Daniel Popper’s Mycelia Prototype Sculpture is a living symbol of unity and transformation, perfectly aligned with the spirit of Black Rock City — a place where collective imagination becomes reality. Named for the filigreed, thread-like fungus, Mycelia extends reflections on the interconnectedness of humans and the natural world. 

Mushrooms offer themselves as metaphor and image; the strange blooms of an otherwise invisible organism that runs beneath the forest floor. Mycelium is nature’s neurological network, a vast web of fine filaments that transmit electrical signals between plants and fungi. Or rather, in the words of biologist Melvin Sheldrake, “mycelium is ecological connective tissue, the living seam by which much of the world is stitched into relation.” 

Set beneath the trees, the sculpted bust becomes an analogy of mycelia as consciousness, the forest as much alive as the mind. Like thoughts flowering at the edge of awareness, mushrooms mark the outer reaches of a mycelium’s breadth. Having bloomed, they soon decay, leaving the soil all the more fertile that new filigrees might extend, and consciousness expands. Mycelia reminds the viewer that the thinking mind is a part of nature, indivisible from it. There is no duality between human and plant; both are a part of a complex, entangled whole.

A meditation on the past, present, and future of technology 

Place your hands together, or even better yet, connect hands with your friend.  Capture that moment. Take a Deep Breath… Feel peaceful… Just Be… You don't have to post it. But please carry this moment as a reminder of peace, everywhere you go. 

‍

Will Robots Meditate with Love and Kindness

Determine the future of Art and Science

Astonish our Attention, form an Alliance

Center on resisting, Program Crisis 

‍

Antique feelings fading into irrelevance 

Electric connection, Errors in your emphasis

What is the Source of Intelligence

Consciousness? But can it predict if this is progress?

‍

Made from entirely recycled and orphaned materials

‍

Quantum Jungle is an interactive art installation that playfully visualizes quantum physics concepts on a large wall filled with hundreds of novel touch-sensitive metal springs and thousands of LEDs. It aims to engage a broad audience in state-of-the-art scientific research. 

Through this exhibition, the artist makes the first contact with quantum physics as fun and playful as possible, using the classic analogy of Schrödinger's Cat as a hook into a deeper understanding of the science, while also touching on more complex topics such as superposition, wave-particle duality, and interference for the interested enthusiasts.

Daniel Popper's AEONIUM Prototype Sculpture is a striking 16-foot-tall creation that captures the resilience and beauty of the succulent it’s named after. During the day, the sculpture’s design draws inspiration from the spiral, rosette-shaped arrangement of Aeonium leaves, with large, thick, waxy forms that fan outward in shades of green, purple, and earthy hues. Known for his monumental, organic designs, Popper has crafted AEONIUM to evoke strength and serenity, inviting visitors to immerse themselves around its structure. As night falls, the sculpture undergoes a mesmerizing transformation through projection mapping. Carefully designed visuals are projected onto the surfaces, bringing the sculpture to life with moving patterns and shifting colors. This nightly projection mapping adds a dynamic, otherworldly layer to AEONIUM, enhancing its immersive quality and allowing the structure to become a living, evolving part of its surroundings. This interplay of light and form reinforces Aeonium’s celebration of nature’s resilience, creating an enchanting experience that captivates viewers in a new way each evening.

This interactive dance installation features a contemporary magic mirror where participants dance with repeated, time-shifted versions of themselves through real-time effects.

Up-Next is a participatory light-based sculpture that reimagines a classic 1980s television set as a portal for playful convergence. At its core, a series of kaleidoscopic visual chambers respond in real-time to user input. Visitors are invited to turn large retro-style knobs, just like channel surfing in the analog days, to control color schemes, kaleidoscope patterns, and animation speeds. This physical interaction creates a personalized sensory experience that blends nostalgia with dynamic, future-forward light art.

