Cyber Art Space

The web exhibition Cyber Art Space approaches cyberspace as a real dimension, investigating the fine walls/boundaries between a real and a virtual space. It is an independent and international experimental project that focuses on artistic research. It is an innovative online showroom where artists all over the world will show their works in order to further study and approach cyberspace as a real and not as a virtual dimension, with its own rules, physical properties and functionality.

Alex Lee | Cyber Light Space Modulator | 2012

Cyber Light Space Modulator is a virtual installation involving the virtual re-creation of Lazlo Moholy-Nagy’s ‘Light Space Modulator’. Originally created in the 1930s, the ‘LSM’ embodied Moholy-Nagy’s belief in the utilization of machines in the creation of art to be part of the zeitgeist of the 20th Century. Cyber Light Space Modulator embodies the renewed relevance of the Bauhaus in the context of the virtual and the 21st Century. Thus, making the Bauhaus visioning of the relation between machines, technology, and culture important to interpret virtually.

Elena Gilbert | You Calm Down | 2012

Exhibited both online and in public spaces, these projects explore how we interact with digital imagery, and how our perception of these images is affected by their distribution and circulation. Focusing on a variety of artistic materials from low-tech production tools like HTML, JPEG, MP3, Angelfire, GIF, Google Documents, MSPAINT to large sculptures and 35mm film, a project is to explore how artworks created with these forms function as experimental cinema, and how their distribution and quality are effected in certain formats.

Victor Cartagena | Bang! Bang! Toy Gun! | 2012

I have an interest in the mundane, in the quotidian aspect of our lives and in how the 'everyday' forms our understanding of who we are physically, emotionally and intellectually. The observation of routine behaviors, leads me to a deeper inquiry into the underlying social and economical patterns of our society. In my work I strive to communicate my observations and interpretations through simplicity and repetition. This installation projects our community’s encounter with a palpable reality that has the bittersweet taste of progress; one with gains and losses that are often hard to measure. 'Cap guns, toy pistols and rifles have always been a favorite toy for kids.' A little toy gun can’t hurt anyone; Or can it? According to the 1996 report “Childhood homicide, suicide and firearm deaths: An international comparison by E.Krug, L.Dahlberg and K.Powell, 'the firearm homicide rate in the US was 16 times that of the average for other industrialized countries, the firearm suicide rate was 11 times higher, and the unintentional firearm death rate was 9 times higher.' Bang ! Bang !

Nick Belomatis | Loophole 1 | 2012

loophole ambiguity or inadequacy in the law or a set of rules. 2. historical an arrow slit in a wall. Loophole must occupy the whole room, the viewer can move inside the loophole and see only through the hole the vacuum. Ideal the viewer must see through the hole the other rooms from outside and the vacuum around them (the rooms are the analogue of virtual particles which pop up through the vacuum state).

Gregory Sholette | iDrone | 2012

iDrone is a sort of lumpy predator drone-like sculpture whose chassis is made of faded documents, images, and other archival materials from both my own and America’s little-known radical past. Some of these come from my own activist art past, and other documents are things I have researched. Viewers can be zoom in on the various archival images and publications, and clicking on certain documents takes viewers to various websites, while clicking on other documents provides a pdf of what is represented. It is all bound together so that the entire contraption hovers so that iDrone becomes our repressed history returning in the form of a weaponized 'thing'.

Orestis Lazos | Soldier | 2012

Graduate of School of Visual and Applied Arts, Aristotle University of Thessaloniki, Department. He is currently a post-graduate student at the Athens School of Fine Arts.

Nikos Settas | Survival Box | 2012

Tools, tin boxes, medical supplies and an anti-suffocation mask were summoned into cupboards, in order to help the owner survive in emergency (social riots, emergency weather phenomena etc.). If something needs to be underlined, that should be the mask, symbol of an era, our times, part of youth clothing during riots, yet thought to be part of a lifestyle, as the artist uses it in his work here. Nikos Settas intends to interpret life through a temperament of upcoming social intensity, through fear, exclusion, isolation, prediction of impending calamities, violence.

