Klara Lewis is a critically acclaimed sound sculptor from Stockholm who has been presenting her audio-visual shows in clubs and art galleries around the world and has been selected as a highlight of such festivals as Atonal, Mutek, Sonar and Semibreve. Lewis builds her work from heavily manipulated samples and field recordings creating a unique combination of the organic and digital. She has released numerous well received albums via Editions Mego - Ett, Too, Ingrid, Ingrid Live at Fykinggen and Live in Montreal 2018. In tandem with her solo works, she has active collaborative projects with Simon Fisher Turner and Peder Mannerfelt.

Nik Colk Void is an electronic musician and artist with a vast reputation in experimental shapeshifting and collaboration. UK based, Void has produced eight acclaimed studio albums with her musical groups Factory Floor (Gabriel Gurnsey & Dominic Butler), Carter Tutti Void (Chris Carter & Cosey Fanni Tutti) and NPVR with the late Peter Rehberg, releasing via Mute, DFA, Blast First, Editions Mego and Industrial. Her debut solo album Bucked Up Space will be released this year (April 8th) via Editions Mego. Key live performances, solo and with collaborators include: CTM - Unsound - Incubate - Pitchfork (NY, Paris & Chicago) - Moog - Coachella - GRM Paris - Club2Club - LEV - Semibreve, Rewire. Art residencies at the Barbican - London ICA - Zabludowicz Gallery - Lisson Gallery - Art Basel - Fiorucci Trust (Stromboli Island) - Galleriapiû Gallery (Bologna) - Semibreve (Portugal).

Pedro Maia is a Portuguese filmmaker (Berlin Based) working predominantly with 16mm and 8mm film, pushing the boundaries and aesthetic of analog cinema by manipulating the raw materials and challenging the traditional process. His work has been presented and exhibited at renowned film festivals, Institutions and galleries, including The Barbican Center, Serralves Museum, Tokyo Contemporary Art Museum, Armenian Centre for Contemporary Experimental Art, amongst others. Maia has contributed to projects to Patti Smith, Charlotte Gainsbourg and Lucrecia Dalt as well as collaborative projects with musicians such as Vessel, Shackleton, Visionist, Shapednoise, Jacaszek, Lee Ranaldo, Fennesz, presenting live at festivals such as Sonar, Unsound, Berlin Atonal and Mutek.

Helm has released five studio albums and three EPs of textural experimental music, exploring a relationship between acoustic, electronic and real-world sounds. His first album ‘To An End’ was released on his own label ALTER in 2010.

Influenced by 20th century electroacoustic music and Britain’s esoteric post-industrial underground, the record contained two long-form pieces that mixed haunting, respiratory-themed tape music with warm meditative ambience. ‘Cryptography’ followed a year later via Graham Lambkin’s KYE as a five-part suite of glacial drone, reconfigured gamelan clusters and searing metallic resonance. Warmly received by the press and underground community alike, it helped to establish him as a serious new voice in experimental music.

Younger is a resident DJ on NTS Radio where he has presented his monthly show ‘After Dark’ since 2016. He has also engaged in collaborations with visual artists. A performance at the opening of the Tate Modern’s Tanks space saw Helm perform with video artist and film maker Charles Atlas’ during his ‘Charles Atlas and Collaborators’ series.

Mark Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at Sheffield City Polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he began a series of critically acclaimed record releases on labels including Mille Plateaux, Line, Editions Mego and Raster Noton. Fell is widely known for exploring the relationships between popular music styles, such as electronica and club musics, and typically academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. Since his early electronic music pieces Fell’s practice has expanded to include moving image works, sound and light installation, choregoraphy, critical texts, curatorial projects and educational activites. He has worked with a number of artists including Yasunao Tone, Keith Fullerton Whitman, Okkyung Lee, Luke Fowler, Peter Gidal, John Chowning, Ernest Edmonds, Peter Rehberg, Oren Ambarchi and Carl Michael Von Hausswolff.

