/’fu:bar/ 2018

Sabato Visconti [US] – #Glitchbooth SAT Oct 6th – 8pm [interactive installation @ Siva]

#Glitchbooth> is a live interactive video installation where participants have their best selves captured in 1-to-2 minute video portraits. The video portraits are glitched using a corrupted DivX encoder and processed for live screening so that participants can see their glitch selves. Modeled after the photo booths found in weddings and events, #Glitchbooth considers "Selfie Culture" as a social practice that is conditioned by the structures of digital technologies and distribution channels.

Sabato Visconti — a Brazilian-born photographer and new media artist based in Western Massachusetts. He was born in São Paulo, grew up in Miami, and studied Political Science at Amherst College. Sabato’s work seeks to reconfigure traditional understandings of photography for the post-internet era, where photographic and cinematic practices become absorbed by digital processes, hybridized media, online networks, and machine intelligence. His work captures the subject in the face of ecological turbulence driven by the dysfunctions of vast impersonal systems. Sabato began experimenting with glitch processes in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since then, his work with glitch and digital media has been awarded the ArtSlant Prize IX and has been shown in places like Tate Britain, ICA Boston, SPRING/BREAK Art Show in New York City, LACDA, the FILE Festival in São Paulo, as well as galleries throughout the world. His work has also been published in TIME Magazine, WIRED, The New York Times, AI-AP’s "Latin American Fotografia 4" Anthology, and in Photographer’s Forum annual "Best of Photography" books for eight straight years. sabatobox.com

Lovely Insomnia [HU] SAT Oct 6th – 9pm – Live Set/DJ Set [performance @ Siva]

Gábor Hufnágel — a Hungarian electronic music composer/producer. He’s currently studying electronic music and digital arts at University of Pécs. He describes his music as a fusion of polyrhythms, rich textures and field-recordings. His process often involves algorithmic techniques and aleatoric elements.

During his studies he was influenced by the works of the 20th century electroacoustic composers but he always felt the contemporary experimental music scene closer to him. His upcoming debut album (from which he will play a live set at /’fu:bar/) would like to explore the relation of these two and contribute to abolish the boundaries, elitism and controversy which still surrounds these topics. His works are also heavily emotion-centered, dynamic in terms of tempo as he also tries to unfold the possibilities of contrasts in music.

Ramiro Polla [BE] – FFglitch SUN Oct 7th – 7pm – [lecture @ Siva]

FFglitch is a precision multimedia editing tool based on FFmpeg. When you glitch a file using a hex editor, it's like getting a tattoo with a radioactive axe. You might get some cool results, but you have very high chances of dying from blunt trauma or some cancerous genetic mutation. FFglitch, on the other hand, is more like genetic engineering. You manipulate your genes to naturally grow your tattoo. FFglitch produces valid bitstream, so Facebook or YouTube won't choke on your files. It is so precise it can barely be considered glitching at all...

Ramiro Polla — likes hacking things. He was an FFmpeg developer for 5 years, but now he got better... ffglitch.org

Mark Klink aka srcXor [US] – 3d glitching SUN Oct 7th – 8pm-10pm – [teleworkshop @ hacklab01]

Demonstrating methods for glitching .obj files, using text editors and spreadsheets. Mark will also discuss the standard triangle and edgeloop patterns that are used to form most 3d models and then demonstrate remeshing techniques which can ultimately produce more interesting glitches. If time is available, we’ll discuss other 3d file formats and ways they might be glitched.

Mark Klink — has been and done many things: swept floors, worked in a factory, been an athlete, a minor government official, a lifeguard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures. srcxor.org

Holographic_thought_process [FR] – Video Dirty Mixer MON Oct 8th – 2pm-5pm – [workshop @ hacklab01]

Building of a video dirty mixer, which "mixes" two analog video sources the bad way, resulting in a glitched output. A good case study to talk about composite sync signal and how messing with it can yield wonderful results.

