It is waiting for time to go by so that everything significant happens.

Time passes by and takes all these moments, which are thus not valued and end up being forgotten in our timeline. In a society inherently linked to the neoliberal rhythm of production, we perceive the time of things as something immediate and momentary. Just as time is always counting, our space is always in motion. There is no moment (in time and space) where we can really be a part of and reflect on. Perhaps that is the goal. A dissociation of the real moment, the production of the deluded look and the false consciousness. After all, everything is fine when we don't waste time thinking about it. When we finally have time to reflect, it is already too late. This work intends to function as a space for that reflection: by taking the attitude of waiting perhaps life will not pass us by. Maybe we will breathe, think and reflect. So that we can walk along with time. Or maybe we will still lose everything that our time has to offer.

João Alves (b. 1998) is a multimedia artist working mainly with photography and video. His body of work represents different techniques within the multimedia arts, from installations to books, monographs, lightboxes or pinhole photography. Everything has a narrative, but besides what happens in the story, the way it is told is just as important. So, for João Alves, it is about finding the best medium to communicate what is intended, to avoid losing something in the process.

Plant drone explores the Anthropocene in an inverse and speculative way.

This performance will enable a plant from the local landscape to pilot a small drone. As human activity increasingly affects the natural balance across the globe, this work raises some important questions and posits new scenarios for art making; such as, is it possible for nature to assert a discrete amount of meaningful control over a complex human constructed system?

For Plant drone, I have created a flight control system that connects to action potentials, the electrical noise currents found in plants. Action potentials are often generated by plants as a response to stimuli such as wind, light, touch and sound. The system will use an open source micro-controller connected to the plant to read its electrical signals as varying resistance across each of the plant leaves. These signals will be collected in real-time, mapped and used to pilot a drone. Essentially the plant will be the pilot of the drone as it creates long exposure photographic drawings in the sky.

David Bowen is a studio artist and educator whose work is concerned with aesthetics that result from interactive, reactive and generative processes as they relate to intersections between natural and mechanical systems. His work has been featured in exhibitions at ZKM Karlsruhe, Fundación Telefónica Madrid, Eyebeam New York, Mattress Factory Pittsburgh, BOZAR Brussels, Itau Cultural São Paulo, The Israel Museum Jerusalem and Intercommunication Center Tokyo. His past awards include a Grand Prize from the Japan Media Arts Festival and Honorary Mention Prix Ars Electronica as well as residencies with AutoDesk Pier 9 San Francisco, Schmidt Ocean Institute and The Arctic Circle. Bowen is currently an Associate Professor of Sculpture and Physical Computing at the University of Minnesota, Duluth.

Artificial sunlight passes through the architecture illusorily.

SOLE reflects on the profound transformation that technology has brought about in the context of many of our life experiences, which have in fact become increasingly virtual and mediated by an invisible artificial intelligence.

Creative studio founded in 2009 by Fabio di Salvo and Bernardo Vercelli, Quiet Ensemble works on unexpected audiovisual experiences, immersive performances and installations, focusing on the balance between chaos and control, nature and technology as main tools for creation, focusing on seemingly insignificant and wonderful, like the movement of a fly or the sound of trees.

The wood, a sacred, vital and uncontaminated place, always present but forgotten accompanies us eternally like a silent witness.

It breaths next to us and it goes on with its productive cycle, even when as the night falls, the city stops: the machine shuts down, while nature, through every fiber and every inhabitant, animal or plant, carries on operating, making it possible to magic of awakening, giving life to a ritual that takes place from dusk to dawn.

The project Bosco Mistico invites us to rediscover the natural world in a magical moment, reminding us to stop, to find ourselves again, perceiving and becoming aware of the space around us with an installation that involves all the senses. Videos establish a connection with sight and hearing, while the smells establish freshness and the petrichor are evoked by monochromatic images and simple geometries, presented in a multi-sensory, contemplative, dynamic work that dialogues with nature by recreating a connection with it.