Will Guthrie is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, amplification and electronics.

His music has been released on labels such as Gaffer Records, Erstwhile, Clean Feed, 23five, Editions Mego, Ipecac and his own label Antboy Music. Regular collaborators past and present include Oren Ambarchi, James Rushford, Jean-Luc Guionnet, Mark Fell, Roscoe Mitchell, Anthony Pateras, Chulki Hong, Jérôme Noetinger, Keith Rowe, David Maranha, Ava Mendoza, the film maker Hangjun Lee and choreographer/dancer Mette Ingvartsen.

Animistic Beliefs are inventing a new, creole musical language. The Rotterdam-based duo of Linh Luu and Marvin Lalihatu repurpose forms from techno and IDM to create exhilarating hybrids, applying a fresh perspective that is both deeply personal and political.

‘Animism’ is the idea found in indigenous belief systems that all objects, creatures and places possess a spiritual essence. Pre-colonial thought, traditions and music connected with Marvin’s Moluccan and Linh’s Vietnamese-Chinese heritage are key inspirations behind the Animistic Beliefs project, and tools through with the duo explore their experience as people of colour living in the Netherlands, a historical centre of colonial power. Electro, gabber and punk formed the initial backbone of their sound, but as the duo rediscovered traces of culture that conventional history had erased, South-East Asian tonality, tribal rhythms, even texts and poetry have become central components.

Parallel but distinct from their releases, the duo have honed a fast-paced and ritualistic live sound. As performers Animistic Beliefs have been able to transcend the club circuit, and are as comfortable sharing the bill with techno mainstays like DJ Stingray and Helena Hauff, as they are alongside artists like Lotic, Rian Treanor and Jlin. Increasingly, sights are set beyond music, as Linh and Marvin broaden their output to alternative fashion and new media art.

Consultant, Media and performance artist Jeisson Drenth works on a wide range of different projects that -all in their own unique way- explore the possibilities and limitations of technologies for people to shape their past, present and future.

In the years after finishing his studies at the Willem de Kooning Academy (Rotterdam, 2015) he worked internationally as a live video artist and designer for M_HKA (Museum of Modern Art, Antwerp), Together Festival (Boston), Vision (Berlin, Ghent), Amsterdam Dance Event and Reaktor (Amsterdam), Draaimolen (Tilburg), Museum TENT (Rotterdam) Atlas Electronic (Rotterdam, Marrakesh), NEXUS Europe Summit (Rotterdam), Untitled (Toronto) and La Bacchanale (Montréal).

Lichun Tseng is a Taiwanese artist based in the Netherlands. In her works, she is interested in searching for the experience of the vital dimensions of life, absorbing and partaking in it, grasping its wholeness; in which exploration and reflective contemplation are profound mental drives. She approaches her research and practice mainly with 16mm film, installation, and performance in the last years. She is a member of Filmwerkplaats Rotterdam.

Robert Kroos is a musician, sound designer, and field recordist based in Rotterdam. He explores music and sound in all its manifestations and prefers to use his skills to support film, animations, and installations. His interests focus on sine-waves, the proximity of sound, binaural recording, and brainwaves.

Andrea Familari, also known as FAX, is a multimedia artist who has collaborated with Dadub for a long time. For their new live set he uses real-time data analysis of their sound machines to generate distorted landscapes, surreal forms and abstract scenery with his original signature, bringing the audience deeper into the vibrational imaginary of Dadub's sound world.

Dadub is a project formed by Daniele Antezza and Marco Donnarumma, dedicated to combine Sound Design and Audio Engineering Experimentation with the aesthetic and musical heritage of Bass Music, Voodoo, Ancient Alien Rituals and Chaos Magick. Daniele and Marco have recently been evolving the signature Dadub sound into a new auditive universe of ‘Post Apocalyptic Dub’.

