Media Under Dystopia: Edition 2.0
The first iteration of Media Under Dystopia 1.0 introduced the audience to a conversation around art, its relationship to digital culture, and the internet. Media Under Dystopia 2.0 (MUD 2.0) presents artworks created by visual artists using technology as a creative medium, exposing the audience to a tech-centered artistic practice with an interrogative methodology that deconstructs digital and technological environments.
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PRESS RELEASE
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Media Under Dystopia 2.0
The show will expose the audience to a tech-centered artistic practice with an interrogative methodology that deconstructs digital and technological environments.
Originally conceived by Rodolfo Peraza, from MUD Foundation, the first edition of the exhibition Media Under Dystopia, in 2017-2018, introduced the audience to a conversation around art and its relationship with digital culture. In this second edition, Media Under Dystopia 2.0, is designed as a hybrid event happening on both physical and virtual platforms. The virtual portion of the event will take place in XRhub.art, a beta application developed by the MUD Foundation to extend the physical experience into the digital realm. Media Under Dystopia 2.0 will open to the public the entire month of December 2021. In parallel, the immersive virtual experience will run for a longer period through the XRhub.art platform.
The artworks by Alba Triana, Yucef Mehri, Leo Castaneda, Jose Ignacio Hernandez, and Rodolfo Peraza offer the audience an opportunity to experience art and its intersection with technology, from different perspectives. Alba Triana uses electromagnetism to create unpredictable choreographies of suspended needles in her Entropic Ballet, reflecting the orderly chaos of natural systems. Through the immersive environment of Levels & Bosses, Leo Castaneda questions power relationships by deconstructing the hierarchic structure in video games. Yucef Mehri raises cultural and digital awareness through technology and language in the piece You are being watched. Jose Hernandez engages spectators -as virtual reality users- in his transformative musical composition Trinity. Finally, Rodolfo Peraza, with Naked Link, explores the boundaries between data visualization and art using XR interfaces.
Media Under Dystopia 2.0 is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor, and the Board of County Commissioners.
Artists
Leo Castañeda (b. 1988, Colombia) is a video game director and multimedia artist exploring interdependent and posthuman interaction design. His artwork primarily takes form in episodic games and immersive installations that meld Latin-American Surrealist painting, virtual reality, augmented reality, wearables, video, and sculptural furniture...
Yucef Merhi was born in Caracas, Venezuela. He studied at Universidad Central de Venezuela, New School University, and holds a Master's in Interactive Telecommunications from New York University. Merhi has produced a variety of works that engage electronic circuits, computers, video game systems, touch screens, and other devices...
José Hernández Sánchez creates music compositions that extend to other media like performance and film. In them, musical contexts are established using sound, music, texts and images, and utilizing their connotations. These contexts are usually mixed and used to generate uncertainty, a vital aspect in his work. His pieces have been...
Rodolfo Peraza is a Cuban-born, US-based, tech-centered artist. His work focuses on virtual and physical public spaces, XR, and DataVis. founder of the MUD Foundation INC in Miami (2017), established to support and develop tech-centered arts programs and lower barriers to accessing immersive technology in arts and education...
Alba Triana is a Miami based, Colombian-born sound and intermedia artist. Through immersive installations, sound and light sculptures, and vibrational objects, Alba’s work explores the relationship between the essence of the natural world and our human condition. Delving into vibration, energy, interconnectedness, and nature’s...
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Artists: Cesar Escudero Andaluz, J. R. Carpenter, Vuk Ćosić, Auriea Harvey, Vladan Joler, Andreas Gysin, Morry Kolman, Uroš Krčadinac, Kristian Lukić
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Artists
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KNIGHT FOUNDATION
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NATIONAL ENDOWMENT OF THE ARTS
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event schedule
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Verses
Intensity Testing
In a virtual environment, a set of drone-like beings analyze and manipulate an organic mass-like entity. Testing modes of interaction through varying intensities of light and touch, the drones train to interact with a section of a sentient world whose material properties are uncertain, shifting between liquid, solid, and gas states. Drawings relating to the process and environment accompany a wallpaper that serves as a simulated U.I. for future or alternate world technology where landscapes, living beings and machines are interchangeable and interconnected. Images of perhaps an inventory or interface around or inside the entities. A micro-scene from the expanded video-game experience Levels & Bosses.
We are being watched
We Are Being Watched is a computer-generated work comprising 4 screens and a live feed projection. Each screen displays one word of the aforementioned title, moving vertically on the screen, glitching like damaged VHS tapes or old TV reception. The projection shows a glitched live feed of the audience over the glass doors of the exhibition space, enabling people outside to see what is happening inside. The work interrogates the classic surveillance slogan We Are Being Watched by reframing the YOU as WE. This semantic alteration places the awareness in the people who are being watched while diminishing the power of the invisible watcher, the Orwellian Big Brother, the all-seeing eye of a totalitarian police state. In the 'we' there is a communal experience that empowers the surveilled targets, providing a sense of inclusion rather than fear and paranoia.
Intensity Testing
A music composition takes place in a virtual reality space, where the spectator - user - will be able to move around it, altering the music depending on where they are within the space. The work features video as well, this being part of the musical 'narrative'.
Pilgram: Naked Link 3.0
Pilgram: Naked Link 3.0 is the continuous process of a conceptual work that explores the boundaries between data visualization and art made from data collection, creating a link between scientific InfoVis & data sublimation. Pilgram 1.0, the first iteration, was made in 2015 and opened a hotspot in Havana. The 2.0 iteration showed the invisible structures that tie the U.S. (Miami) and Cuba, monitoring and analyzing the packet data traffic. The 3.0 naked links iteration will be a search for the possible changes (or not) of communication infrastructure since the 2.0 research. For the 3.0 iteration, we will display (in real-time) how the flow of communication between the two cities and the two countries is taking place nowadays. Pilgram: Naked Link 3.0 will visualize on real-time XR interfaces (extended realities) the links and infrastructure between the two countries that, in other cases, wouldn't be visible to the naked eye.