Echoes of sys|calls expands on the conceptual foundation of the earlier sys|calls project, evolving it into a spatial, time-based installation that foregrounds the underlying structures of computation. Presented as a 10-minute audiovisual environment, the work translates digital processes into a large-scale, floor-based projection covering the full surface of a basketball court.

Rather than depicting the full density of system activity, the installation focuses on its essential qualities — rhythm, repetition, and internal pulse. The visuals form a continuous field of motion that makes computational behaviour legible as spatial choreography. This is supported by a curated multi-channel sound composition, mixed and mastered to highlight the tonal and structural characteristics of computational processes without overwhelming the visitor.

A key development in this iteration is the integration of subtle, highly curated interactivity. The system responds to visitors’ presence in minimal but perceptible ways, allowing movement within the court to gently influence the audiovisual environment. These responses are intentionally restrained, offering a sense of agency while maintaining the contemplative nature of the work.

‍Echoes of sys|calls positions computation as a sensory landscape rather than an abstract operation. Through reduction, spatial expansion, and carefully choreographed responsiveness, the work invites audiences to encounter software as an active but quiet presence — one that both contains and reacts to the bodies moving within it.

Would you like to swing on a star? APOGEE is a cool place to swing, dream, and lose yourself in hypnotic, space-inspired visuals. Wrapped in vibrant, projection-mapped animations and pulsing with an 80s synthwave-inspired soundtrack, APOGEE invites visitors to play, connect, and swing through space.

Mycelia is a living symbol of unity and transformation, perfectly aligned with the spirit of Black Rock City — a place where collective imagination becomes reality. Named for the filigreed, thread-like fungus, Mycelia extends reflections on the interconnectedness of humans and the natural world. 

Mushrooms offer themselves as metaphor and image; the strange blooms of an otherwise invisible organism that runs beneath the forest floor. Mycelium is nature’s neurological network, a vast web of fine filaments that transmit electrical signals between plants and fungi. Or rather, in the words of biologist Melvin Sheldrake, “mycelium is ecological connective tissue, the living seam by which much of the world is stitched into relation.” 

Set beneath the trees, the sculpted bust becomes an analogy of mycelia as consciousness, the forest as much alive as the mind. Like thoughts flowering at the edge of awareness, mushrooms mark the outer reaches of a mycelium’s breadth. Having bloomed, they soon decay, leaving the soil all the more fertile that new filigrees might extend, and consciousness expands. Mycelia reminds the viewer that the thinking mind is a part of nature, indivisible from it. There is no duality between human and plant; both are a part of a complex, entangled whole.

The interactive ZipOde interface allows audience members to search by zip code and discover hyper-local place-based South Florida poems. The ZipOde is an original form invented by O, Miami and designed to transform your zip code into an occasion for place-based, lyrical celebration. The Interactive ZipOdes Map is the first public artwork that invites folks to engage with O, Miami's archive of nearly 20,000 ZipOdes collected in partnership with WLRN since 2015, including poems from Monroe, Miami-Dade, Broward, and Palm Beach counties.

This 10-minute video loop is animated completely on Super 8 film. 

This film screening is accompanied by The Super 8 animation workshop. Please see more info on events.

A video loop with the collective series of videos and experimental practices.

To Catch a Ghost is a poetic multimedia experience composed of three poem videos and a site-specific installation created in collaboration with MAD Arts. For this installation, the artist inputs selected poems into custom software that generates a unique visual response based on the language of each piece. The work features the words of acclaimed poet Darius V. Daughtry, in collaboration with digital artists Nate Dee, Andrew Van Lew, and Mark Espinosa.

In her most recent micro-poetic film, Ana María Caballero pays homage to Pipilotti Rist’s Ever Is Over All and proposes an evolution in personal empowerment. Whereas Rist’s protagonist symbolically takes down failed systems, Caballero’s main character practices radical repair.