Marco Donnarumma (DE) is an artist, performer, stage director and scholar weaving together contemporary performance, new media art and interactive computer music since the early 2000s. He manipulates bodies, creates choreographies, engineers machines and composes sounds, thus combining disciplines, media and emerging technologies into an oneiric, sensual, uncompromising aesthetics. He is internationally acknowledged for solo performances, stage productions and installations that defy genres, and where the body becomes a morphing language to speak critically of ritual, power and technology.

Donnarumma’s latest cycle of dancetheater productions, performances and robotic installations is entitled 7 Configurations. It dissects the conflicts between AI and body politics through human-machine choreographic methods aimed at experimenting with the corporeal and psychological relationships of four human performers and six AI prostheses. In 2019, he co-founded the performance artists group Fronte Vacuo with Margherita Pevere and Andrea Familari. Their series Humane Methods consists of hybrid live art events as social experiments, where human performers and audiences, non-human organisms and AI-driven machines expose the violence of today’s algorithmic societies.

Touring consistently for the past fifteen years across major and independent theaters, concert halls, festivals and museums worldwide, most recently Donnarumma’s work has been shown, among others, at Volkstheater Wien (AT), Münchner Kammerspiele (DE), Romaeuropa Festival (IT), Ming Contemporary Art Museum (CN), Chronus Art Center (CN), Ars Electronica (AT), Donaufestival (AT), Haus der Kulturen der Welt (DE), NRW Forum (DE), Nemo Bienniale/HeK Basel (FR), LABoral (ES), musikprotokoll (AT), CTM Festival (DE), tanzhaus nrw (DE), Laznia Center for Contemporary Art (PL), and Kontejner (HR).

His repertoire received numerous acknowledgements, most recently: Autonom Grant 2020-21 by Fonds Darstellende Künste and Berlin Senate Department for Culture and Europe for ∑XHALE; Digital Award at Romaeuropa Festival 2018 for Eingeweide; two awards at the Bains Numériques Biennial 2018, as well as the Award of Distinction (2nd prize) in Sound Art at Prix Ars Electronica 2017 for Corpus Nil; Artist of the Science Year 2018 by the German Federal Ministry of Research and Education for Amygdala.

Donnarumma holds a Ph.D. in performing arts, computing and body theory from Goldsmiths, University of London. In 2020-21 he was a Research Fellow at the Akademie­ für Theater ­und Digitalität, Dortmund. Previously, in 2016-18, he was Research Fellow at Berlin University of the Arts in partnership with the Neurorobotics Research Laboratory. He was funded by European Commission, Goethe-Institut, Berlin Senate, Fonds Darstellende Künste, Rockefeller Foundation, British Council and New Media Scotland. His writings are published by MIT Press, Oxford University Press, Routledge, ACM and Springer.

Dylan Cote and Pierre Lafanechère are two media artists and designers based in Paris, mainly working on moving images, sound and installations. They pursue researches by experiencing and diverting various techniques from their initial use, using the aesthetic potential of digital media. Through 3D, code, sound, object or light, they strive to set up poetical and critical spaces. It creates fragments of fiction which give us a view on current issues of techno-social changes.

Nikki Hock is a multidisciplinary artist who sculpts spaces and environments around us to create experiential landscapes. He does not merely focus on representation, but rather engages with the present moment to create abstractions of memories and lived experiences. His work moves between reality and the metaphysical —in search of other worlds and new dimensions.

Hock is drawn to performance as a live medium, researching and developing spatial installations in which the audience becomes part of the work—creating a collective experience that simultaneously touches each spectator individually. His ensembles of light, colour, shape, sculpture, and space create an immersive journey, with the totality of elements forming the complete experience. Engaging in a journey with the spectator through the use of different mediums, Hock searches for aesthetics that cultivate direct and uninterrupted communication so that the audience can fully surrender to the work and its environment. Through a layered process, in which he appeals to each sense individually, he explores the interplay between the (in)tangible and its perception.

