foundyou.online /about
Open Filters
Weirdcore 2016 looped "The Glass Eyes" by Radiohead made/shoot by Weirdcore Weirdcore Aphex Twin – Collapse Print, 2018
Interpreting Aphex Twin: The visual world of Collapse
2017 "Phase Magenta" + "Inulin" by Overmono video directed, shot & edited by Weirdcore & Overmono on XL records
Games - 'Shadows In Bloom', Directed by Weirdcore
Weirdcore Artist Talk
APHEX TWIN – COLLAPSE VIDEO 2018 video by Weirdcore

London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there. [1]

Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation. Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects. With a unique blend of formats, colours, designs and mediums, Weirdcore has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Nabil, Hype Williams, Charlie XCX, Skrillex, Sophie Muller, Diane Martel and Miley Cyrus, in order to create innovative and groundbreaking videos, visuals, interactive installations and other projects. Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera. [1]

Most recently, Weirdcore created a stunning CG world for Tame Impala’s “Cause I’m a Man” and is currently working alongside M.I.A.’s on her new album visuals. Drawing on elements that are highly structured, Weirdcore smashes conventional directorial ideas of where an image ends, paralleling universes seamlessly between 2D & 3D lending a one-of-a-kind twist to the graphic approach for videos, commercials, live visuals and fashion films. Weirdcore is driven by technology as an experimental exercise exploring artistic bipolarity with rough, raw style, hip yet always organic and with a definitive edge. [1]

Though he has achieved a level of success in his field, it's probably comforting to the musicians he works with that he views himself as a support unit to their own ideas. "I realize that when I speak to real artists like Florian Hecker or MIA, if I ask them questions as to why they do certain things, their answers are so deep or subjective, where I don't think like that at all," he explains. "I'm much more logical and straightforward, and all of my graphics are purely about aesthetics. No story or meaning to them, just purely about bold impact and causing a reaction. As far as I'm concerned, despite being very passionate about it all, I'm far too logical and driven by briefs and deadlines to be considered an artist." [2]

Marpi is a Polish-born, San Francisco-based artist who creates interactive, scalable work across multiple platforms in digital and physical space. In his current practice, he designs and builds vast digital ecosystems that encompass both environments and creatures that are brought into being and shaped by users. His recent work provides different windows into the same universe, where sound, gestures, and other inputs from our world provide the basis for completely new forms of life.[1]

Marpi creates work through Marpi Studios. He works with a small network of creative collaborators - designers, technologists, musicians, and others - to create exhibits, events, and other commissions throughout the world.[1]

References: 1. https://marpi.pl/about/

Peter Burr is an artist from Brooklyn specializing in animation and installation. Using computer animation to create images and environments that hover on the boundary between abstraction and figuration, Burr has in recent years devoted himself to exploring the concept of an endlessly mutating labyrinth. Existing as stand-alone pieces, much of his work is also in the process of expanding into a video game through the support of Creative Capital and Sundance. Previously, he worked under the alias Hooliganship, and in 2006 founded the video label Cartune Xprez, through which he produced hundreds of live multimedia exhibitions and touring programs showcasing a multi-generational group of artists at the forefront of experimental animation. Here he discusses ways to stay healthy as a creator, what it means to make art in the digital realm, and the plant-like possibilities of games.[1]

Established in 2004, Secret Project Robot is a 501c3 not for profit artist run art space with a gallery which hosts art installations, music, performance art, gatherings, happenings, craft nights, parties, dj's and much more. In 2017, the founders and co-conspirators created a new bar and hangout within Secret Project Robot to help fund the space and employee artists. [1]

VISION

Secret Project Robot aims to integrate and overlap all the arts into a fluid, artful, casual, friendly environment, to create a perpetual happening and a kind of house party that is run and supported by the people participating.

Secret Project Robot seeks to build a strong artist, musician, and intellectual community as a tangible way to mitigate the feelings of alienation brought on by tyranny and a failing world order created by the neo-liberal capitalist system.