Bastien Lavaud — imagines and creates electronics devices for arts. Audio, video and DIY enthusiast, he shares his creations on his website by providing information on how to build them, and makes demonstration of it in the realisation of video clips/VJing under the alias Holographic Thought Process. syntonie.fr

Nikša Gligo [HR] – Can glitch music be music at all? MON Oct 8th – 6pm – [lecture @ Siva]

The answer to this question depends on what we consider music. Looking back in history we find the expressions like musica mundana, musica humana, and musica instrumentalis. But the meaning of musica there is equal to harmonia, i.e. accord and has nothing to do with the narrower meaning of harmony in the tonal theories. My aim here is to point out that glitch music belongs to all these kinds of music which do not imply traditional, constant determinants of music as art. Glitch music belongs to the same group as "furniture music" (Erik Satie), "paper music" (Josef A. Riedl), "noise music" (Italian futurists), "prose music"/"music to read" (Dieter Schnebel), "eye music" (Luciano Berio), "son organisé" (Edgard Varèse), "organization of sounds" (John Cage), "sound art"... If we want to avoid "sound art" as something that doesn’t belong to music in the most general sense, then we are obliged to think about music in plural ("musics"). Glitch music would then be just one of them with its own theory, aesthetics and meaning.

Nikša Gligo — born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with Hans Heinrich Eggebrecht). He has taught at the Zagreb Academy of Music since 1986. He is the ordinary member of the Croatian Academy of Arts and Sciences and of Academia Europaea in London. Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodič kroz glazbu 20. stoljeća, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities.

Magno Caliman [NL] – screenBashing MON Oct 8th – 8pm – [performance @ Siva]

screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance. It utilises SuperCollider (a sound oriented programming language) for it's sound components, and C (a general purpose programming language) for it's visual elements. By using the very basic functionality, present in pretty much all programming languages, of printing characters on the screen back to the user, the visuals are created by printing characters such as backslashes and underlines in rapid succession, and at the same time freezing the whole system several times per second, creating the illusion of animated motion; something neither C nor the printing function were originally intended to do. (...) After a certain threshold, the system becomes erratic, up to a point where it is no longer possible neither to gain control, nor to foresee the end of the performance, which happens at the onset of the machine processor capability, when it indubitably fails and crashes, or there is no alternative but to force shut both the visual and audio generators. The current version of the performance, to be played at fu:bar, adds a new layer of error, with the use of a laptop not connected to a power outlet. The amount of charge left in the battery at the beginning of the performance is chosen in order to determine the duration of the piece, which ends with the involuntary shut down of the machine.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now present himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman

Random Pixel Order [FR] – The Archive TUE Oct 9th. – 2pm – [open studio @ Siva]

Random Pixel Order is a project started in 2015 by Clara R/ and Guillaume Cartis - a crossover collective between IT and micro-edition. The project aims to bring the two closer and comprehend how they can mutually develop. Torn between glitch / dev / analog hacking on the one hand and illustrations / graphic novel / zine on the other, the collective choses to do both. The Archive is a digital art zine collection, every publication with its little background story, a particular technique used (sometimes multiple). The collection is open to digital art in general and holds a multitude of techniques - glitch (sonification, 3D glitches, pixel sorting,...), creative coding, web found images, bitmap and MS Paint drawings, scanner movement, digital collage... Different print techniques are also used - some are fully digital prints, some are screenprint or riso, others mix printing techniques. The entire collection of 50 zines will be presented at /’fu:bar/ 2018. Anyone involved with the festival is invited to participate to author a new zine on the spot.

Clara R/ — founded RandomPixelOrder in 2015 with Guillaume Cartis while she was an undergraduate student in mathematics and computer science in Bordeaux, France. Seeing that much code everyday and being fascinated by mathematical functions, she couldn't keep herself from trying to apply those new knowledges to something visual and fun. She experimented on different techniques along the time, going from classic 2D glitch and datamoshing at the very beginning to generative coding and 3D glitch. During this few years, Clara has been implicated on creating projects that build the bridge between zines and computer. Today, as the collective is exploring new physical supports, Clara is opening herself to more interactive techniques as Arduino and video game making. Now she continues her master degree in graphic computer science, robotic and video game while making posters and fanzines. Guillaume Cartis — after a few self-published zines, founded RandomPixelOrder in 2015 with Clara Rigaud aiming to create a bridge between digital and zine making. Exploring different glitch art techniques, he introduced himself to 3D, video editing and film making. In 2016 he joined Disparate, an associative zine store, where he works on Bordeaux Zinefest organisation and workshops. During those years he started to get into risography, screen printing, scenography and awkward electronic music. facebook.com/randompixelorder/

Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques TUE Oct 9th – 6pm – [lecture @ Siva]

The twentieth century and the beginning of the twenty-first can be labeled as a century of media art. Not only filmmakers, but also painters, sculptors, graphic artists, architects, stage designers and many others have been experimenting with media technologies since its very beginning. This lecture will present a brief historical review of the use of media technology imperfections as an artistic expression. By using the example of Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp and Heiko Daxl, 1990 to 2012) video production, the lecture will present a multiplicity of artistic image editing approaches, which were realized by a symbiosis of analogue film, video and digital errors in specific video works. At the end of the lecture, visitors will be able to see a selection of the best works of Media in Motion art production.

Ingeborg Fülepp — Born in Zagreb, lives and works in Rijeka, Zagreb and Berlin. Studied film editing (at the Academy for Theatre, Film and Television in Zagreb; today Academy of Dramatic Art - ADU) and post graduate studies, film, video and interactive media at Harvard University (Ed.M) and at Massachusetts Institute of Technology, The Media Lab. Taught film editing at the Academy of Dramatic Art (ADU), Zagreb in 1978 - 1993. Lectures in USA, Great Britain, Netherlands, Austria and Germany since 1983, as well as at the New Media Department at the Academy of Applied Arts (APURI, Rijeka) since 2013, where she founded, and leads the Center for Innovative Media CIM since 2017. She’s an active participant of many international scientific gatherings, exhibitions and festivals, and participates in several EU projects as an associate or a jury member. Worked as a film and video editor on many productions. Received a multitude of scholarships and awards as an independent artist. Own artistic practice involves film, interactive multimedia projects, video art and video installations, of which some were shown in the New National Gallery in Berlin, Museum of Contemporary Art (MSU) in Zagreb, Museum of Modern and Contemporary Art (MMSU) in Rijeka, as well as in many private and national galleries around the world. As a curator, an art director and a media art event organizer - she has ran a non-profit Media in Motion GbR, Berlin-Zagreb with Heiko Daxl, and has organized numerous international exhibitions and gatherings. fuelepp.com

FRGMNT [DE] – SSB - Sequenced Noise Beauty TUE Oct 9th – 8pm – [performance @ Siva]

The performance is a ~30 minutes live improvisation with advanced self made electronics. This involves the SNU (Special Noise Unit, FM-synth), sequencers, ring modulators and unique ultrasonic instruments (transmitters & "bat ears"). The main Units (SNU & sequencer I put under open license & distribute docu after the concert).

Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org

FRGMNT [DE] – SNU noise machine WED Oct 10th – 2pm-5pm – [workshop @ hacklab01]

In this workshop, participants will be shown how to build the SNU (Special Noise Unit), an experimental sound circuit which uses illegal states falling between 1 and 0, and drives the digital chip it uses into an in-between world of uncertainty, resulting in complexity and uncontrollable behaviour, but also a playable instrument. Bio:

Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org

Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages WED Oct 10th – 6pm – [lecture @ Siva]

Computer programmers working in non-artistic applications and artists using programming languages to support an artistic practice might seem, at first, to be making use of the same tools (computational devices), and therefore can be thought of having similar practices. In this lecture we will draw parallels between the modes of operation of this two use cases. Specifically, we will comment on how artists are in a position not conceivable to the professional programmer: one where error making, trial-and-error, and "not knowing" some of the underling technical aspects of the practice are not only expected, but sometimes necessary in both the day-to-day experimental practice, as well as in the learning of those computational tools.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, I now present myself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in my works for a few years now: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman/

Paul Vivien [FR] – 99% WED Oct 10th – 8pm – [performance @ Siva]

Loading… Loading… a transfer, a life, a movie, everything needs a time to prepare itself before it’s ready, before it becomes perceptible and pleasant. And when it’s ready, hurray! We can consume it. Why do we need it to be ready? Why don’t we prefer the things which are still in progress? A premature baby, an immature fruit or the current moment of my life with the evolving cells of my body? The last percent is missing, just enough to make you feel uncomfortable about this loading which will never end, with this file and my life you will never successfully download.

