Headliners and winners of the world’s largest media art festivals gathered at one venue in Moscow to initiate a sharp dialogue about the art of future, emerging at the intersection of science, culture and technology.

From the 2nd till the 4th of April 2010 at the center of Moscow, a stone’s throw from Red Square on 10,000 sq.m. of Art Center “Vetoshny” for the first time took place an exhibition “Lexus Hybrid Art”.

At the initiative of Lexus company curators Barkovskaya  Olga and Anna Belyaeva selected works of artists who create images of the future already today.



An installation by Gebhard Sengmülle “A Parallel Image” is an electronic camera obscura. This media-archaeological, interactive sculpture is based on the fictive assumption that the currently still valid principle of electronically transmitting moving images, namely by breaking them down into single images and image lines, was never discovered. The result is an apparatus that attempts a highly elaborate parallel transmission of every single pixel from sender to receiver. This is only possible by connecting camera and monitor using about 2,500 cables. Unlike conventional electronic image transmission procedures, “A Parallel Image” is technologically completely transparent, conveying to the viewer a correspondence between real world and transmission that can be sensually experienced.


Ryoichi Kurokawa “rheo: 5 horizons”: All things flow, everything runs and does not stay put. Things seem to be the same however are never same. We will find life (the being) in this dynamics. The continuity of death and rebirth is symbolized in this alteration. This work is mainly composed of underwater sound and generative audio with digital processed concrete imageries. “celeritas” (performance) means “swiftness”, “speed”, and is the origin of the symbol “c” indicating the speed of light. This work focuses on the womb and the baby in the womb and her/his speed/time concept. … What we are seeing, what we are hearing, what we are feeling now, these might be the dreams we had in the womb.


“Corpora in Si(gh)te. Introduction” is a real-time processing generative architecture installation, based on Super Eye concept. The doubleNegatives Architecture (JP/CH/HU) group’s philosophy is to use data input from nature/outside (wind, temperature, light, sound) to build living architecture environments with intelligent sensors. The critical direction of a work like “Corpora in Si(gh)the“ provokes aesthetic experience of network environments which we usually use but not consciously reflect, whereas the overriding exhibition  title “Hybrid art” aimed at an even larger scale of discussion.


First created in 1999 by Scott Draves, the “Electric Sheep” is a form of artificial life, a software that recreates the biological phenomena of evolution and reproduction through mathematics. The system is made up of man and machine, a cyborg mind with 60,000 participant computers and people all over the Internet. This is a distributed system, with all participating computers working together to form a supercomputer that renders animations, called “sheep”, that everyone sees. The human participants guide the survival of the fittest by voting for their favorite animations in the flock. The infinitely playing, non-looping animation features high-resolution clips hand-picked by Draves from the thousands produced by the artificial life form he created, the “Electric Sheep”.


Silence is gone from today’s urban spaces. Noise pollution is produced, 24 hours a day, 7 days a week. We can close our eyes, but our ears are always open. Noise in a range of low frequencies is imperceptible by our ears, but is sensed by the whole body. This unheard sound becomes part of our everyday life. Andreas Muxel and Martin Hesselmeier showed installation “Capacitive Body” – a modular light system that reacts to the sound of its environment. Each custom built module consists of an electroluminescent light wire linked to a sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces.

FLOW 5.0

Daan Roosegaarde is an artist working in Rotterdam, the Netherlands. His work explores the dynamic relation between architecture, people and e-culture. “Flow  5.0”  is  an  interactive  landscape  made out  of  hundreds  of  ventilators  which  reacts to  the  sound  and motion of the audience.  By walking  and interacting  the  visitor  creates  an  illusive landscape  of  transparencies  and  artificial wind.


“SoniColumn” is an interactive sound installation that can be played by touch. Grids of LEDs installed inside the column light themselves on by the user’s touch and emit unique sounds. When a user cranks the handle, the column slowly rotates itself and plays the light patterns of the user’s touch. It is a reproduction of Jin-Yo Mok’s, korean artist based in New-York, experience with a small music box that he happened to play a long time ago.


Lawrence  Malstaf  (born  1972,  Brugge,  Belgium)  creates  works  of  art  that  belong somewhere on the borderline between visual arts and theatre. The theatrical experience Malstaf confronts us with is also an individual experience in which  each  individual  visitor  can  observe  and  sometimes  can be  observed. In his work “Shrink, 01996” 3 large, transparent plastic sheets and a device that gradually sucks the air out from between them leave the body (in this case the artist himself) vacuum-packed and vertically suspended.  This is a living installation that depends on the public and  in which “space plays the part of the actor and the body the part of fellow actor”.


“Sonumbra” is part of an experimental body of work where Loop.pH studio (UK) explore how alternative sources of energy and low cost lighting can be crafted to provide light and shade. Strands of light are laced into huge parasols with the potential to offer shelter from the sun by day and shed light at night using energy collected from the solar cells embedded in its canopy. The lace column is 3.3m high and has a diameter of 4m. The software can take a variety of control inputs from cameras, sound sources, room sensors or data from the internet to create a fluidic, water-like movement corresponding to the input. The structure of the “high genus fullerene” realised as “Metabolic Sphere” was first proposed on a molecular scale in 1997. Whilst our current technology uses energy as the main control parameter, biology uses information and structure. To reduce our reliance on energy we should emphasize embedded information and introduce more structure.