Secret Project Robot desires to be a fully self sustaining artist run art space. Using sales from the Bar we are aiming to create a new way to run and communally finance an art space and art. [1]

Brenna Murphy Module Generator Unit or Array Brenna Murphy Area Transduce Brenna Murphy Plant Transmitter Guide
Visible Cloaks & Brenna Murphy - Permutate Lex
MSHR - Wave Guide Edifice

Brenna Murphy (born 1986) is an American artist based in Portland, Oregon. Her works combine digital and physical input, combining psychedelic visual forms with three-dimensional objects. Murphy's work has been called strange, but with an "uncanny familiarity." Murphy thinks of herself as a channel that mediates between the digital and the physical. She privileges neither the physical nor the virtual and her sculptures are models of her net-based works as much as her net-based works are models of her sculptures. [1]

Her exhibition Liquid Vehicle Transmitters appeared at the Yerba Buena Center for the Arts in San Francisco, CA in 2013. The exhibit featured prints and physical representations of her internet-based work, forming "an interactive arena of labyrinthine sculptures". An auxiliary installation featured the audiovisual work of MSHR, her collaboration with Birch Cooper. Her work has been exhibited online via the New Museum and in group shows including This is what sculpture looks like, at the Postmasters Gallery in New York City. Her work has been collected in the book Domain~Lattice. [1]

Codame Art + Tech Codame Logo designed by Vicente Montelongo Codame Art + Tech Codame Art+Tech Festival 2018 Codame Art + Tech Codame Art+Tech Festival 2013
Codame featured artists reel 2014

CODAME shapes the future through inspiring experiences and playful ART+TECH projects. CODAME events, installations, and workshops connect people of all specialties and backgrounds. Join us to continue the visionary celebration, running since 2010! [1]

Leveraging technology for creativity requires cultivation. By valuing questions over answers CODAME creates spaces encouraging exploration and discovery. Artists, entrepreneurs, innovators, amateurs, and leaders are all welcome on our journey. Startups, corporations, non-profits, and collectives alike have participated in CODAME style way-finding! [1]

SPEKTRUM is a space of convergence for cultural communities and transdisciplinary groups emerging and operating in and off Berlin. The project aims to bring confrontation, open knowledge and a platforms for idealisation, realisation and presentation of technology-based artworks, science-focused events and futuristic utopias based on the principle “do-it-together-with-others”. Above all, we are an open organization promoting participatory processes to co-define and co-design a social and physical playground for curiosity and critical understanding. [1]

The venue is part of a monumental architecture in the heart of Kreuzberg/Neukölln realised by Franz Hoffmann and Bruno Taut, one of the main expressionist architects of the modernist period. The inner space is characterised by a multi-layered approach to heights, with an unusual 5 meter high ceiling for the event room and other sections organised as split-levels. These architectural qualities tell us a story of planes and volumes, offering guests a surprising walk around with secret spots to discover. [1]

New Forms Media Society (NFMS) is a non-profit society and media arts organization founded in 2000 that exists to unite creative communities, push artistic and conceptual boundaries, and explore digital media as an art form. By producing the annual New Forms Festival (NFF) as well as a growing schedule of year-round public presentations, we aim to raise the profile of Canadian artists, media arts, underground and subversive arts movements and practices both in Canada and abroad. NFMS is dedicated to showcasing innovative media works that generate a critical and creative discourse within the public sphere.

By promoting Canadian artists in collaboration with the international arts and technology world, New Forms facilitates multimodal art works and engages in discussion on their role in our cultural environment. Since its inception, an integral element of New Forms is the recognition of independent and groundbreaking artists. The New Forms Festival aims to showcase and increase awareness of these artists and their work within our community and beyond by promoting them within a larger milieu.

New Forms Festival is part of a larger, international, multi-media festival movement, which explores the ever changing and evolving world of art and creates a platform for artistic growth. The Society’s goal is to make new media art, music, film, technology-based installation and performance accessible to a wider audience. [1]

From Wikipedia:

Nam June Paik (July 20, 1932 – January 29, 2006) was a Korean American artist. He worked with a variety of media and is considered to be the founder of video art. He is credited with an early usage (1974) of the term "electronic super highway" in application to telecommunications.

From Theartstory.org:

Nam June Paik, known as "the father of video art," surfed the forefront of cutting edge technologies and utilized them to realize artworks, the likes the world had never yet seen. His various experiments positioned video as a viable art form, and a tool toward accomplishing widespread, global connectivity - an oeuvre eerily prophetic to our contemporary information age. His revolutionary practice laid the groundwork for today's artists working in new media art.