This work is an interactive installation. Texts from the archive are constantly typed out and flow from the beginning to the end of the 12-meter passage. When the visiter moves too fast or big in gesture , the computer detects that, slows down and eventually stop the flow of the text and create glitching textures. The concept is inspired by the children's game "Red Light, Green Light", and it intends to reinforce slow and conscious movement to the visiter in the space, hence letting the thoughts (flowing on the floor) to come and go.
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Chief Executive Girls is a Bremen based interdisciplinary performance duo by Alethia Pinzón-Rodríguez and Aleksandra Mitrović exploring the realm between digital identity, speculative fiction, and embodied media. Their collaborative practice merges live performance, video feedback, and sound to explore how social media aesthetics shape human perception and behavior in hyper-mediated environments. Blending irony, sensuality, and critique, CEG’s work situates itself between performance art, experimental media, and post-internet culture building narratives that question how we perform ourselves.
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"The more the world was falling apart the more our breathing synchronized" is an interactive sound sculpture abstracting the presence of a bed. It is an invitation for the audience to delve into the collective experience of listening within the borders of a shared environment. The project is a result of exploration of public and private spaces and the recontextualization of the bed from a sleeping room to any public space, changing its intended use. The research focuses on exploring the possibilities of deconstructing the sleeping place as a venue for interaction. What constitutes an invitation to one's bed and does it immediately result in being intimate? The work consists of a cube sculpture, hanging in the air, metaphorically representing the bed, inviting the audience to step into an imaginary space. Equipped with an overhead sensor camera and surrounded by a 4-channel audio field, this space reproduces dreamscapes.Thanks to Slava Romanov for technical and coding support and Hsun Hsiang Hsu for photographs.

Two soundscapes created for a multimedia exhibition of young artist Teodora Arsić and parts of the soundtrack for her video essay presented at DKSG Belgrade in January 2024. The exhibition deals with themes of alienation and uncomfortableness and repression of those feelings, represented through various media using the form of stone as inspiration.

An installation that deconstructs internet interaction through a live video chatting platform, transforming it into a tangible experience, employing an infrared heat lamp and an embodied sound chair(chair with a built-in speaker) to symbolise the presence of "the other person”. To achieve this, a deep learning object detection model is utilised to recognise several categories (face, t-shirt, male and female genitalia, and breasts) on the popular site for random anonymous video interaction, commonly associated with exhibitionism and sexualised content. The system translates the values assigned to these categories into heat and red light, signaling the presence of nudity as highest, contrary to the lowest heat of the shirt.

Participants, while sitting in the chair and hearing the explanation of the work, suddenly feel discomfort when they realise the situation they are in: being exposed to someone without seeing them. This opens up a possibility of the subversion of the gaze, as the participant is being surveilled but has control of the actions in front of the web camera, even though he cannot see the person interacting with. Including the speaker in the chair opens up a potential for communication between participants, considering the person on the online platform as part of the process. In such a way interaction is achieved excluding the visual component of the platform. By confronting the complexities of virtual connections, the installation provokes questions about the roles of design, technology, and societal norms within digital interactions. In this way, the work demonstrates the spirit of re-coding, altering the conventional interaction paradigm, encouraging the audience to challenge the established habits and engage with technology in an unusual manner.

Through this experiment, I criticise the instant connections formed in contemporary society based on looks, social media, dating apps, and instant gratification. With (in)voluntary participation I examine these occurrences, putting subjects into situations of discomfort while anticipating their reaction, simultaneously speculating a creation of a pseudo safe-space with the possibility of forming seemingly deeper connections. Translating the digital interaction into a heat agency, the work tries to caricature the potential of artificial love as a substitute for the idealised romance presented by the mainstream media. The installation was developed during “complex complex” and “expanded material imaginaries” seminars led by Ralf Baecker, in collaboration with colleague Julia Vollmer(1995), who assisted in creating the object detection model used for analysing the video-chat stream. Exhibited during Hochschultage at Hochschule für Künste Bremen in June 2023 and at the collective exhibition “Studies of change” at Alte Pathologie Bremen. Photographed by Hsun Hsiang Hsu.

Inspired by Brandon LaBelle's “Sonic Agency” (2018), I wanted to make a sound installation that explores the political potential of the use of sound as a medium - to control or be controlled - as an immersive experience. The setup of the installation reflects aspects of public speaking spaces and draws on Alvin Lucier's seminal piece "I am sitting in a room" (1969). It invites the audience to actively engage and co-create the work by reading the text while distracted by previous recordings. The obstacles occurring in this activity require participants to concentrate on reading the material designed to evoke feelings of empowerment.
Participants speak into a microphone connected to a laptop that feeds a pure data patch which reacts by playing back the recordings of those who have previously read: "I am speaking loud so that you can hear me well. The echoes of past voices, recorded for posterity, resonate within me, amplifying my own ... ." to create a harmony of voices reading the identical text highlighting the energy of a community while employing an individualistic act of speaking by themselves. With the replaying mechanism, the work captures the unique resonance of the space, feedbacking into itself.
The installation was developed as part of Petra Klusmeyer's Advanced Sound projects and theories seminar at the University of the Arts Bremen and presented during Open House (Hochschultage) 2023. Exhibited at “Izlozba zvuka(Exhibition of sound)” at Zez festival 2024. Thanks to Jukka Boehm for technical and coding support and Hsun Hsiang Hsu for photographs.

A short animated film was made for the Island of Light festival in Smogen, Sweden. The film is about metamorphosis, shape-shifting and feeling instead of merely seeing. It takes you through the depths of imagination, where all those sea creatures reside – creatures we can never truly see but know are there as we swim and dream.

Katka is a young sculptor from Kosice. Dealing with the issue of the position of female artists in Slovakia, she comes to her own truth - painful and traumatic experiences from the past, which she then transforms into sculptures..

"Hybrid soundscapes" is a sound installation that deals with the recontextualization of soundscapes of different socio-historical contexts. Through the transmission of soundscapes in this work, it is explored how the relationship of knowing the context of the origin of a certain sound affects its perception. The work consists of the soundscapes recorded and transmitted live using internet technology, and then shaped in real-time using software in the exhibition space. Locations include the memorial park "Šumarice", where a large number of pupils were shot during WW2 and the First Kragujevac Gymnasium, where I went to school, juxtaposing sounds of playful children. Personally important to my growth and development, these locations carry strong socio-political context. Relocating their soundscapes in real time allows me to re-examine their sounding away from this context, asking the question “Does a soundscape carry the whole context of its landscape?” The choice of locations where the soundscapes originate shows the difference between silence and noise in relation to death (silence in the memorial park and the school) from life (joyful children playing sounds). The exhibition opened on 06.09.2021. in UK "Parobrod" in Belgrade, and the visuals were contributed by the colleagues Emilija Terzić and Igor Rajić. Installation was presented in Zagreb as part of the ZEZ festival in June 2022, as well as part of Sound Kitchen at Prague Quadriennale