Paul Vivien — a new media artist who creates installations and performances. Experimenting with lights, generative custom software, video and sound, each project is an opportunity to discover a new expression way. Thanks to new technologies, he tries to make the virtual boundaries tangible, to augment the experience we could have of the real, accompanied by technology as invisible as possible. The artistic universe of Paul Vivien is hosted by a research about digital forms of life, a theme merging the notions of singularity, artificial intelligence, science fiction and nature. Based in Paris, Paul does talks and workshops at ENSAAMA, ECV and EPSAA art schools. In parallel of his solo projects, he participates to OYÉ visual art label production support, kaleidos studio art and design researches, exhibitions curation, and Omicron Persei 8 live AV. paulvivien.fr

ROUND TABLE THU Oct 11th – 6pm @ Gallery Siva

— on the current state of reinterpretative new media, its (role)models, changes, its influences, in regard to its artistic and technical ethos and praxis. The talk aims to discuss and contextualize diverse glitch-based critical new media (& appropriation) practices, in the company of /’fu:bar/ 2018 guest artists.

Nada Hasan [EG] – Experimental Desires [safe passage] THU Oct 11th – 8pm – [performance @ Siva]

A performance of reading texts and verbatim poems, installations of glitched video and live audio-visuals; an onsite experiment of a woman and her alter egos as she seeks to become the super human. The piece involves the ambivalent contradictions of female/male, weak/strong and white/black as they reside within a single body navigating hostile geographies. The project will explore the emotional, mental and physical aspects of becoming the perfect human through a mind trip and a process of being exposed to an archive of the most tangible realities and feelings, desires and traumas.

Nada Hasan — a Cairo based multidisciplinary artist from Southern Egypt. Her special focus is in video and media arts but her artistic practices vary between illustration, graphic design, performance, theater and storytelling. BA degree holder from faculty of Languages, Russian language and literature department and studied filmmaking at the Cairo Jesuit Cinema School by the year 2010. Since then she developed her skills in film and video art work by self teaching, exploring and experimenting new and various forms of creating moving image. Her work focuses on the emotional package of a body as a commodified being; making the struggles of bodies visible, emotions resistant to modern society persecution, while emphasizing the experience of oppression and our survival performances in functioning within privilege imbalances in connection to the quadrilogy of Race, Gender, Sexuality and Power. Her video and media art practice is curious to transcend the limitations of classical filmmaking and explore contemporary new media practices and its broad possibilities to create an alternative relation between the artist and spectator while constructing unconventional visual, image and motion driven narratives.
 vimeo.com/user5161708

GUIDED EXHIBITION TOUR FRI Oct 12th – 6pm @ Gallery Siva

(hrvatski ~45’ | english~45’) Inquiries contact: fubar@hacklab01.org

Tabache & Lady oN [IT] – cHroma flux FRI Oct 12th – 8pm – [performance @ Siva]

"cHroma flux" explores a process of metamorphosis in which cells of colour and sound expand in order to create new forms. Thanks to technological devices, colour pixels and acoustic music mutate and distribute themselves throughout space giving life to a "technological landscape". The visuals are generated by live manipulation of paintings that have been transferred onto acetate. The resulting prints are positioned onto TV screens by means of feedback generated by webcams and this process triggers a series of transformations of the coloured pixels. The visual flow of colour is managed and produced thanks to an analogue video mixer. The result is a technological animation of colour as if under a microscope. It becomes a kind of digital mantra that responds to itself, reproducing and moving outwards to take over a new space. The audio has been developed from synth sources and classical music sampling. The acoustic samples have been literally deformed by digital and analogical technology, so that they reach the listener as naked sound that has been completely transformed from its original grammatical, cerebral and human nature as musical language. In "cHroma flux", sound and image influence each other in a synaesthetic vision that has been achieved not by machinery but by the physical gesture of a performance coordinated by the performer’s reciprocal listening and looking.