Nikki Hock currently lives and works in Amsterdam. He graduated in 2014 as a theatre maker and performer from the Mime department at the Amsterdam Theatre School. Over the course of his practice his work has transitioned from engaging with the body as a tool for performance to engaging with light, objects, and space as performers within an environment. He has shown his work at the SXSW Festival, Athens Digital Art Festival, Scopitone Festival, Stedelijk Museum Amsterdam, W139, Stadsschouwburg and the Muziekgebouw aan ‘t IJ in Amsterdam, Nest, TodaysArt festival and Rewire Festival in Den Haag, and AQB Art Center in Budapest.

Pinar Demirdag

Pinar is a multidisciplinary artist, technologist, and a creative director. In 2020, she had a spiritual awakening and left her career as an independent artist (Pinar&Viola artist duo) to co-found Seyhan Lee, a creative development and production company that brings science and spirit together in their creative works for brands, films, and NFTs.
Her work resides in exhibitions, permanent collections at Stedelijk Museum Amsterdam, Museum Fur Gestaltung Zurich, The New Museum New York, and Museum of Contemporary Art Santa Barbara. Pinar worked with world leading brands including IKEA, Beko, Airbnb, Google, and Nike, while passionately writes and speaks about consciousness, technology and the future of humanity (2022: SXSW, Eyeo, NFT Expoverse).

Sofia Crespo

Sofia Crespo is an artist working with a huge interest in biology-inspired technologies. One of her main focuses is the way organic life uses artificial mechanisms to simulate itself and evolve, this implying the idea that technologies are a biased product of the organic life that created them and not a completely separated object. Crespo looks at the similarities between techniques of AI image formation, and the way that humans express themselves creatively and cognitively recognize their world. Her work brings into question the potential of AI in artistic practice and its ability to reshape our understandings of creativity. On the side, she is also hugely concerned with the dynamic change in the role of the artists working with machine learning techniques. She’s also the co-founder of Entangles Others Studio.

Carla Chan obtained her Bachelor of Arts Degree from the School of Creative Media, City University of Hong Kong. She works with a variety of media including video, installation, photography and interactive media. Much like the never-ending development of new technology Chan considers media art as a medium with infinite possibilities for artistic expressions.

Minimal in style and form Chan’s works often toys with the blurred boundaries between reality and illusion, figure and abstraction. Her recent work focuses on the ambiguity in nature. Bridging natural transformation and unpredictable computer algorithms, her work is consolidated with a cohesive dynamic between form, means and content.

Joanie Lemercier (b. 1982) is a French visual artist and environmental activist whose work explores human perception through the manipulation of light in space. Working primarily with light projection and computer programming, Lemercier transforms the appearance of everyday objects and forms, bending reality to his imagination. His work transcends the flat surface, extending dimensionality through the interplay of light and shadow on materials such as wood, glass, paper, ceramics, textiles and water.Lemercier was first introduced to the process of creating art on a computer at agefive by attending classes on pattern design for fabrics that were taught by his mother. This early education grounded his interest in physical structures: geometry, patterns, and minimalistforms. As Lemercier’s work evolved, he began to explore these elements through the physics and philosophy of how light can be used to alter perceived reality.

Much of Lemercier’s practice is inspired by nature and reflects onthe representation of the natural world through mathematics, science, and technology. Abstract environments rendered as refined grids, lines, shadows, and volumes give way to majestic landscapes assembled from these same minimalist forms. In recent years,Lemercier has become increasingly concerned with climate change and environmental degradation, lending his projection skills and artistry to activist causes and groups such as Extinction Rebellion, meticulously tracking and publishing his studio’s carbon footprint, and supporting initiatives like #CleanNFT to encourage other digital artists to reduce their own environmental impact. His latest video installation, The Hambach forest and the Technological Sublime, premiered at Fundación Telefónica in 2021 on the occasion of the artist’s first major solo show, looks at the devastating effects of coal mining on one of Europe’s oldest forests.

