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memoria
The unfinished journey of a lifetime. “The memory of the heart eliminates the bad and magnifies the good, thanks to this artifice we are able to bear the past” G. Garcia Marquez Dance interpreter / choreographer: Jorge Guevara Director of photography: Mario Topić Edit / Post: Mario Topić - Jorge Guevara Music: Wistful by A. TAYLOR, Ready to by Kosta T Trailer for the upcoming movie, shot in Croatia on Sony CineAlta F3. JGuevara © Croatia 2015
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ai - art me
Ai - Machine Learning • Face Swapping • Royal Museum of Fine Arts Antwerp KMSK • Project on the behaviour and perception of museum visitors • Optimisation of the customer journey • Using A.I. and IoT
2020
maya's clock
data visualization in JavaSript
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best practices in contemporary dance
Best Practices in Contemporary Dance - Best Practices (BPICD) is a practice based framework Initiated by Jorge Guevara and Naoto Hieda. Best Practices in Contemporary Dance. It proposes queer form of conversation between computers and bodies and the speculalitve creation of a new audio-visual body
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Ēngines of Ēternity (SEADS)
What concept of culture and identity will we develop in space? Who will have a say in this? And if we end up with a rich diversity of cultures and identities, how will we maintain cohesion? Ēngines of Ēternity (ĒoĒ) is a joint effort between SEADS and the laboratory of Karine Van Doninck (UNamur/ULB). In a series of space biology experiments, rotifers were sent to the ISS in 2019 and 2020. SEADS sent a human fingerprint code along with the rotifers. This code formed the algorithmic seed for an evolving artwork. After each space mission the gene expression data of the rotifers was used to parametrically evolve the art. As such, Ēngines of Ēternity engenders new forms of co-creation between humans, biological organisms, algorithms, and outer space. ĒoĒ is realized in partnership with the RISE project of the laboratory of Prof. Karine Van Doninck at the University of Namur. RISE is funded by ESA and BELSPO, in the framework of the PRODEX programme. Ēngines of Ēternity is funded with support of the Flemish Authorities. RISE and Ēngines of Ēternity were first launched on 5 December 2019 from Space Launch Complex 40 at Kennedy Space Center in Florida, as part of the SpaceX CRS-19 mission. NASA provided technical support.
2022
biomodd [BRG13] (SEADS)
The Biomodd installation for the Saint John’s Hospital was created with more than 150 participants from Bruges and the SEADS network, in close collaboration with Musea Brugge. It was built out of construction materials that were recycled from the numerous art exhibitions in the city from the past 20 years. In this way, the installation bridges the rich historical past of Bruges with artistic visions about the future of our world. A new multiplayer computer game was also created for this iteration of Biomodd. During the installation's standby mode, LED grow lights illimunate the internal ecosystem. Once visitors interact with the multiplayer game, the grow lights switch off and interactive lighting turns on. This lighting is connected to the game and reflects the activities of the players, while also impacting the plants. Sensors pick up signals from the plants and these data are then fed back into the game - like in an endless feedback loop. The same data generate a dynamic digital soundscape. In addition to the diverse plant species, bacteria and microalgae are also featured in the installation. Biomodd is a community art project that creates new relationships between nature and technology across different cultures around the world. In Biomodd, nature and technology are fused into hybrid interactive art installations. The core idea is the co-creation of experimental systems in which recycled computers and living ecosystems coexist and mutually reinforce one another. The recycled computers are connected into a network that runs a custom computer game. In this game, visitors, plants and other organisms interact in endlessly varying ways. Biomodd is an ongoing series of temporary experiments. It is always being developed on site with local communities, and aims to ignite critical conversations about our ideas on ecology, progress and our technological future. CREDITS Abdelrahman Abo Kamar, Youri Aerts, David Alliet, Farah Amri, Sarah Bauwens, Megan Belarmino, Robin Berrewaerts, Miguel Billiet, Agnes Biro, Elise Boes, Franchesca Casauay, Giusy Checola, Michiel Claus, Ann Colaert, Cato Crevits, Mona D’Hertefelt, Sim D’Hertefelt, Hannes D’hulster, Jana Dabaut, Moya De Feyter, Frederik De Laere, Matthias De Leener, Sander De Maré, Titus de Maupeou, Rein De Puysseleyr, Lieven De Visch, Michel De Wilde, Mathias Debevere, Fabienne Delange, Brecht Demarey, D’taska Demmerer, Jelle Demuynck, Els Dendooven, Robert Desmet, Sofie Desoete, Michelle Djojodimedjo, Carolina Drogendijk, Nika Dugashvili, Hector Dyer, Pablo Espinoza Valcke, Ana Margarida Esteves, Lise Everaert, Nils Faber, Dimitri Feys, Laurens Feys, Bobby