Andreas Stylianoudakis | Fan | 2012

Andrew Werby | Locquasym | 2012

I’m very enthusiastic about the use of digital technology in sculpture, and have retooled my sculpture process to take advantage of some of the things it makes possible. I started out by taking molds of natural objects, casting them in wax, and assembling composite objects which were then remolded and cast in various materials, primarily bronze, but also in aluminum and other metals, ceramic, various cements and plastics. Now I do essentially the same thing by digitizing natural forms and textures with 3D scanners, then combining them in the computer using haptic (force-feedback) modeling tools. This gives me greater freedom in merging forms, as scale is no longer an issue, and shapes can be modified more easily. These composite assemblies are then produced as physical sculptures by using either computer-controlled milling machines or additive 3D printers. While my Juxtamorphic process was previously restricted to castings, with this new technique I'm able to do carving in wood and other materials with the same fluidity.

Achilleas Kentonis | Cyber Co-Text-istance of Love-Hate-Fear | 2013

Feelings as a context, exist within cyberspace as a text form, where archiving, lying, wishing and bluffing are some of the variables behind the words LOVE, FEAR, HATE. A daily updated graph of the their 'existence' as the result of the web search engines giving a diagonal knowledge of our parallel worlds.

Maria Papacharalambous | Watering my Innocence | 2013

A garden between here & [t]here where real matter is re-negotiated with its own driving energy and shared in cyberspace. Beauty and innocence, revolutionary forces.

Haris Pallas | Casting Man | 2013

In world full of irrationality, a paradox is like an oasis. In one of those, a shadow casts a man. In a global society where the meaning of human being has been totaly cheapened, even our own shadow rules us.

Kalos & Klio | Chamber of Vanitas | 2013

The room is dedicated to Vanitas reminding us of the decay in our true and ultimate fate. We are wondering around in a perpetual loop without exits, browsing through, the walls, ceilings and floors all covered with repetitive hyperrealistic images that intermingle. There is no physical way out; the only possible getaway is the mind escape.

Orestis Symvoulidis | Pater(n) | 2013

Ο Χάμιλτον προσπαθώντας να αποδράσει από τον τόπο στον οποίο βρέθηκε διαπίστωσε ότι υπάρχει - επαληθεύεται το γεωκεντρικό σύστημα. Στην συνέχεια της περιγραφής η γη φαίνεται να βρίσκεται μέσα σε μια μεγάλη λίμνη. Η λίμνη την χωρούσε εύκολα χωρίς να υπάρχουν ρυτιδώσεις στην επιφάνια της. Τελικά κατάλαβε πως αυτό που κοιτούσε ανεβαίνοντας ήταν ένα μάτι . Είχε παγιδευτεί στον προσωπικό χώρο κάποιου άλλου. Το μάτι ανήκει σε ένα τρελό αντίγραφο θεού από την παλαιά διαθήκη. Ο χώρος είναι θεοκρατικός - θρησκευτικός οι αμαρτωλοί είναι άθλιοι και οι δίκαιοι αδιάλλακτοι και κουραστικοί. Σε αυτό τον χώρο η ηθική είναι μέρος μιας τυπικής συναλλαγής.

Konstantinos Papamichalopoulos | K. Papamichalopoulos@MilitaryRaiden | 2014

Το διαδίκτυο και πιο συγκεκριμένα τα social media θέτουν εκ νέου το ζήτημα περί του τι είναι μια persona, τη σχέση της με τον δήθεν "πραγματικό εαυτό" και την όποια επιρροή θεωρητικώς ασκούν επάνω μας οι τεχνολογίες που έχουμε στη διάθεσή μας. Υπάρχει κάποια σταθερή και επίμονη εμμονή σε μια λάθος πεποίθησή μας γύρω από την ταυτότητα και τον εαυτό. Θεωρούμε τον εαυτό καθώς και την ανθρώπινη φύση αναλλοίωτες και αιώνιες σταθερές αγνοώντας κατ εξακολούθησιν την ίδια μας την εμπειρία. Κάτι συμβαίνει με τις εκάστοτε τεχνολογίες οι οποίες ορίζουν την ανθρώπινη φύση (που εν τέλει είναι κάθε άλλο παρά "φύση"), τον τρόπο που παρατηρούμε τα πράγματα - ακόμη και τα ίδια τα πράγματα. Άλλη ήταν η έκφραση του ανθρώπινου πολιτισμού όταν κυρίαρχη τεχνολογία ήταν η τυπογραφία, άλλη με τον ηλεκτρισμό, διαφορετική είναι η συμπεριφορά μας στο τηλέφωνο και είμαστε εντελώς αλλιώτικοι δια ζώσης.