OOOPStudio is an artistic project, born in 2010, by video designers Alessandro Grisendi and Marco Noviello. Their artworks concretize visionary ideas through elaborations starting from real data to give rise to new forms, unreleased creations abstracted from simple representation and digitally rendered through the fusion and confluence of natural elements. The result is a unique synthesis and reflections on time, that find new life and correspondence thanks to digital technology.

Screens have become the most influential, yet overlooked materialization of the Digital and the hyper-surfaces of our time.

The project “Screenization” is based on a detailed theoretical research that examines the history of screens and their various predecessors at the intersection of visual perception, natural science, performative practices and media archeology. The term Screenization is introduced to describe the general dissemination of screens into aspects of everyday life on the one hand, and the more technical diffusion of screenic properties into new contexts and behaviors on the other.

To make speculations about future development of screens tangible, two experimental infrastructures have been developed: Autonomous pixel units that explore what would happen if pixels could be spread like paint and a sculpture consisting purely of a screenic material that questions our understanding of surface and materiality.

Lorenz Potthast (*1990, Bremen, Germany) is a Media Artist with an interdisciplinary design background, technological interest and cultural empathy. Next to his work as independent Media Artist, he is co-founder of the Collective for audiovisual Art Xenorama and coordinator of the Digital Impact Lab of M2C Institute. His works were shown and awarded among others at ZKM Karlsruhe, National Arts Center Tokyo, Museum of Moving Images New York, ISEA2018, CCCB Barcelona and European Media Art Festival.

"Sound for Fungi. Homage to Indeterminacy" began as a laboratory experiment where Schubert played sinus frequencies to fungi mycelia she collected from forests near her home in Berlin.

After weeks of observing these collected specimens housed in custom-built sound-insulated boxes, most showed a positive response to the influence of sound by growing faster and denser than samples grown in silence. The interactive video installation simulates Schubert’s experiment where sound influenced mycelium growth. Audiences can explore this biological process by using a tracking sensor where hand movements simulate the role of a sound frequency and change the fungi’s growth in real time. The digital 3D environment shifts between macro and cellular level perspectives, revealing fragile topologies comprising multiple nodes and connections, offering a glimpse into the complexity of the underground network of microbes that connect the ‘Wood Wide Web’.

The title draws reference to American music composer John Cage’s development of "indeterminacy'' as an improvisational technique where aspects of a composition are left open to chance or free-choice.

Theresa Schubert is a Berlin-based artist exploring unconventional visions of nature, technology and the self. Her work combines audiovisual and biomedia to conceptual and immersive installations or performances. By means of interdisciplinary methods - such as biohacking, theoretical analysis, performative interpretation and material experimentation - her works question the relation of humans to their environment and evolvement of matter and meaning beyond the Anthropos. More recently she works with UHD video environments and 3D Laser Scanning to challenge modes of perception and question the human-machine-nature relationship in hypertech societies.

The stars provide us with a photograph of the past, yet for millennia man has been observing the trajectories of celestial bodies in order to interpret the future. The inter-connection and the cyclical path of celestial bodies are the fundamental parameters that allow men to hypothesize future events by deciphering those of the past.

"In Circuito" is an installation that focuses on cyclicity of nature through geometries, sounds and light projections within a "circumscribed space of sky": a templum in its original meaning.

A work by APOTROPIA (Antonella Mignone + Cristiano Panepuccia) with the collaboration of Giovanni Belli

APOTROPIA is an artist duo formed by Antonella Mignone and Cristiano Panepuccia. They work across video, dance, performance, sound and installation and explore the philosophical, anthropological and scientific elements of human culture.

Acousmatic System for Plant and Human with Three Algorithms

ASPH3A is a work / performance, an endless feedback inserted within a modular system that feeds itself by generating new sound forms with a strong organic component. The body and the plant interact with each other and simultaneously interact with the acoustic instrument and the modular synthesizer. The man / machine interaction is disrupted thanks to the introduction of another actor from the plant kingdom. The number 3 represents the elements that enter the network, determining a generative and acousmatic system capable of developing light, movement and sound, the main component of the entire work.