Creation by Joanie Lemercier
Production by Juliette Bibasse

Marnix de Nijs (1970) is a Rotterdam based installation artist. Graduated as a sculptor in 1992, he focused his early career on sculpture, public space and architecture. Since the mid 90's, he has been a pioneer in researching the experimental use of media and technologies in art.

Impelled by the idea that technology acts as a driving force behind cultural change and therefore capable of generating new experiences where societal habits and communication are rethought, his work thrives on the creative possibilities offered by new media, while critically examining their impact on contemporary society and human perception.

Cocky Eek is a spatial artist and creates physical experiences in which our inner landscape interferes with the landscape that surrounds us. She likes to immerse her participants in spatial compositions to induce the feeling that you are not moving through space, but where space moves through you. Her work connects with the deeper layers of ourselves and of our surroundings.

Macular is an initiative of a group of artists who share a collective interest in art, science, technology, and perception. The members of the collective collaborate on the creation and production of multi-sensorial artworks that are presented at media arts festivals, galleries, and other arts institutions around the world. An important part of the initiative is that the collective functions as a nomadic lab in which the members do research and develop the technology and theory that’s needed in order to create their works.

Intrigued by the phenomena and history of optical sound, Mariska de Groot (1982, NL) makes, performs and composes for comprehensive analogue light-to-sound instruments and installations which explore this principle in new ways. Her work often refers to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experience of light, sound, movement and space.

Marco Broeders (NL '70) graduated as an architectural designer from within the safe and institutional walls of the monastery building of the St. Joost Academy (Breda, The Netherlands). Marco Broeders, now under the monicker Co2RO, turns contrasts such as ‘light and heavy’ and ‘light and dark’ into manageable tools. Add these tools to an arsenal of obscure and rarely available analog projectors and lamps and behold the prism, or better yet, the realm where Co2RO breathes life into otherwise bloodless spaces. Always within a new and self-contained environment. Always under—let’s call ’em—‘adventurous’ circumstances. And always using a method that is absolutely unruly. As every Co2RO installation is explicitly laborious. Like a birth operation performed under extremely difficult circumstances, throwing even the most experienced doctor off balance. A metaphor not as far-fetched as you might think as each time Co2RO sets up his control room, an autonomous and authentic consciousness is born and for the first time will see the light.

Julian Edwardes (UK/NL ‘79) is an artist and electronic musician from the Netherlands. He is a trained visual artist with a background in Fine Art at AKV St Joost in Breda and at the Sandberg Institute Amsterdam. In his music sonic entities are playfully sculpted and positioned in gritty landscapes of shifting symphonic drone. Form, language, identity and existence are assayed within a compositional network pullulated from a modular synthesizer, utilizing unstable systems and disrupted resonant bodies.

Pessimist, real name Kristian Jabs has been releasing music since 2010. Previously one third of the Bristol trio Ruffhouse, his constant development over the years has gained him a respected reputation throughout the electronic music industry. With firm roots in Drum & Bass & Jungle, Pessimist has not only made an impact within the Drum & Bass scene but also the wider electronic music community. With his critically acclaimed debut self titled album released on Blackest Ever Black turning many heads and garnering a clear non-conformist vision, Pessimist has carved out a stand-alone status and has influenced a whole new generation of experimental Drum & Bass producers and DJ’s.

Unit Moebius Anonymous is the 2007 rebirth of legendary band Unit Moebius, with key player Jan Duivenvoorden now the lone driving force. His interest in alienating sounds started with a tape recorder aged nine. Constantly hitting the rewind button and looping the same words to sounds he quickly learn to appreciate the power of reception. Experiences at militant Belgian festivals, unintentionally playing Severed Heads records at the wrong speed, gabber, pirate radio stations, 808 State and Underground Resistance all followed and lead him to where he is now.