Tabache — starts his journey in 2004 with "Problems with my Mind", an electro experimental punk band with influences from bands like Suicide and subsequently flow into House, Techno, IDM. Publishing two records, "Album" (2005) and "Stato di Tensione"(2007). After moving to Bologna, he started his first solo project, Tabache, specifically devoted to a live and sensorial experience, with strong influences from Techno and Ambient. His new life injected him a new flow of creativity, which brought Francesco to publish in 2015 his first solo record ‘Searching a total state’, and to found his own record label with Alberto Randi and Giovanni Ricchi, "Timeless Records". In the same year he curated the performance and sound design for the performative theatre shows directed by Ennio Ruffolo. His natural interest in clubbing leaded him to open a new channel for the electronic music in Bologna and surroundings, with a serie of electronic events, such as "Sunday Calling" (2012 - 2014), "Futuro Dancefloor" (2015 - 2017), "Bologna Elettrica" (Electronic experimental Festival in XM24 social center, 2017, 2018) , and the new art collective "Einheit" (2017). soundcloud.com/tabache Lady_oN — operates as a videomaker and a visual artist on the national and international scene, realizing dreamlike live visuals sets, wraparound and imaginative visual scenographies invading the spaces of DJ sets, live music, installations and theatrical performances. In a constant state of research and experimentation, Lady_on’s visuals create hypnotic space-time fabrics in a cut up of images, video synthesis, found footage and feedback, contaminating the many pre-existing visuals with the possible infinites of live shooting and sonic incursions. Simultaneously, she is working on the Mediamorphose project, researching a multiplicity of visual expressions via music clips and video documenting reality.instagram.com/mediamorphose/

"Ondes noires" screening & FESTIVAL CLOSING FRI Oct 12th – 9pm @ Gallery Siva

"Ondes noires" / "Dark Waves", Documentary (21’14’’) In an ultraconnected society where waves have almost invaded every space, three electromagnetic intolerant people bear witness of survival in a world that seems more and more inacessible to them. The staging explores the idea of a deceleration in time. A necessary condition for the perception of a reality that extends beyond the visible. Written & Directed by Ismaël Joffroy Chandoutis; Cinematography by Nikos Appelquist Dalton; Production : Le Fresnoy – Studio national des arts contemporains.

// Screens and Prints Aaron Juarez Adrian Cain Affar Oppip Allison Tanenhaus Bartek Pilarczyk Creation by Destruction Cyberart By Justin Digital Ruins Earnest Raw elle thorkveld Ivana Miljkovic Ivana Miolin Barić John Bumstead jrdsctt Magdalena maja kalogera Mark Klink Mila Gvardiol Mirna Udovčić Neal Peterson Riitta Oittinen Robert Hruska Sabato Visconti satej soman Sebastian Gatz sepo Skinny Bunny tajny_projekt Tchidu Twin Pixel vivid windowzine Yuri Zalevski // Interactive Dario Zubovic Jim Andrews jonCates Kolmogorov Toolbox Magdalena Zoledz x Robert Kowalski Sabato Visconti Timo Kahlen // Narrative Gelido Jessica Evans Random Pixel Order // Time-based Baron Lanteigne + Derek Piotr Christoph Kerschner DAJAJDE Daniela Olejnykov (a.k.a paranthre, velvet_bites_) Daniela Takeva, Nikolina Nedialkova, Felix Ermacora Demet Karapinar DF0:BAD Digital Ruins Dom Barra _ AlteredData elle thorkveld Gochevas Ismaël Joffroy Chandoutis Kacper Mutke Lívia Zafanelli Lou Morlier Marija Lučić Meena Khalili Nickk Outernet Explorer Paloma Schnitzer & Pablo Denegri Paul Beaudoin Petra Drevenšek Philippe Girardet Qin Tan [sic][redacted] | alan page Timothy Nohe vivid // Lectures And Workshops Holographic_thought_process Ingeborg Fülepp Jo FRGMNT Grys Magno Caliman Mark Klink aka srcXor Nikša Gligo Ramiro Polla Random Pixel Order // Performances Jo FRGMNT Grys Lovely Insomnia Magno Caliman Nada Hasan Paul Vivien Tabache & Lady oN

Call for Glitch Art and Texts 2018

/’fu:bar/ is a multimedia participatory event, focused on the theme of discovering and displaying errors in the very process of creating cross-disciplinary new media art. The event is composed of discursive units (artist talks and lectures), open workshops, audio-visual artist performances and a glitch-bound visual arts exhibition. We are looking to materialize your digital randomness into hardcopied objects, screen your videos, distribute your texts, click your net art and run your sound installations through air. Any digital media and any glitch technique will be considered, as long as they are presentable in the form of a digital print or image, sound installation, a website, or a video. Applications deadline: August 15th 2018. Deadline extended till Aug 25th 2018.