Figueroa, Linda Geudens, Siebe Geyskens, Florian Giroul, Farshad Goldoust, Robin Goossens, Burak Gözen, Marriaan Groenewald, Jorge Guevara Larrota, Berhane Haile Mehari, Agi Haines, Naoto Hieda, Julie Houthave, Timothy Houthoofd, Sebas Joosten, Paragan Junshin, Jee Kast, Reintje Kerckhove, Jan Kerkhof, Tesfalem Kiffemariam, Ulrike Kuchner, Karin A.M. Lachmising, Emmy Lagast, Marie Lebon, Britt Leysen, Al King Librero, Margot Lievens, Nancy Maes, Yves Maes, Emerson Malan, Mei-Lin Man , Fabian Mansmann, Diego Maranan, Anouk Marcelis, Sylvie Marie, Fattana Mirzada, Sophie Moerman, Emeline Muylle, Mona Nasser, De Pauw Nathalie , Béatrice Ndebende , Chirangashana, Ramona Nicolascu, Nick Nijskens, Igor Nikolic, Krishan Nursimooloo, Hélène Paris, Pedro Pauwels, Ann Peeters, Tom Peeters, Jay Perry, Heleen Pollet, Sam Popelier, Mhd Radwan, Anouk Ramakers, Karin Robert, Elsie Roose, Louis Rutherford, Andrew Sammons, Céline Savaete, Prisca Schalembier, Matthias Schaffer, Frederico David Alencar, De Sena Pereira, Freyja Sewell, Julie Stael, Katrien Steelandt, Victor Steemans, Agnieszka Stepien, Alice Stewart, Pieter Steyaert, Rosalie Swimberghe, Tanéa Tajiri, Ploy Thongchamnan, Hannah Timmermans, Sirous Tork Zanjani, Pim Tournaye, Riikka Tuomikoski, Joke Van ‘t Veld, Kristien Van Acker, Emiel Van de gracht, Riet Van de Velde, Pieter Van de Walle, Bart Van Dommelen, Jan Van Kersschaever, Kathleen Vanacker, Jeroen Vancaillie, Stefan Vandaele, Kristel Vande velde, Robbert Vandekerckhove, Simon Vandekerckhove, Lies Vandenbossche, Noor Vandenbussche, Daniel Vandersmissen, James Vandewalle, Karolien Vanhaverbeke, Hanne Vermeersch, Jeroen Vermeiren, Angelo Vermeulen, Jeroen Verschuren, Nassim Versbraegen, Libuin Vierstraete, Obed Vleugel, Michelle Vosters, Arise Wan, Sielke Wassenberg, Yufe Wong
2021
tixana - light sculpture
PROJECT CONCEIVED AND DEVELOPED IN COLLABORATION WITH JUSTIN CAVANAS @ Recyclart 19 light sculpture - Art Installation - Global Warming - Human Reproduction - Coexistence - Overpopulation - Un/Control Geef een korte beschrijving van ongeveer 200 woorden van het project Jouw antwoord: We chose to work around "control" and "nature". Control can be linked with numerous aspects of our lives.  You have control on one side and uncontrol on the other end, but even though they stand opposite to each other, the wall separating them is easily destroyed.  That is exactly what Tixana is about:  the CONTROL and UNCONTROL of the accelerated reproduction of our human species and how this affects our planet and ultimately our lives.  Can we or better should we control our reproduction?  One of the most important characteristics of living beings, a fundamental feature of all known life?    We collect data from a visitor counter, we made with an ultrasonic sensor.  We use this data to trigger a hacked smoke machine that releases a small amount of smoke every time a visitor enters the room. This will gradually fill up a giant plexiglass structure with smoke. At the same time a giant ice block which is suspended above will melt faster and faster, creating a rising water level in our structure. In Addition 8 lasers are pointed at the ice and for every x amount of people a laser will turn on turning the ice more red with every laser. At last we will use mapped mesmerizing visuals on the structure filled with smoke which will create a stunning a effect.     Het project is ontstaan ten tijden van de klimaatbetogingen in Brussel. De boodschap die we willen doorgeven en het beeld dat we duidelijk willen maken is dat wij de oorzaak van al deze huidige ecologische problemen zijn. Dat zelfs enkel onze aanwezigheid nefast is voor onze aarde. Als we aan de opwarming van de aarde denken en het broeikas effect is overbevolking een woord dat we bijna nooit rechtstreeks linken hieraan. Hoewel het een van de grootste achterliggende oorzaken hiervan is. Met Tixana wilden we iedereen doen beseffen wat onze aanwezigheid op aarde betekent voor de aarde zelf. Dat kinderen krijgen niet alleen gevolgen heeft voor jou leven maar ook dat van de aarde. Men durft wel eens te zeggen dat kinderen krijgen de meest egoïstische daad van de mens is en eigenlijk is dat niet zo onwaar. Tegenwoordig doen we heel wat om onze ecologische voetafdruk te reduceren. We recycleren, we vermijden plastic zakken, we gebruiken herbruikbare energie en elektronische auto’s enzoverder. Maar we horen nooit iemand zeggen dat ze weigeren kinderen te hebben om de aarde te redden. Kunnen we, of beter zouden we onze voortplanting moeten controleren? Een van de belangrijkste kenmerken van levende organismen en een fundamenteel kenmerk van ons leven? The project originated during the climate demonstrations in Brussels. The message that we want to convey and the image that we want to make clear is that we are the cause of all these current ecological problems. That even our sole presence is harmful to our earth. When we think of global warming and the greenhouse effect, overpopulation is a word that we almost never directly link to this. Even though it is one of the biggest underlying reasons for this. With Tixana we wanted everyone to realize what our presence on earth means for the earth itself. That having children not only has consequences for your life but also that of the earth. It is sometimes said that having children is the most selfish act. These days we do a lot to reduce our ecological footprint. We recycle, we avoid plastic bags, we use reusable energy, electronic cars and so on. But we never hear anyone say that they refuse to have children to save the earth. Can we or better should we control our reproduction?  