Her first physical format mixtape was released on the Italian ever-rising label Art-Aud in January 2019 and is a 90mn trip of old-school madness, very symbolic of Miran's own rave spirit! Mad miran played on multiple well-respected festivals, from Primavera Sound to Waking Life, Lowlands or Dekmantel Selectors.

Shapeshifting between radio shows that feel like intricately-planned journeys, and banging club sets that leave little air in the room, Gentyen is comfortable in many settings. Refusing to be put into a box, she oscillates between genres, using her time at record stores, radio stations, and her wide artistic endeavours as tools and vast archives to feed both the style and body of her sets.

It was 2015 when Marsman decided to quit his day job and devote his life to music, establishing the Pinkman and Charlois labels to champion artists – both new and established – whose music moved him emotionally. From the start, he wanted both labels to operate without boundaries, instead focusing on quality electronic music – most aimed squarely at dancefloors, of course – from the margins.

So far Marsman has DJ’d across Europe, toured the U.S.A, Mexico and Colombia, and cites a first stint behind the decks at legendary Berlin institution Panoramabar as one of his most special DJing experiences. In the months and years ahead, he plans to share his electronic music vision – that fluid, futurist Pinkman sound – with more dancers around the World.

His live-set is and has been expanding, shrinking and evolving over time. An example of this ongoing journey is the ‘Sequencer’ tape on Dehef from August 2014, containing some fine modular based techno tracks.

This effectively means there are 2 sets, one strictly song-based, another consisting of improvised modular jams. Besides the highly acclaimed Das Ding project, he explores the darker side of experimental music through ‘Schedelvreter’ which is available through us as well under the right conditions.

He is editor of more than 10 essay collections, and author of the following monographs: Metaphysics without Truth (Marquette University Press 2007), Menschenwürde nach Nietzsche (WBG 2010), Transhumanismus (Herder 2016), Schöner neuer Mensch (Nicolai, 2018), Übermensch (Schwabe 2019), On Transhumanism (Penn State University Press 2020), We have always been cyborgs (Bristol University Press, 2022). In addition, he is Editor-in-Chief and Founding Editor of the “Journal of Posthuman Studies” (a double-blind peer review journal, published by Penn State University Press since 2017). Furthermore, he is in great demand as a speaker in all parts of the world (World Humanities Forum, Global Solutions Taipei Workshop, Biennale Arte Venezia, TEDx) and a regular contact person of national and international journalists and media representatives (Die Zeit, Cicero, Der Standard; Die Presse am Sonntag, Philosophy Now, Il Sole 24 Ore).

The project unfolds as a series of episodic research into geocinema through experiments in moving image, narration and collective thinking. Each probes into ways of understanding and sensing the earth while being on the ground, enmeshed within vastly distributed processes of image and meaning making.

The project traces the physical infrastructures and abstracted processes which make up the supply chains of perception, attentive to the situated histories of sensing techniques which frame movements of the cosmos, atmospheres, oceans, and surveil flows of bodies and their congregations, in order to unstitch and restitch given narratives about earths.

We design queries to prompt the trained algorithms to create new climate imaginaries, in text and in visual form. Subsequently, we edit these machine-generated cli-fi narratives and translate them into short stories, podcasts, video, and artwork. These cli-fi stories are narrated by a human voice that sends back messages from imagined futures, like postcards from the post-anthropocene.

Roel’s research addresses the integration of data-driven technologies in societal infrastructure and institutions, with a focus on safety, sustainability and justice. His research strands include:

* Data-driven methods for design and control of complex systems and services
* Integrating design and governance for the responsible integration of data-driven and algorithmic systems
* The political economy of advanced learning and control systems and their information technology infrastructures
* The environmental implications of “artificial intelligence”
* Safety of AI systems in sociotechnical design and policy contexts

Roel’s research is motivated by problems in energy (intelligent planning and operation of electric power distribution) and public administration.