Pace posits that private joy is as powerful a form of resistance as destruction. Caballero stars in her own work, performing gleeful movements rooted in Latin American salsa music, which she grew up dancing and accesses as a source of resilience. As she advances, urban wreckage repairs.

By contrast, in Rist’s work, a woman smashes car windows with a flower as she walks down a street, an exuberant smile on her face, similar to the smile she’s given by a passing policewoman, who presumably approves of the destruction.

The works are connected through the protagonists’ outward and exaggerated expressions of self-possessed joy and their public (and thus out-of-place) physicality. Both works are also linked through the protagonists’ red shoes, signaling confidence in the trodden path. 

This is the first work from Caballero’s ongoing Literal Litoral series of performative explorations that combines her live, performed poetry with cinematic AI. 

In Pace, Madrid’s Calle del Barquillo is recreated through AI because a pharmacy that bears her father’s name, F. Caballero, exists there in actuality. Caballero pilgrimaged here daily as she mourned her father’s death, finding solace in its presence.

The second part of this multichannel installation consists of coded visuals, the result of a custom algorithm that reads Caballero’s body-in-motion and translates it into graphic marks, ​​probing the connection between embodied experience and our attempts to record it.

We often consider that to encounter nature, we need to go somewhere to do so. But our bodies themselves are nature. Rist’s video pairs gleeful destruction with scenes of out-of-focus flowering scenes. In contrast, Caballero pairs radical repair with the body-as-sign, proposing closer relationships with ourselves as a first approach to systemic transformation.

In Search of Light 2, an immersive VR and laser sculpture exhibition, represents a mythic VR cosmology of light and consciousness, unfolding from chaos to post-human transcendence.

 “We are the lamps that burn ourselves to see.”

‍In Search of Light 2 is a large-scale immersive installation that explores humanity’s evolving relationship with light, from primordial darkness to the post-human glow of digital consciousness. The exhibition features a major laser-based light sculpture at its center and a constellation of VR headsets, each containing a journey that guides viewers through the philosophical, spiritual, and technological history of humans and light.

Body and Technology by Performance in Flux

Performance Artists: Enrique Villacreses, Ibuki Kuramochi, Muu Blanco, Óldo Erréve

Body and Technology examines the interplay between body and technology, featuring live performances and video works by multiple artists, curated and presented by Performance in Flux. The project explores how contemporary bodies transform through encounters with sound, light, video, and devices such as lasers, drones, projectors, and 3D printers, highlighting experimentation, sensory awareness, and movement. This installation includes the following:
Human Performer is a live performance by Ibuki Kuramochi that combines Butoh dance with video projections, exploring physicality and movement while reflecting on Japanese female identity, tradition, and the body through a contemporary, post-human lens.

Tótec/Holomastigot is a live performance/installation by Óldo Erréve that integrates laser light and a 3D printing-based machine as active elements of the work. This work explores the relationship between the human body and technology through real-time interaction between the performer, laser systems, and machine-driven processes, creating a hybrid human-nonhuman environment.

Caribbean Latencies is a live experimental sound performance by Muu Blanco that draws from Afro-Caribbean rhythmic structures and experimental sound practices, activating light, space, and movement to create an immersive sensory environment where sound functions as rhythm, memory, and vibration.

How to Attain Heaven is a live, human-machine interaction performance by Enrique Villacreses in which a human body enters a ritual encounter with a drone. Through choreographed movement, the dancer and the machine engage in a delicate exchange, circling, responding, and mirroring one another, blurring the boundaries between the organic and the technological.