One of the most important characteristics of living beings, a fundamental feature of all known life?  ---------------------------------------------------------------------------------------------------------------- Tixana toont, Op een abstracte en toch heldere manier De gevolgen van overbevolking door middel van een interactieve installatie. De uit plexiglas gemaakte balk vormt het hart van de installatie en representeert onze aarde. Deze word gradueel beïnvloedt door 2 factoren. Enerzijds door een ultrasoon sensor gelinkt aan een rookmachine die voor elke opgemerkte bezoeker een kleine hoeveelheid rook in de constructie blaast. Anderzijds door het enorme blok ijs dat boven de balk hangt. Deze begint sneller te smelten als het aantal toeschouwers in de ruimte stijgt. Er zijn namelijk 8 lasers gericht op het ijs die telkens op het moment dat de totale hoeveelheid bezoekers een nieuw hoogtepunt bereikt één voor één activeren. Vervolgens valt al dat gesmolten ijswater in de constructie. Wat men dan kan opmerken is dat er zich meer en meer rook en water verzamelt waardoor de constructie troebel wordt en het waterspiegel stijgt. Als laatste worden er kleurrijke en fascinerende beelden geprojecteerd op de constructie. Hoe meer rook, hoe duidelijker en betoverender de beelden worden. Tixana laat d.m.v een interactieve installatie de toeschouwer zelf ontdekken dat hij medeplichtig is aan de “vervuiling” van de aarde. Gedreven door nieuwsgierigheid en eigenbelangen is de toeschouwer de kamer binnengegaan om het werk te aanschouwen. Hierdoor is de teller en ook het rookmachine geactiveerd. De toeschouwer is gehypnotiseerd door de fascinerende beelden en denkt niet na over het feit dat zijn aanwezigheid in de ruimte deel van het probleem is. Dat achter al dat moois iets lelijks ligt. Alleen zijn eigenbelangen tellen. ---------------------------------------------------------------------------------------------------------------- Plexiglas constructie = aarde Aantal bezoekers(door ultrasoon sensor) = wereldpopulatie Rook = broeikasgassen ijs = poolkappen Gesmolten water = stijging zeespiegel Lasers = zonnestralen Meer rook = duidelijkere beelden  Hoe meer schade hoe duidelijker het probleem wordt kleurrijke en fascinerende beelden = Kapitalisme en Massaproductie/consumptie, Al wat de mens begeert kleurrijke en fascinerende beelden  We worden verblind door de schoonheid  We zien de schade niet die we hebben toegebracht  De schade is onbelangrijk zolang onze “honger” gestild word. Tixana shows, In an abstract yet clear way The consequences of overcrowding through an interactive installation. The beam made of Plexiglas forms the heart of the installation and represents our earth. This is gradually influenced by 2 factors. On the one hand by an ultrasonic sensor linked to a smoke machine that blows a small amount of smoke into the structure for every visitor noticed. On the other hand due to the enormous block of ice that hangs above the beam. This starts to melt faster as the number of spectators in the room increases. This is caused by 8 lasers aimed at the ice that activate one by one each time the total amount of visitors reaches a new peak. All that melted ice water falls into the structure. What’s noticeable is the accumulation of smoke and water, making the water level rise and the construction turbid. Finally, colorful and fascinating images are projected onto the construction. The more smoke, the clearer and more enchanting the images become. Tixana lets the viewer discover through an interactive installation that he is complicit in the "pollution" of the earth. Driven by curiosity and self-interest, the viewer has entered the room to view the work. As a result, the counter and also the smoke machine are activated. The spectator is hypnotized by the fascinating images and does not think about the fact that his presence in the space is part of the problem. That behind all that beauty lies something ugly. Only his own interests matter. -------------------------------------------------- -------------------------------------------------- ------------ Plexiglass construction = earth Number of visitors (by ultrasonic sensor) = world population Smoke = greenhouse gases ice = polar caps Molten water = rise in sea level Lasers = sun rays  More smoke = clearer images  The more damage the clearer the problem becomes  colorful and fascinating images = Capitalism and Mass production / consumption, All that humans desires  colorful and fascinating images  We are blinded by the beauty  We do not see the damage we have done  The damage is unimportant as long as our "hunger" is satisfied.
2019
Project conceived and developed in collaboration with Justin Cavanas
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