Nikolas Almpanis and Niki Chalkiadaki | VideoPoetry, 1984 | 2014

Οι τοίχοι κουράζονται όπως οι άνθρωποι, τα δέντρα ψηλώνουν, οι απόντες επιστρέφουν συνειρμικά, χωρίς φθορά. Ο χώρος ενισχύει τον παρελθόντα χρόνο ενώ το παρόν αποτυπώνεται βιωματικά ως τραύμα μιας προγενέστερης ελλειμματικής ευημερίας.

Trigono Company | 2015

Giannis Haritidis | Mashup Machine | 2015

Το Mashup Machine είναι μια μηχανή παραγωγής, μοναδικών κάθε φορά, έργων τέχνης. Η εφαρμογή συνίσταται σε ένα ατέρμονο περπάτημα ή τρέξιμο σε ένα περιβάλλον από παλιές γκραβούρες. Ο αλγόριθμος της εφαρμογής συναρμόζει με τυχαίο τρόπο τα animation και τις γκραβούρες που έχει στη βάση δεδομένων του έτσι ώστε, κάθε στιγμή του παιχνιδιού να είναι ένα μοναδικό κολλάζ εικόνων.

Antonis Kalagkatsis | computer metamedium | 2015

Τα σύμβολά, οι εικόνες και τα δεδομένα στον διαδικτυακό χώρο είναι οριοθετημένα και εγγεγραμμένα σε μία προκαθορισμένη τοπολογία? όλες αυτές οι διευθύνσεις μπορούν να γίνουν αντιληπτές στον φυσικό χώρο? Με τη χρήση ενός ειδικά διαμορφωμένου αλγόριθμου ο υπολογιστής αντλεί δεδομένα σε πραγματικό χρόνο απο την πλατφόρμα κοινωνικής δικτύωσης “Τwitter” και συγκεκριμένα απο ένα προκαθορισμένο Hashtag κάθε φορά.

Yorgos Papafigos | Hi there | 2015

Katerina Athanasopoulou | Apodemy Bridge | 2014

Apodemy is a film about emigration and the economic crisis, based on Plato’s metaphor of the mind as a birdcage: we’re born with the cage empty and fill it with knowledge/birds to be recalled/grabbed at a later time. The film, commissioned by Stegi (the Onassis Foundation) in 2012, follows a caged tram that’s moved by migratory birds, seeking escape from a city half-finished and abandoned. Economic emigration is an act of dislocation, where the journey taken is felt as a breakaway from the point of origin, disrupting personal and social life. The buildings of the city are skeletal, the road is cracked and the space is breaking apart. For this new examination of the work, all that remains from Apodemy is the broken bridge, a chaotic tangle of turns and elevations, which was translated into a road to explore and navigate. This is a new journey for the film itself: for the first time, the viewer can define their own path and experience what it felt like for its creator to enter her own vision.

Melina Karanika | Billbie (make your selfie into a Billboard) | 2015

Το έργο διαπραγματεύεται το θέμα της “μετάφρασης” μεταξύ διαφορετικών μέσων, αναλογικών και ψηφιακών, το πώς διαβάζεται μια εικόνα και μεταφράζεται στο ψηφιακό περιβάλλον, την αμεσότητα διάδρασης μεταξύ ψηφιακού και αναλογικού χώρου, αλλά και το ενδεχόμενο λάθους - ότι κάτι μπορεί να ́χάνεται ́ τελικά στην “μετάφραση”.

.27 architects ( | Two Extra Rooms | 2013

This installation attempts to create the illusion of the existence of two additional rooms that extent beyond the boundaries of the given room. By using two distinct perspective-specific points of view the user can move between them as the images of the rooms deform abruptly in opposite directions. In the end, he/she has to decide which one of the two would feel more comfortable to be in...

Babis Venetopoulos and Dimitris Michalaros | Virtual Kodra | 2011

A replica of one of the existing natural spaces of the building of the Chambers at the old Military Camp Kodra, in Kalamaria, as a conceptional link of our own natural space with the cyber-space.