Donnarumma’s latest cycle of dancetheater productions, performances and robotic installations is entitled 7 Configurations. It dissects the conflicts between AI and body politics through human-machine choreographic methods aimed at experimenting with the corporeal and psychological relationships of four human performers and six AI prostheses. In 2019, he co-founded the performance artists group Fronte Vacuo with Margherita Pevere and Andrea Familari. Their series Humane Methods consists of hybrid live art events as social experiments, where human performers and audiences, non-human organisms and AI-driven machines expose the violence of today’s algorithmic societies.

Touring consistently for the past fifteen years across major and independent theaters, concert halls, festivals and museums worldwide, most recently Donnarumma’s work has been shown, among others, at Volkstheater Wien (AT), Münchner Kammerspiele (DE), Romaeuropa Festival (IT), Ming Contemporary Art Museum (CN), Chronus Art Center (CN), Ars Electronica (AT), Donaufestival (AT), Haus der Kulturen der Welt (DE), NRW Forum (DE), Nemo Bienniale/HeK Basel (FR), LABoral (ES), musikprotokoll (AT), CTM Festival (DE), tanzhaus nrw (DE), Laznia Center for Contemporary Art (PL), and Kontejner (HR).

His repertoire received numerous acknowledgements, most recently: Autonom Grant 2020-21 by Fonds Darstellende Künste and Berlin Senate Department for Culture and Europe for ∑XHALE; Digital Award at Romaeuropa Festival 2018 for Eingeweide; two awards at the Bains Numériques Biennial 2018, as well as the Award of Distinction (2nd prize) in Sound Art at Prix Ars Electronica 2017 for Corpus Nil; Artist of the Science Year 2018 by the German Federal Ministry of Research and Education for Amygdala.

Donnarumma holds a Ph.D. in performing arts, computing and body theory from Goldsmiths, University of London. In 2020-21 he was a Research Fellow at the Akademie­ für Theater ­und Digitalität, Dortmund. Previously, in 2016-18, he was Research Fellow at Berlin University of the Arts in partnership with the Neurorobotics Research Laboratory. He was funded by European Commission, Goethe-Institut, Berlin Senate, Fonds Darstellende Künste, Rockefeller Foundation, British Council and New Media Scotland. His writings are published by MIT Press, Oxford University Press, Routledge, ACM and Springer.

As his studio transformed into a space that critically brings together a growing amount of creative disciplines including performance Jeisson set up his art practice.

His first solo-exhibition (2019) presented his research into the rise of commercial DNA-testing companies and the ethical considerations around genetic selection and genetic modification - specifically from a perspective of queerness and from his perspective as an adopted person with a history of migration.

In 2020 Jeisson started working as a consultant to advise cultural organisations on matters of diversity, inclusion and access. In line with this he articulated a new goal for his art practice which is to study image production techniques from an intersectional point of view.

The Sinofuturist Trilogy by Lawrence Lek 陆明龙 is a series of speculative fiction films that explore the relationship between artificial intelligence, nonhuman agency, and the geopolitics of East Asia. Begun in 2016 with ‘Sinofuturism (1839-2046 AD)’, a hybrid manifesto and conspiracy theory linking Chinese technological development with ideas of non-Western Futurism, Lek continued the trilogy with ‘Geomancer’ (2017), a CGI portrait of an AI satellite wanting to become an artist, and ‘AIDOL’ (2019), a science fiction musical about a fading superstar who collaborates with an AI songwriter to produce her new album.

Lawrence Lek (陆明龙) is a London-based artist, filmmaker, and musician working with virtual worlds, simulation, and architecture. Often set within a Sinofuturist cinematic universe, his work explores worldbuilding as a form of collage, incorporating historical and imaginary elements to develop speculative fictions based on the perspective of the Other. Recent exhibitions include Farsight Freeport, HeK, Basel (2019); Ghostwriter, CCA Prague (2019); Nøtel, UKR, Essen (2019); 2065, K11, Hong Kong (2018). Soundtrack releases include Temple OST (The Vinyl Factory, 2020) and AIDOL OST (Hyperdub, 2020). In 2021, he received the LACMA Art + Technology Lab Grant and the 4th VH Award Grand Prix. Lek holds a PhD from the Royal College of Art, and is represented by Sadie Coles HQ, London.