The work questions the relationships and connections that are established within the evolutionary process by changing relationships and subordinations. The human / machine dichotomy disappears as it incorporates a third component as important as the other two, thus reaching a new human / plant / machine sequence. Each component brings with it the transformations that led to its shape and help to define the physiognomy of the work.

Giorgio Alloatti and Liliana Caruso
In the general heterogeneity of artistic practices an objective vision of the contents is given to us by our cats who love experimental music. We do not have a direct path or precise patterns but a genuine communicative emergency through which we try to bring noise in a psychoanalytic sense around the cosmos by conveying the different plots and meanings through literature, philosophy and meditation. Our works are formed through various means, research, experimentation, writing, circus art, drawing, electronics and pure, dark and tangible sound.

mbrace extend extinguish is a market strategy launched by Microsoft and adopted by big techs to gain market hegemony on the continuous construction of the postreal.

In the context of the semi-spontaneous birth of new digital interconnection technologies, when the new is still too immature to attract investment, open source communities are the engine of innovation.

After these first moments of embryonic development, when the new instruments gain audience and the heavyweights come into play, the mechanism is triggered: open source technologies are adopted with minimal re-elaborated versions to be extended to the general public and immediately subservient to production needs.

The artwork is a portrait of the schizophrenic anxiety of this process: the continuous proliferation of concepts and systems that provide structure to our synthetic reality takes shape in the incessant, energetic debate of air flows, caged in the tangible form of plastic, made visible and therefore usable, by the very agent of its constraint.

The bio-capitalist exploitation, in itself neither good nor bad, is a futuristic-looking gear, taken as an constituent element of a system that needs only awareness to be twisted against itself.

Accelerationism, as a revengeful system, is an instrument of this awareness, in a game of parties that, in the context of digitization, sees the user as a subject with unprecedented potential.

Carlo Gambirasio (1994, Verona) holds a BFA and MFA from NABA. Carlo's reflection comes from a careful analysis of contemporary visual culture. His works combine imaginary devices, new technologies, reflect on the rules of "artificial" worlds with the aim of understanding and modifying them. Some of the exhibitions in which he participated are: BodyLights # 1 (BO), Porto dell’Arte (MI); Roasted Spin, FuturDome (MI); Exi Shapes, Spazio Morel (Lugano); The Great Learning, La Triennale (MI).

RE/FLUO is an artistic provocation that examines the potential and contradictions of crypto-art, through the language of performance art.

At the center of the scene is set a small photo studio dominated by a cubic Lightbox of a white fabric. The Lightbox, enlightened by two neon panels, includes and isolates a series of geometric assemblies of waste, scraps, non-organic garbage of various types (such as plastic, jagged metal, shreds of fabric) to create bizarre still-life 2.0.

The works, inserted in the Lightbox and slowly rotated on an electric display, is scanned with a photogrammetric device that transforms them into three-dimensional digital objects. Virtual sculptures that are placed on the NFT market to be sold to the highest bidder. This process of collective production, placing on the market and selling are acted out, documented and shown to the public in real time during the Festival.

Francesca Fini is an interdisciplinary artist who has been moving for years in the contemporary area where arts hybridize, trying to distill a personal synthesis precisely in the contemporary performative and video performative language. Over the years she has presented her work at the Museo MACRO e MAXXI in Rome, at the Guggenheim in Bilbao, at the Schusev State Museum of Architecture of Moscow, at Tese dell’Arsenale of Venice, at the Georgia Institute of Technology and in many national and international academic fields. In 2014 and 2016 she was selected by Bob Wilson to participate in the artistic residency at the Watermill Center in New York and subsequently she was invited to the Triennale di Milano for a Watermill event at the Illy Art Lab. She is based in Italy, but she exhibits and works all over the world. In 2016 she completed the experimental movie “Ofelia non annega” (With Istituto Luce Cinecittà), included by Adriano Aprà among the best Italian films of the last 20 years. In 2020 she won the Share Prize. Treccani Encyclopedia mentions her as one of the most significant artists of this language in Italy as the new cyber-performance voice.

