Pickett, Stefanie Reling-Burns, Myrna Renaud, Michael Ridge, Andrea Roccioletti, Ruela, Polina Schneider, Mark Schobben, Angel Sesma, Yael Claire Shahmoon, Jess Skyleson, Arnau Tàsies, Trinnis Thomsen, Elle Thorkveld, Topp & Dubio, Jürgen Trautwein, Valdas_NeuroVirtual, Nico Vassilakis, tobias c. van Veen, and Jody Zellen.

Founded in 2013, TheWrong Biennale has grown into a decentralized global platform connecting artists, curators, and institutions through hundreds of online and offline exhibitions. Recognized internationally for its innovative approach to digital art, TheWrong continues to expand the dialogue between technology, creativity, and the evolving nature of human expression.

Pixel God has been officially selected for Compost, a pavilion that forms part of TheWrong Biennale — the world’s largest and most influential digital art biennial devoted to contemporary digital creativity. 

Curated by Ricardo Bodini, Camila Jordan, and MarklezParklez, Compost brings together artists who reimagine the excess and residue of AI image generation — exploring how digital by-products and algorithmic detritus might be reclaimed as fertile ground for new aesthetic life.

In Pixel God, primordial light fractures into its atomic components: pixels. The work contemplates the pixel as both seed and scar, an irreducible point from which all digital images emerge and to which they eventually decay. Through cyclical processes of fragmentation and recombination, Pixel God reflects on the paradox of creation within artificial systems — how technological overproduction mirrors natural abundance, and how both depend on selection, erasure, and transformation.

Drawing inspiration from the Compost theme, the piece reinterprets discarded digital fragments as cosmological material, suggesting that even the remnants of machine vision contain the potential for renewal. Within this tension between unity and multiplicity, Pixel God repositions the digital medium as a site of myth-making — where the smallest unit of image becomes a contemporary vessel for timeless questions about origin, order, and the divine.

Other artists taking part in the Compost pavilion are: Aaron Cowan, Anna Petrosyan, Atelier Angel Karagiozov, Bodini, Camila Jordan, Chris Reizis, Dissenso Cognitivo, Echo Wang, Enrico Dedin, Erin Quinn, Florian Genz, G1ft3d, Guardabrazo, Guillaume, Gwenola and Pierre, Ifuseekamy, Jean-Marie Guyaux, Joelle McTigue, Joseph Farbrook, Karen Vinueza, Kasper Bergholt, Kira Gondeck-Silvia, Lineadeluz, Liza Kisten, Madam Memoticon, Marie Le Moigne, Marklezparklez, Max PhV, Natasha Burenina, Nicolas Crocetti, Nicole Nemesi, Noah Travis Phillips, On Daydreaming Leave, Ramon Lopez de Benito, Sahar Moussavi, Sepideh Takshi, Seth Guy, Shannon Wallace, Sieulle Inès, Slitrobo, Sule Bayrak, The Selfie Institute, Von_Kant_&_The_Other_Guy, Yael Haskal, Yanzi, and Yichun Yao.

Founded in 2013, TheWrong Biennale continues to expand the global dialogue on digital art through its decentralized network of online and offline pavilions. By connecting thousands of artists, curators, and institutions worldwide, TheWrong remains a vital platform for exploring how technology reshapes not only artistic practice but the very fabric of perception and creation.

Mirror Pulse has been officially selected for Mirror Me, a pavilion that forms part of TheWrong Biennale — the world’s largest and most influential digital art biennial dedicated to showcasing contemporary digital creativity. 

Curated by Noemata as part of the One-Off Moving Image Festival between Valencia in Spain and Gol in Norway, Mirror Me brings together artists exploring AI cloning, imitation, and the way machines reflect or distort human identity and cognition.

In Mirror Pulse, a single second becomes a site of transformation — an instant where the image dissolves beyond the pixel, and perception is refracted through artificial intelligence. The work engages AI as both mirror and collaborator, tracing the thresholds between human and machine awareness. It investigates what remains uniquely human when technology begins to emulate our thought, our gaze, and even our creativity.

Echoing the curatorial theme of Mirror Me, Mirror Pulse questions whether digital reflection is a faithful image, a distortion, or the birth of something other — an emergent consciousness shared across organic and synthetic minds. The piece invites viewers to experience that liminal pulse where identity flickers, fleeting yet infinite, in the mirrored space between intelligence and imitation.