The Sinofuturist Trilogy by Lawrence Lek 陆明龙 is a series of speculative fiction films that explore the relationship between artificial intelligence, nonhuman agency, and the geopolitics of East Asia. Begun in 2016 with ‘Sinofuturism (1839-2046 AD)’, a hybrid manifesto and conspiracy theory linking Chinese technological development with ideas of non-Western Futurism, Lek continued the trilogy with ‘Geomancer’ (2017), a CGI portrait of an AI satellite wanting to become an artist, and ‘AIDOL’ (2019), a science fiction musical about a fading superstar who collaborates with an AI songwriter to produce her new album.

Lawrence Lek (陆明龙) is a London-based artist, filmmaker, and musician working with virtual worlds, simulation, and architecture. Often set within a Sinofuturist cinematic universe, his work explores worldbuilding as a form of collage, incorporating historical and imaginary elements to develop speculative fictions based on the perspective of the Other. Recent exhibitions include Farsight Freeport, HeK, Basel (2019); Ghostwriter, CCA Prague (2019); Nøtel, UKR, Essen (2019); 2065, K11, Hong Kong (2018). Soundtrack releases include Temple OST (The Vinyl Factory, 2020) and AIDOL OST (Hyperdub, 2020). In 2021, he received the LACMA Art + Technology Lab Grant and the 4th VH Award Grand Prix. Lek holds a PhD from the Royal College of Art, and is represented by Sadie Coles HQ, London. 

The Sinofuturist Trilogy by Lawrence Lek 陆明龙 is a series of speculative fiction films that explore the relationship between artificial intelligence, nonhuman agency, and the geopolitics of East Asia. Begun in 2016 with ‘Sinofuturism (1839-2046 AD)’, a hybrid manifesto and conspiracy theory linking Chinese technological development with ideas of non-Western Futurism, Lek continued the trilogy with ‘Geomancer’ (2017), a CGI portrait of an AI satellite wanting to become an artist, and ‘AIDOL’ (2019), a science fiction musical about a fading superstar who collaborates with an AI songwriter to produce her new album.

Lawrence Lek (陆明龙) is a London-based artist, filmmaker, and musician working with virtual worlds, simulation, and architecture. Often set within a Sinofuturist cinematic universe, his work explores worldbuilding as a form of collage, incorporating historical and imaginary elements to develop speculative fictions based on the perspective of the Other. Recent exhibitions include Farsight Freeport, HeK, Basel (2019); Ghostwriter, CCA Prague (2019); Nøtel, UKR, Essen (2019); 2065, K11, Hong Kong (2018). Soundtrack releases include Temple OST (The Vinyl Factory, 2020) and AIDOL OST (Hyperdub, 2020). In 2021, he received the LACMA Art + Technology Lab Grant and the 4th VH Award Grand Prix. Lek holds a PhD from the Royal College of Art, and is represented by Sadie Coles HQ, London. 

Her specialist subject is hardcore and '90s Dutch gabber culture. She has written extensively about Thunderdome, and in 2020 was commissioned by The Netherlands Institute for Sound and Vision to curate the online multimedia exhibition “A Brief History of Gabber” for Google Arts & Culture. She has moderated artist talks and panels at TodaysArt, Rewire, Worm, FIBER at Muziekgebouw and Amsterdam Dance Event.

Holly studied BA (Hons) in Interactive Arts at the Manchester School of Art. She currently works for PRSPCT Recordings in Rotterdam and Bang Face in the UK, previously working for Rewire in the Hague, with Speedy J and Electric Deluxe in Rotterdam, and for Tresor Records, Stattbad nightclub and Boiler Room in Berlin.