In addition, while the space is not activated by a performance, there will be a series of videos by: David Correa (@daavud), Denise Merlot (@denisemerlot), Enrique Villacreses (@friesh), Georgia b Smith (@georgiab.smith), gustaf broms (@gustafbroms2), Ibuki Kuramochi (@ibuki_kuramochi), Katherina Sadovsky (@sadovskykat), Lihong Bai (@weeds.bai), Muu Blanco (@muublancoartsound), Óldo Erréve (@oldoerreve), Petra (@petra.synthetic), Syncopate Collective (@syncopatecollective), Zack Nguyen (@itszacknguyen)

Sugar Coated constructs a world where desire, nostalgia, and excess crystallize into landscapes both seductive and unsettling. Entirely built by hand — piped, poured, sculpted, and assembled — the environments mimic the glossy perfection of digital renderings, revealing the slippage between the real and the simulated. The result is a hyperreal terrain where childhood fantasies bloom into scenes of slow collapse.

The immersive installation begins with softness: pink, plush carpet underfoot, sweet aromas in the air, clouds of pastel color, and forests made from gumdrops, whipped cream, melted candy, and cereal rubble. At first glance, the settings shimmer with confectionary innocence. Yet each tableau carries a fault line: a chocolate bunny sinking into its own sugary ground; lollipop hearts slumped and bleeding into pools of syrup; extravagant candy forests dissolving under an invisible heat. Even the cereal landscape — bright marshmallows embedded in mounds of processed grain — suggests ecological drift, industrial excess, and the sedimentation of consumer culture.

At the center of the installation is a large-scale video projection, a cyclical, atmospheric work in which these crafted worlds begin to breathe, shift, and decay. Free of dialogue, the video becomes a hypnotic loop of seduction and dissolution, echoing the rhythms of appetite and exhaustion. It evokes the compulsive feedback loops of contemporary life — shopping, scrolling, consuming — where small bursts of dopamine produce temporary pleasure before tipping into overwhelm. In this oscillation between delight and depletion, the landscapes behave like metaphorical nervous systems, forever chasing the next hit of sweetness.

‍Sugar Coated exposes the hidden cost of manufactured happiness, revealing how desire can curdle into saturation and how pleasure, once mass-produced, becomes a trap. The landscapes are idyllically beautiful, but their beauty is uneasy, always on the verge of collapse. In this tension lies the work’s power: an invitation to wander through a fantasy that is as enchanting as it is impossible to sustain — a mirror held up to the cycles of consumption that define contemporary life: swipe, scroll, buy, discard, repeat.

Step into Face The Raster, a collaborative, audio-visual art installation by visual design studio Homegrown Visuals and music/design duo Akomi.

This immersive exhibition explores the intimate space where sound and color collide in a dynamic, ever-changing interplay of analog and digital formats. Guests will be able to immerse their senses and have their likeness captured, magnified, and transformed in real-time through a live oscilloscope feed, turning human presence into pulsating rasterized visuals. Each position triggers a unique soundscape and visual element that evolves alongside the image, forging a deeply personal and interactive experience.

This combination of raster manipulation, analog video art, and interactive sound focuses on exploration, connection, and a sense of awe-inspiring discovery that changes the evolving landscape of audio-visual textures. Face The Raster offers replayability and communal creativity, inviting guests to return, re-engage, and reshape the experience altogether.

Wayfarer is an immersive audio-visual journey centered on Tiangou, a legendary Chinese mythical creature reimagined through AI. Embodying dual natures of benevolence and malevolence, Tiangou appears both as a guardian of peace and as a devourer of the moon.

Drawing from Chinese folklore and the Classic of Mountains and Seas, the work transforms ancient myths into AI-generated beings that evolve in form and meaning. The audience follows Tiangou’s metamorphic voyage, beginning as a fleeting star, shifting through shapes and materials, and culminating in the devouring of the moon.

This mesmerizing adventure breathes new life into the AI-generated character Tiangou, offering metaphors that explore our fear and curiosity of the unknown and our evolving relationship with machines, delving into a poetic spectrum of new dualism.

A Walled City is an interactive AI installation that transforms personal and collective visual memories into a decentralized, evolving virtual city. Grounded in the spatial logic, zoning, and aesthetics of the historical Kowloon Walled City (Hong Kong), a self-built hyper-dense enclave that grew in a legal and political void from the 1950s to 1993, the work builds a multi-agent AI system to turn participant-uploaded images into architectural chambers, forming a living structure where data, memory, and historical urban logic converge.

