Greg Zifcak's work with de- and re-contextualized audio, video, and lighting equipment spans analog and digital video synthesis, sonified strobe lights, hand-built synthesizers, and creative use of recording technologies. With a background in drawing, he has a craft-oriented fixation on details. This manifests in homemade tools and an economy-of-means, and as a sensitivity to system dynamics, perceptual thresholds, and material idiosyncrasies. His processes examine feedback networks, boundary conditions, autonomous behavior, and his own assumptions and preferences as interdependent inputs and outputs to the working system. These inquiries have taken form in audiovisual performance and installation, single channel video, music and sound recordings, and music performance, each retaining a fascination with systems and feedback, perceptual experience, and dissection and reinterpretation of media and tools. 

Documentation of selected works: http://www.gzifcak.net 

 

Jonas Bers is a New York based media artist working with hand-built and hacked audiovisual systems. Bers’

performances use salvaged scientific apparatus, VHS-era editing machines, surveillance equipment, and

military surplus devices as tools to generate both sound and video in real-time.

Bers has performed and exhibited at Sonic Acts (Amsterdam), The New Digital Art Biennale (Ghent), Vector

Hack (Zagreb, Ljubljana), Hack’N’Act (Modena, Ferrara), La Lumière (Montreal), and in numerous NY cultural

institutions, notably, The Film Society of Lincoln Center, La Mama, The Chashama Gala, and the Transient

Visions Festival of the Moving Image. More info at www.jonasbers.com

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Digital media pioneer Sara Hornbacher first encountered video art in 1974, while attending the groundbreaking exhibition “The Projected Images” at the Walker Art Center in Minneapolis. The 1970s avant-garde work of artists Paul Sharits, Michael Snow, Peter Campus, Hollis Frampton, and The Vasulkas inspired her to shift the focus of her work to structuralist filmmaking, investigating the post-TV era’s fascination with the intersections of image-making and time-based media.   At the time, the  graduate program at University of Buffalo’s Center for Media Studies (CMS) was a vital center for  new media  artists. Hornbacher  accepted an invitation to join their graduate cohort, and became immersed in one of the most influential art scenes of the era. 

In 1976, Hornbacher undertook her first residency at the Experimental Television Center, a formative experience that would cement her practice at the cutting edge of time-based media. In 1980, Hornbacher became Managing Director of the university's Center of Creative Performing Arts, and staged a seminal iteration of John Cage and Lejaren Hiller's performance HPSCHD at Buffalo’s Albright-Knox Gallery. 

In 1985, Hornbacher’s first solo exhibition was mounted at the legendary New Math Gallery in New York City’s East Village. Invited to represent the United States at  the “The Fourth Annual Australian Video Festival” in Sydney, Australia, Hornbacher exhibited her signature piece “Precession of the Simulacra.” The conference that year was focused on Marshall McLuhan, who greatly inspired Hornbacher’s work. In 1994, Hornbacher was appointed chair of the video department at the Atlanta College of Art. For decades, she has explored and expanded the boundaries of site-specific installations using components of electronic imaging. As an educator, she has inspired  generations of video and visual artists, continuing to shape the media landscape and teaching media fluency through her essential work. 

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Blinn and Lambert is the collaborative duo of Nicholas Steindorf and Kyle Williams, who met while earning their MFAs in Painting at Yale University School of Art.  The two began working together in 2016 to expand their practice in optical media, video, and animation.  Blinn and Lambert have exhibited throughout New York at Post-Times, Nathalie Karg Gallery, Below Grand, Microscope Gallery, the American Academy of Arts and Letters, and Selena’s Mountain, as well as at ArtSpace in New Haven, Lower Cavity in Holyoke, MA, and most recently at The Campus in Hudson, NY and Izzy Lee Gallery in Los Angeles.  Their films have been screened at the Mono No Aware Film Festival in Brooklyn and the Images Festival in Toronto.  They have been awarded residencies at the LIFT Film Studio Immersion Program in Toronto and the Institute for Electronic Arts at Alfred University. Their studio is based in Greenpoint, Brooklyn. blinnandlambert.com

 

Jen Kutler is a multidisciplinary artist and performer. She modifies found objects that are cultural signifiers of power, gender, queerness and intimacy to create atypical instruments and sculptures. Her performances feature many of her instruments incorporated with immersive field recordings to explore common and discrepant experiences of familiar social tones in immersive sound and media environments. jenkutler.com

 

Joost Rekveld is an artist who wonders what humans can learn from a dialogue with the machines they have constructed. In a form of media archeology he investigates modes of material engagement with devices from forgotten corners in the history of science and technology. The outcomes of these investigations often take the shape of abstract films that function like alien phenomenologies. In their sensuality they are an attempt to reach an intimate and embodied understanding of our technological world.

His abstract films have been shown world-wide in a wide range of festivals and venues for experimental film, animation or other kinds of moving image. He had retrospectives at the Barbican in London and the Ann Arbor film festival amongst others, and in 2017 he was filmmaker in focus at the International Film Festival Rotterdam. Individual films were screened at hundreds of venues, including the ICA and the Tate Modern in London, The Centre Pompidou in Paris and the Moderna Museet in Stockholm. His film #11, Marey <-> Moire was the first Dutch film ever to be shown at the Sundance Film Festival.

He has realized several installations and was involved in many collaborative projects involving composers, music ensembles, theatre companies, dance companies and artist’s labs.  He has been giving lectures since 1993, has been teaching since 1996, and from 2008 to 2014 he was the course director of the ArtScience Interfaculty of the Royal Conservatoire and the Royal Academy of Art in The Hague. Since 2017, Joost has been affiliated to the School of Arts, University College Ghent as an artistic researcher, where he currently coordinates the "Disobedient Practices" research cluster. In 2025, he published the book "Liberate the Machines !". joostrekveld.net

 

Philip Baljeu is a self-taught video artist based in Toronto, Canada. Working across film photography, video synthesis, and handmade electronics, their practice explores the sculptural potential of electronic images.

They seek to give tangibility to the fleeting and inaccessible imagery of memory. Through processes of distortion, reconstruction, and translation between signal and material, Baljeu treats the raster as something that can be folded, eroded, and reconstituted.