The ‘Holoflower’ is a laser transmission holo- gram of a flower generated by magnetic fields.

Using an angled mirror, a laser beam is separated into two beams, one of the object and one of the reflection. The Flower of Mars is a “project in power”. Something that does not ex- ist yet, but already exists, idea and reality, real and virtual. Mathematical mod- els of the last frontier for the construction of the universe are based precisely on oleo- graphic principles, The idea that The Flower of Mars is already a reality, even if not an objective one, is the key to the artist’s choice of the tech- nique of holography, made by the expert holographer Mauro Melotti.

Alessandro Sciaraffa (Torino, 1976) studied architecture, electronic music and sound design. Winner of the 9th edition of Italian Council (2020), he is one of the founders of the WHYOFF experimental music collective. Focused on sound and on multiple relationships between matter, space and time, his artistic research finds expression in performances and in the elaboration of installations and sound sculptures. ​​Among his personal exhibitions we highlight: Sinfonia, TSE Art Destination-Nur Sultan (2022); Symphony, GAM ‒ Civic Gallery of Modern and Contemporary Art, Turin (2021); Aurora, Ground Moscow, Moscow (2019); The Winter Symphony, Hermitage Museum, St. Petersburg (2019); De Umbris Idearum, Monumental Complex of San Severo al Pendino, Naples (2019); Cosmonautics, Costigliole d'Asti Castle (2019); Between a Dusk and a Dawn there is an Eclipse, Galerie Mazzoli, Berlin (2017); Fontanella, Galerie Italienne, Paris (2016); The Lunatics speak to the moon, Galleria Giorgio Persano, Turin (2014); Greater Turin, Sandretto Re Rebaudengo Foundation, Turin (2013); VITRINE, GAM - Civic Gallery of Modern and Contemporary Art, Turin (2012); I bring you the sea, Merz Foundation, Turin (2011).

Cristallo di Luce is a public work of art with a high innovative and technological content. It is born as part of Artmaker# 5 and winner of the Artwaves by Compagnia di San Paolo, which uses photovoltaics for energy generation.

For Artmaker#5 a 1:10 scale model of the sculpture will be presented, that will be 7 meters high, which simulates the operation through sostenible technologies for charging small devices, such as tablets and phones.

Presented in Aosta in an exhibition and conference within T*Danse with the partner TIda Teatro Instabile di Aosta, it was also at the center of the workshop in collaboration with the Department of the Castello di Rivoli Museo d’Arte Contemporanea at the IIS Natta of Rivoli.

Diego Scroppo (Turin, 1981) is a graduate of the Accademia Albertina di Belle Arti. He took part in the curatorial programme run by Unidee Città dell’arte, Fondazione Pistoletto, an artistic project with the Le Fresnoy Institute of Lille, and special projects at the Fondazione Spinola Banna for the Arts. He was Felice Casorati Prize winner. His works have been exhibited at: Fourth Biennale China-Italia of Contemporary Art, Castello di Rivoli, Patricia and Phillip Frost Museum, Miami, Museo Arte Contemporanea Villa Croce, Genova, XIII Biennale Internazionale di Scultura, Carrara, Fondazione Merz, Torino, Biennale Internazionale dei Giovani Artisti, RuArts Foundation of Contemporary Art, Mosca. Dal 2017 è stato selezionato dal comitato artistico-scientifico di The Sharing come uno degli artisti del progetto Artmaker.

“Cercavo te nelle stelle quando le interrogavo bambino.”

