PROJECTS
“CRYPTO ARTCADE” 2021
Tāctus” ADAF ATHENS Digital Art Festival 2021
THE PLACE OCCUPIED BY ART IN THE VIDEO GAME INDUSTRY AND INCREASINGLY PRESENT, A TIMID EVOLUTION, CRYPTO ART IS INTERFERING IN GAME PLAY. THROUGH THIS ONLINE INSTALLATION “CRYPTO ARTCADE HAND OF FATIMA BOT” WHERE ART IS INTERTWINED WITH AN EXCLUSIVE GOODIES DISTRIBUTOR.
QUESTIONS ABOUT THIS FUSIONAL RELATIONSHIP OF VIDEO GAMES, DIGITAL ART, THIS HISTORY, THIS RELATIONSHIP BETWEEN US AND THE INTERFACE, BETWEEN US AND US.
IT’S A PARADIGM SHIFT FROM THE IDEA THAT VIDEO GAMES ARE JUST ENTERTAINMENT OR A HOBBY, AND POSSIBLY INTO A NEW FORM OF ARTISTIC EXPRESSION.
THE WORLD OF VIDEO GAMES IS RICH AND VARIED. THE AUDIENCE IS JUST AS INTERESTED. PLAYING VIDEO GAMES HAS BECOME MORE THAN JUST A HOBBY. REAL COMPLEX UNIVERSES ARE DEVELOPING AND OFFERING EVER MORE REALISTIC AND SOPHISTICATED EXPERIENCES TO THEIR USERS. A FAST AND DEMANDING EVOLUTION WHICH COULD NOT MISS THE POSSIBILITIES OFFERED BY THE MEETING OF DIGITAL ARTS AND GAMING.
WILL CRYPTO ART REVOLUTIONIZE VIDEO GAMES?
“LEAVE ME A MESSAGE” 2021
“Tāctus” ADAF ATHENS Digital Art Festival 2021
FIAV – FESTIVAL INTERNATIONAL D’ART VIDÉO DE CASABLANCA 2021 – Ecole supérieure des Beaux Arts de Casablanca
Once essential, telephone booths have disappeared from the urban landscape, crowded out by cellphones. Often their walls were covered with tags, the handset decorated with old dried out chewing gum … All are doomed to disappear and yet, it is possible to reconnect with this past with “LEAVE ME A MESSAGE”, an installation, an alternative parallel circuit made of sound fragments where you can leave a voice message of 30 seconds which will be visible on the cloth. A reconnection with an online roaming voice mail system like a nomadic sound capsule.
Customized by Street Artist “BLADE” ” MÖKA” & “Kamel Ghabte”.
A creation which also aims at the revaluation of telecommunication object which was intended either to be stored then cleaned and crushed.
“LEAVE ME A MESSAGE” to escape this fate The telephone booths have not said their last word, a project in collaboration with Ricochet Sonore.
“AR Social effect Instagram, Facebook & Snapchat”
"Hand of Fatima خمسة "
Digital Art Month Paris June – in Collaboration with Beaux Arts & Cie – Studio As We Are – 2021.
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“But what is the hand of Fatima? It represents the shape of a rather peculiar hand. The hand of Fatima is characterized by an eye at palm heart. Contrary to popular belief, like what this eye means the fact of “seeing everything”, to be able to observe or spy, the eye in the center of the hand is a protective eye. It is an eye that represents a guide whether spiritual or physical. It allows, among other things, to ward off the bad comes out. It is considered a benevolent symbol. The khamsa, khmissa, Khomsa or Tafust (in Berber: tafust, in Arabic: خمسة khamsa, in Hebrew: חמסה khamsa), is a symbol used as an amulet, talisman and jewel by the inhabitants of North Africa (where he is from) and Middle East to protect against the evil eye. This symbol is often associated with the goddess Tanit, Punic goddess. The hand of Fatima actually originates from several Mediterranean cultures. which have mingled with religions over the centuries.”. |
Effects Links :
INSTA
https://www.instagram.com/ar/242545234207026/
FB
https://www.facebook.com/fbcameraeffects/tryit/242545234207026/
MOROCCO ZELLIGE BALL
Digital Art Month Paris June – in Collaboration with Beaux Arts & Cie – Studio As We Are – 2021.