Other artists taking part in the Mirror Me pavilion are: Bruce A Barber, Lavoslava Benčić, Kasper Bergholt, Ricardo Bodini, Laurene Bois-Mariage, Oksana Bondarieva, Pascalle Bonnier, Xek Breed, Christian Bøen, Ian Callender, Udi Cassirer, John Cayley, osvaldo cibils, Alvaro Collar, Elaine Crowe, Rolin Yuxing Dai, xavier dallet, Reynald Drouhin, Penny Florence, Chris Furby, Diana Galimzyanova, Nadezhda Lisovskaya, Bob Georgeson, Kaare Golles, Scot Gresham-Lancaster, Emmanuel Guez, Faust Hertz, Antoni Hidalgo, James Hutchinson, Bibi Jordan (nee Bliekendaal), Chris Joseph, agamemnon juunes, Timo Kahlen, Yar Kirsanov, Kenji Kojima, Barbara Konopka, Nicole Kouts, Laramzp, Teresa Leung, Yameng Li, Sarah Madeline, Mauricio van der Maesen de Sombreff, Mila Magof, Madam Memoticon, Zsolt Mesterhazy, Vincent van der Molen, Nick Montfort, Nicole Nemesi, Judith Nothnagel, Erdil Oral, Rudy Paganini, pdp8, Susanne Layla Petersen, Petra, Adrian Pickett, Stefanie Reling-Burns, Myrna Renaud, Michael Ridge, Andrea Roccioletti, Ruela, Polina Schneider, Mark Schobben, Angel Sesma, Yael Claire Shahmoon, Jess Skyleson, Arnau Tàsies, Elle Thorkveld, Topp & Dubio, Jürgen Trautwein, Valdas_NeuroVirtual, Nico Vassilakis, tobias c. van Veen, and Jody Zellen.

Founded in 2013, TheWrong Biennale has grown into a decentralized global platform connecting artists, curators, and institutions through hundreds of online and offline exhibitions. Recognized internationally for its innovative approach to digital art, TheWrong continues to expand the dialogue between technology, creativity, and the evolving nature of human expression.

Flesh and Frequency, created with composer and sound artist Juan Carlos Vasquez, has been officially selected for the Morelia International Video Art Festival Pupila, held from October 13–17, 2025, in Morelia, Michoacán.

Pupila is an independent and internationally recognized platform dedicated to video art and digital experimentation. Organized with the support of the Centro Cultural UNAM Morelia, the Secretaría de Cultura de Michoacán, and the Secretaría de Turismo de Morelia, the festival seeks to explore the intersection between art, technology, and public space—fostering new ways of perceiving the body, image, and sound in contemporary digital culture. Pupila Festival reaffirms its role as a leading space for audiovisual innovation, bringing together artists from more than thirty countries to examine how technology reshapes the boundaries between flesh, code, and consciousness.

In Flesh and Frequency, human presence is reimagined as a field of pure signal. Constructed from extreme close-up portrait fragments, the video becomes a palimpsest where flesh, pixels, and electronic frequencies merge. As the image undergoes digital decay, the face dissolves into abstraction, revealing how technological mediation transforms intimacy into data. Divided into three movements, the work follows a progression from recognition to pure geometry, tracing the slow disappearance of the human form into the informational substrate that sustains it.

Through this process, Flesh and Frequency invites reflection on the hybrid nature of contemporary existence—one composed equally of biological matter and digital frequency. In the liminal space between representation and signal, the work questions where the human ends and the machine begins, offering a meditation on perception, embodiment, and the fragile materiality of the digital image.

Channel One, created in collaboration with composer and sound artist Juan Carlos Vasquez, has been officially selected for presentation at the New York City Electroacoustic Music Festival (NYCEMF) 2025, held at the Loreto Theater in June 2025. The festival, one of the world’s leading platforms for electroacoustic and multimedia art, brings together composers, performers, and researchers who explore the intersection of sound, image, and technology through concerts, installations, and papers across a week-long program.

Presented as part of Concert 16 on Friday, June 27, Channel One unfolds as an audiovisual composition that explores the multiplicity of perception within digital mediation. Built around the metaphor of a broadcast that never quite stabilizes, the work examines the collapse of signal and meaning in the hyper-saturated space of networked communication. Layers of processed sound and image intertwine, blending the human and the synthetic into a continuously shifting field of transmission and interference.

Through its interplay of synchronization and breakdown, Channel One interrogates how technology both connects and fragments experience — how each attempt at coherence generates new forms of noise. The piece becomes a meditation on listening and seeing in the digital age: acts of tuning in, decoding, and ultimately surrendering to distortion.