The project is not nostalgic; rather, it reflects on density, proximity, and how private fragments can be reassembled into shared space. Each contribution remains visible as itself, yet becomes part of a larger organism that accumulates, shifts, and evolves over time. In A Walled City, memory becomes architecture, identity is spatialized, and communities emerge through a rhizomatic network. The work connects AI systems with historical urban memory, turning contributions into forms and forms into relations, while raising the question of what is protected by “walls” and what is kept apart in the world-building of future settlement.

Sea of Light is a transformative installation featuring thousands of animated lights that respond to location. It’s designed to complement and accentuate the natural and man-made features of its environment — no two versions are ever the same, as the land leads the design process.

Ascendance is a projection of an astronaut severed from his mothership. As his oxygen levels fade, he drifts through a poetic cosmos of vibrant flowers, fluttering butterflies, and wistful hallucinations. The installation offers a tranquil space to reflect on the fragility and fleeting nature of human existence.

Helix Seats is an interactive public seating project featuring two intertwined helices. Embedded with LEDs that change in response to pressure from people's movements, a mesmerizing display emerges through complementary light patterns and animations. The interlocking forms allow foot traffic to pass through while simultaneously creating a feeling of enclosure while seated.

Where are we going? is a web-based audiovisual interactive installation that engages with the public about our direction in the world, our choices, and the impact of technology on them. It reflects our course, which is (un)consciously determined by the use of technology and the behavior of others.

Geist is a new artwork by Loop inspired by the elusive neutrino particle. Neutrinos, in their very nature, are tiny, almost massless particles that are extremely hard to detect but are believed to make up the fabric of the universe. They are believed to have been created by the Big Bang and nuclear reactions inside stars and planets. Neutrinos are omnipresent, and it is thought that billions of them pass through our bodies every second. Particle physicists use mammoth neutrino detectors to hunt and trace these so-called ‘ghost particles.’

Inspired by these enormous neutrino detectors, Geist is our exploration of the complex game of ‘hide and seek’ that scientists play to find and provide evidence for the existence of these particles. Only by hitting mass do these particles become electronically charged and therefore detectable. 

Geist uses a mirror illusion to create a suspended spherical object of light, viewable 360 degrees around the sculpture. The sculpture itself is shaped like an octagonal carousel, 6m in diameter, each of its faces a 3x3m window into a figment of mirror and light. The illusion is interactive; only by the proximity and movement of the public does the suspended sphere of light come to life. Individually addressable LED modules start flickering and glimmering in the presence of people. The public is the cause of the artwork’s existence; their mass emits a response from the artwork: a version of ‘hide and seek.’

Creative coding by Motus Art6

Sound Design by Dan Bibby

Oh Lord! is the result of a collaboration with the Paris-Meudon Observatory and the Institute of Planetology and Astrophysics of Grenoble, drawing from various solar observation databases, including some provided by NASA. This installation invites us to revisit and question the fascination with the sun that we have inherited from our ancestors. Since the dawn of humanity, the sun has played multiple roles — as the keystone of cosmic order, a tool of political legitimacy, a force of social unity, and even a precursor to monotheism. Today, in the face of environmental and energy challenges, it embodies both our deepest fears and greatest hopes. The installation reflects not only scientific and technological advances but also our enduring fascination with this celestial body.

‍

CREDITS: 

Sound design: Monetai

Production: YAM

Installation created in collaboration with the Paris-Meudon Observatory and the Institute of Planetology and Astrophysics of Grenoble, with the kind permission of NASA/SDO and the scientific teams of AIA, EVE, and HMI.

Software programming: Valentin Dupas

Scientific advisors: Lucie Leboulleux and Isabelle Bualé