PSR B0329+54 is a pulsar star about 3460 light years away from the Earth, in the Camelopardalis Constellation. It is approximately 5 million years old. Pulsars have originated from the explosion of very large supernova stars, of which an extremely smaller “heart” remains, where matter is in a state of enormous compression. They can be intercepted thanks to their radio signal, a “pulsation” that corresponds to the rotation on their own axis. .

Entitled with the first lines of an intense poem by Primo Levi, Laura Viale's work transforms the radio signal of PSR B0329+54 into a light signal.

Laura Viale (Turin, 1967) is based in Brussels. In her work nature and artifice, reality and fiction, provide the material for investigating perceptive thresholds, suspended between concrete experience and abstraction. Through nature – in urban contexts as well as in wild places – she questions spaces of possible intersection between the external world and interiority. Her projects take shape through a wide range of media including photography, drawing, installation, video and digital techniques.

Instead of choosing a dark dystopian future made of fortresses, let’s explore brighters worlds in the legacy of the Enlightenment, let’s use our abilities as a tutor, direction or searchlight.

n the necessary critique of the deviant uses of digital technology, facial recognition holds a special place. And for good reason: used as a surveillance tool, it is in fact an infringement of our fundamental freedoms. Far from me the idea to legitimize any liberticide use, I try here a poetic and humanistic detour in order not to throw the baby out with the bathwater. Instead of focusing on identity recognition, I diverted the framework of this technology to develop a form of artificial empathy.

Our face being our very first social interface, we are constantly literally speaking with it. Based on this (sur)face language recognition and analysis I created Mixed Feelings.

An interactive installation that draws its inspiration from the emotions identifiable on our face to compose and improvise music in real time. The device combines a facial recognition system with a neural network trained to create music. With Mixed Feelings, I explore the poetic potential of facial recognition by using the detection of emotions, or at least of the expressions that compose them, as an input to the musical creation. The listener thus finds him/herself analyzed and converted in an infinite musical mirror game between human emotion and artificial intelligence. The project generally questions the surveillance regimes we are living in and more deeply, the kind of empathy we are developing in our highly automated societies, the way we are connected and read others' state of mind and emotions including our own ones.

Conceptual artist exploring our use of technology and its ethical and aesthetic implications. Without being a naive tech utopist or a reluctant technophobe, he critically and ironically examines our hypermodern times and more particularly the notion of technological progress. His installations, performances and videos question the global digitalization of our societies. Designated Portuguese Emerging Artist in 2018 and 2019, Vilas-Boas exhibited internationally notably at Le 104, ADAF, KIKK, Die Digitale Düsseldorf, Fondation EDF, Ibrida, Linz FMR, CCBB Belo Horizonte, MAAT Museum and Tate Modern.

As part of SHARE FESTIVAL, within the Artmaker project, the PROGETTO SPECIALE of the XVI Edition, CRISTALLO DI LUCE by the Turin artist Diego Scroppo, was born.

The sculpture, shaped like the crystal of our Alps mountains that recalls the peak of Matterhorn, will be about 7 meters high with a tetragonal geometry. It will be able to generate, from sustainable sources, electric energy that can be used in public and private sectors for numerous uses, including the fuelling of street lighting, charging vehicles and electrical devices. It is a public, nomad work and a traveling exhibition that has the value added of having practical utility in itself, as its very location on the public area has the function of providing energy, instead of consuming it. Also, to produce it and make it available in the urban context, thus responding to the social function of use by citizens.

Diego Scroppo’s works capture the transcendent and put it into the matter to return it to the public in its essential ineffability. The artist manages to reproduce the life cycle in the materialization of symbols that comes to life in his works and then return to being invisible, but kept in the viewer’s conscience. Similarly, Cristallo di Luce becomes a public good that generates light and does not consume energy, it also makes it available, becoming a means of community utility.

Thanks to the technical scientific team that has been created, the work is under construction thanks to a hybrid of green technologies: it will be used to implement the energy supply of the light it will generate, to power vehicles for a new electric mobility, to recharge devices through different types of technologies, offering beauty in addition to energy.