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MOROCCO ZELLIGE BALL ? Zellige (from Arabic: زلیج, small polished stone) is a mosaic whose elements, called tesserae, are pieces of colored earthenware tiles. These pieces of glazed terracotta are cut one by one and assembled on a bed of mortar to form a geometric assembly. No doubt inspired Roman then Byzantine mosaic, zellige appears in Morocco in the tenth century, first with shades of white and brown Geometric designs or endlessly repeated floral patterns coordinate with epigraphic ornaments written in cursive or kufic characters, excised to form real mineral rugs in a great harmony of shapes or colors. Geometric interlacing take place from a central star (testîr), plant forms (tourik), foliage, acanthus or palmettes crisscross to fill empty spaces or create friezes and frames. This universal work is addressed to all, without distinction of language or culture. It is not about tell a story, neither to express feelings, nor to imitate nature. The designs of the zelliges are always derived from mathematical calculations. By the force of their abstraction, they succeed in creating an inexorably established numerical order and a purely formal environment in protected areas (homes, palaces, religious buildings) thus opposing the chaos of the outside world and creating a deep sense of calm. |
Effects Links :
INSTA
https://www.instagram.com/ar/2038848166267149/
FB
https://www.facebook.com/fbcameraeffects/tryit/2038848166267149/
"CRYPTO KHAMSA"
Tāctus” ADAF ATHENS Digital Art Festival 2021
SNAP :
"HELP ME"
SNAP :
| “The hand that gives, that helps, that touches, that connects. free appreciation of this experience of augmented relaitée sculpture to consume on site or to take away”. |
"DEMATERIALIZATION"
Ars Electronica Festival Garden NYC & XRE – “A Portal” 2021
SNAP :
https://lens.snapchat.com/cb7c59954fb04728b32baad5a5072525
"SLIDERS VORTEX"
Ars Electronica Festival Garden NYC & XRE – “A Portal”
SNAP :
https://lens.snapchat.com/29babc68eb9b42f39c030edda613c71a
"XRE CLOUD"
Ars Electronica Festival Garden NYC & XRE – “A Portal” 2021
SNAP :
"BANANA SHAKE"
“CASABLANCA RUN THE COVID”
Run away, hide. But what’s going on? Casablanca has never been so empty, so swarming with people, with life. A city of millions of confined people. Zouhair Lalaam and I therefore decided to write “Casablanca Run The Covid” a kind of hide and seek with the virus, a ride, a race, a video game on a scooter filmed 360 ° by Zouhair under the Artistic direction of Kamel Ghabte . A film of 10 minutes without filter, raw in order to freeze by image the extent of the damage of the coronavirus.
AWARDS - ADAF Athens 2020
“INFINTY KISS”
Ars Electronica Festival Garden NYC & XRE – “A Portal” 2021
Infinity Kiss, a generative art that offers you a unique kiss endlessly. Generative art as an approach between our relationships with the physical and digital elements, offering each other an infinite kiss, a kiss forever.
Ars Electronica Festival Garden NYC & XRE – “A Portal” 2021
ART.ART & VR ALL ART & CONCRET HOUSE
LIVE ONLINE GALLERIE
https://vrallart.com/vr-exhibitions/ec/concrete_house/
Welcome to Concrete House .art which features curated pavilions and an exhibition of digital artists selected through an open call. The curated pavilions include Ars Electronica’s partners, .ART’s artist in residence Medina Kasimova and a selection of work from .ART’s and Arlekin Players Theatre’s collaborative project ZeroGravity.art, directed by Igor Golyak and featuring the renowned choreographer and actor Mikhail Baryshnikov. Concrete House .art participants join the space for playful reflections on the creation of virtual environments.
INTERACTIVE MOTION CAPTURE
When the gesture becomes “musical” …
This artwork explores the relationship between the body and New Technologies, live performance and music. The cross -participation of two disciplines: Movement/ Dance & technology. Discovery, appreciation and appropriation of an interactive sound space. The audience is prompted to discover the movement capture, its practice and its stakes. To initiate a computer input device for movement. To explore modes of auditory interactions in space. Technological and physical use and experimentation in order to meet an invisible digital, scenic and scenographic environment.
“ARTBORESCENCE“
This work offers an interactive and immersive space where the public, facing a digital mirror, explores the digitized features of the face which are reflected endlessly. The spectator, actor of this real and virtual relationship, finds himself face to face with the deformation of the characteristic features of the face or of the different parts of the body. Interactive and visual experience where each visitor alone or in a group will be able to experience and interact with a digital system in real time.
“You Have a Message”
He has legitimate voices and others don’t. There are worthy messages and others not. There are those voices that we stifle, that we muffle and those voices that we glorify. There are these messages that we laugh at, that we minimize and those that we fantasize about. If the message is just a simple idea shared between its sender and a recipient, to who authorizes the last word? The messages build us, guide us, destroy us. The messages are political, scientific, poetic, erotic. Protéiformes, there are these messages that make you smile or travel when other you hurt you, scare you. And then there are all those you ignore. The message is there, everywhere around you, from the messages of the time spent to the messages alerts for future generations. The message is a tool, the message influences. Words only mean what you impose on them and impact what you give them. Face it, you have a message to read / You have a message, but which one will you listen to.
“THIS MOMENT”
“THIS MOMENT” WORKSHOP
Le projet This Moment s’est développé autour d’un questionnement sur l’instant présent.
Cette réflexion s’incarne alors par l’immersion du spectateur dans un espace numérique, un
environnement qui réagit de manière visuelle et sonore aux mouvements d’un corps.
La perception du corps dans cet environnement se modifie, fluctuant avec l’image et le son.
Le geste et la machine se répondent mutuellement. Les gestes modifient alors en temps réel
l’univers visuel et sonore de l’oeuvre. Elle ne s’appuie pas sur le domaine musical mais bien
sur la “matière sonore“ et sur la relation qu’elle tisse avec l’espace et le corps. Le temps réel
permet de créer un cycle perpétuel d’interaction où corps et machines se répondent de
façon fluide et continue. Le corps entre alors en dialogue avec la machine. Elle capte les
gestes grâce à des capteurs et traite les données reçues par des actions définies par des
algorithmes (actionneurs), auparavant définies par l’artiste-programmeur. Ici, le son est
dépendant du mouvement du corps, il n’existe qu’avec lui. Il y a là comme une transmission
d’énergie du corps humain à la machine, qui la transforme en un flux sonore ou lumineux. Le
corps est placé au cœur même de l’œuvre, et celle-ci n’existe pas sans lui.
Tant que le corps n’est pas présent dans l’espace, celui-ci est muet, latent. Le corps en
mouvement est l’élément clé de l’installation, le dispositif le capte en temps réel et réagit à
cet instant …