Submission rules Up to three submissions are allowed (each submitted in its own application form) with up to 15 files per submission (all stored in one single archive file). Links to personal websites or archives will not be considered. The links provided need to be accessible up until and during the time of the event -  late October 2018 (please use Google Drive, Dropbox or similar; not services with expiring links like WeTransfer). The work submitted will be reviewed, and a selection will be made by the /‘fu:bar/ team. The results will be announced on the /’fu:bar/ website prior to the exhibition. Please follow the instructions and prep your pieces accordingly if you’d like to get printed. max - A2: 594 x 420mm, 300 DPI  / 4961 x 7016 pixels, RGB min - A4: 297 x 210mm, 300 DPI / 3508 x 2480 pixels, RGB Really small pieces in any DPI will not be printed (but might get displayed / screened). Video pieces need to be baked (recompressed and playable in video players). Inquiries: fubar@hacklab01.org Apply here

/’fu:bar/ 2018 timeline Apr 15 — Call for glitch art workshops, lectures and performances opens Jun 25 — Call for workshops, lectures and performances closes ~ late Jun — Results of the open call for workshops, lectures and performances announced Jun 15 — Call for glitch art and texts opens Aug 15 — Call for art and texts closes ~ mid Sep — Open call for art and texts results announced Oct 6 – Oct 12 — /‘fu:bar/ 2018 \o/ @ AKC, Zagreb  /’fu:bar/ is organized by the Autonomous Cultural Center Attack, in cooperation with Format C art org. The exhibition is financially supported by Croatian Ministry of Culture, City of Zagreb - City Office for Culture, National Foundation for Civil Society Development and Kultura Nova Foundation — supporting programmes of ACC Attack.

Call for Glitch Art Workshops, Lectures and Performances 2018

/‘fu:bar/ is a multimedia participatory event, focused on the theme of indicating errors in the very process of creating cross-disciplinary new media art. The event is composed of discursive units (artist talks and lectures), open workshops, audio-visual artist performances and a glitch-bound visual arts exhibition.

/’fu:bar/ is held in Autonomous Cultural Center (AKC) in Zagreb, Croatia and aims to gather contemporary glitch artists from all around the globe and support all fields of contemporary experimental data corruption aesthetics and tactics.

In this call we are looking for workshops, lectures and performances that you feel fit into the above description.

That means you can apply with stuff like glitchy music, a new media workshop, lecture or talk, a glitch VJ performance or anything else that tickles your fancy.

The call is open Apr 15 - Jun 25. ***The deadline is extended till Jun 25th!*** We can offer:

- travel costs refunds (train, bus, or low budget flights; partial funding is available for overseas applicants) - food - a place to sleep (shared accommodation; not a hotel) - free entrance to any and all other programs in AKC during your stay /‘fu:bar/ 2018 timeline Apr 15 — Call for glitch art workshops, lectures and performances opens Jun 25 — Call for workshops, lectures and performances closes ~ late Jun — Results of the open call for workshops, lectures and performances announced Jun 15 — Call for glitch art and texts opens Aug 15 — Call for art and texts closes ~ mid Sep — Open call for art and texts results announced Oct 6 – Oct 12 — /‘fu:bar/ 2018 \o/ @ AKC, Zagreb

About the venue:

Back in 2009. an abandoned pharmaceutical packing factory in Pierottijeva street 11, a former squat, was legalized by the local government and leased to AKC Attack who've been sharing the space with other NGOs and initiatives ever since. The space focuses mainly on free education and night time underground music, from punk to psy trance. So if you dislike loud music and young people partying, this might not be up your alley. :)

Apply here! 

Good luck and we hope you join another instance of our cozy glitch family meetup. :) <3 For any questions feel free to contact us at fubar@hacklab01.org

/‘fu:bar/ is organized by the Autonomous Cultural Center Attack, in cooperation with Format C art org. The exhibition is financially supported by Croatian Ministry of Culture, the National Foundation for Civil Society Development, City of Zagreb - City Office for Education, Culture and Sports, and Kultura Nova Foundation — supporting programmes of AKC Attack and Format C.