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DTSTART;VALUE=DATE:20260518
DTEND;VALUE=DATE:20260523
DTSTAMP:20260408T145948
CREATED:20251126T104134Z
LAST-MODIFIED:20260317T134927Z
UID:23684-1779062400-1779494399@thegate-festival.com
SUMMARY:eCulture Convention
DESCRIPTION:theGATE Festival				\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n		\n						\n				\n				\n				\n					Never before has art been so close to science as it is now in the electronic age				\n				\n				\n						\n					\n			\n						\n				\n									Format 								\n				\n					\n		\n				\n			\n						\n				\n									ExhibitionInstallationPerformance  								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Date 								\n				\n					\n		\n				\n			\n						\n				\n									18-22 may\, 2026 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Location 								\n				\n					\n		\n				\n			\n						\n				\n									HLRS | Stuttgart 								\n				\n					\n		\n					\n		\n				\n				\n					REGISTER				\n				\n					\n		\n				\n			\n						\n				\n							\n			\n		\n						\n				\n				\n				\n							\n					\n						\n				\n				\n				\n									Never before has art been so close to science as it is now in the electronic age. Researchers at supercomputing centres\, universities and companies alike have been collaborating with artists through programs like S+T+ARTS and reaping the rewards for many years now. This festival exhibition pulls back the curtains on this unique mode of collaboration and the art-driven innovation it contributes to. \nAt the same time\, art finds itself increasingly estranged from its traditional media\, spaces and institutions. Computing technologies do not merely extend existing practices; they reconfigure how art relates to life and what art can be. \nThere is a new conception of humanity and nature–  and the changes are coming fast \n…We must be prepared for the transformations that lie ahead\,…We must systematically map and research current practices and trajectories\,…We must examine what artists are proposing as forms of cultural experimentation\,…We must track what scientists and engineers are advancing technically and epistemically\,…We must assess which artistic practices hold social relevance and civic potential\,…We must engage with philosophical inquiry about the ethical and conceptual ramifications \nExhibited Projects								\n				\n				\n				\n																														\n				\n				\n				\n					VR-Terroirby Bernat CuníThe project\nBernat Cuní’s residency focuses on challenging the rampant standardization of digital culture by creating hyperlocal avatars that absorb and are shaped by their environments\, carrying their “lived experiences” like terroir. The objective is to visualize how context—including data\, textures\, and local inputs—can alter a digital identity. The work involves creating synthetic 3D materials from image inputs and extracting material qualities from HLRS’s scientific simulation visualizations. The artist is prototyping a behavioral pipeline where a 3D mesh is affected by different material properties based on proximity\, moving towards designing a minimum-viable-avatar mesh with a defined movement system. \nThe artist\nBernat Cuní is an artist who explores the digitization of objects and spaces by blending code\, crafts\, and robotics\, focusing on emerging technologies through a post-capitalist lens. Although he began as an industrial designer in 1999\, he later shifted toward research-based design focused on people\, citing disillusionment with the consumerist nature of producing physical goods. His project\, LocalEchoes\, aims to create hyperlocal avatars for VR/AR environments that offer culturally rich alternatives to the standardized\, uncanny avatars typically provided by tech giants. The artistic mission is to disrupt consumerist avatar designs by creating generative avatars that reflect users’ local culture and environment\, drawing inspiration from Europe’s heritage of masks and costumes used in various festivities. The project will develop an engine that extracts characteristics from datasets and user contexts\, enabling avatars to interact with their surroundings and fostering deeper non-verbal communication within collaborative virtual environments like the COVISE software. \n				\n				\n				\n				\n																														\n				\n				\n				\n					Loopingby Oliver KruseThe project\nOliver Kruse is undertaking the looping project\, which involves translating the aerodynamic morphology of the maple tree’s flying fruit into a structurally and aerodynamically refined large-scale flying sculpture. The physical artwork is planned to be an aluminum aircraft construction\, measuring 6 meters in length\, analogous to the size of an airplane wing. The artistic research utilizes collaboration with HLRS for aerodynamic simulation and parametric design exploration to digitally forecast the object’s flight behavior. The project involves prototyping and making three-dimensional models in various materials\, as well as developing video and drawing work. Future plans include a “flight day” to test at least 20 objects\, examining how long they can be kept airborne and testing remote-controlled flight. \nThe artist\nOliver Kruse is a visual artist whose multidisciplinary work is inspired by architecture\, geometries\, and spatial environments\, encompassing both constructed and natural settings. His recent practice\, which includes large-scale urban sculpture and site-specific digitally generated projects\, explores the intersections of art\, nature\, and architecture\, challenging the traditional division between sculpture and architecture. A key element of his work is the critical investigation of virtual constructions\, where existing forms are digitally reconstructed and assembled in unexpected ways\, resulting in systems of interwoven\, non-hierarchic geometries. His project\, looping\, is a collaboration involving artistic research\, aerodynamic engineering\, and aircraft construction\, inspired by the effortless flight of the maple tree’s flying fruits. The goal is to translate the morphology of the maple fruit into a structurally\, aerodynamically\, and morphologically mature large-scale flying sculpture\, ultimately realized in aluminum aircraft construction in a size corresponding to an actual airplane wing (6 meters in length). \n				\n				\n				\n				\n																														\n				\n				\n				\n					HPC Data Symphoniesby Dr. Kirell BenziThe project\nDr. Kirell Benzi is developing HPC DATA SYMPHONIES\, a public-facing installation designed to make the invisible inner workings of the HLRS high-performance computing (HPC) center visible and understandable to non-specialist audiences. The artwork transforms live log data from HLRS’s HAWK supercomputer into an evolving digital landscape\, visualized as a heightfield where extruded cubes correspond to compute activity by scientific field (e.g.\, climate modeling\, AI\, materials science). The project’s goal is to move beyond conventional visualization by developing a composite visual language where visual parameters (like height\, shape\, texture\, color\, and rhythm) are directly tied to real metrics such as compute time and energy consumption\, ensuring the resulting landscape is expressive and data-driven. \nThe artist\nDr. Kirell Benzi is an award-winning data artist and AI researcher whose work explores how information can be transformed into artistic and immersive experiences. Holding a Ph.D. in Data Science from the École Polytechnique Fédérale de Lausanne (EPFL)\, he investigates the intersection of art\, artificial intelligence\, and visualization to reveal the hidden structures shaping our world.\n


\nHis practice treats data as a living material: something that can be sculpted\, animated\, and experienced. Through large-scale installations\, artistic data visualizations\, and interactive environments\, Benzi transforms complex datasets into narratives that engage both intellect and emotion.
\n

\nBridging scientific inquiry and artistic expression\, his work proposes a new language for perceiving the systems that define contemporary life. He has collaborated with museums\, research institutions\, and corporate partners worldwide\, and his data art has been presented at international exhibitions and conferences\, earning recognition for its distinctive approach to visualizing complexity. \n				\n				\n				\n				\n																														\n				\n				\n				\n					Merging Visionsby Merve ŞahinThe project\nMerve Şahin’s Merging Visions project addresses the challenge of communicating the transformation of the Salzburg Festival site by reimagining digital twins through artistic and immersive storytelling. The core concept is “Expanded Immersive Twins\,” extending digital twins to incorporate cultural\, ecological\, and historical layers of the heritage-protected urban environment. The project involves a mixed reality installation where 3D models and scans of the site and its archives are transformed into speculative digital landscapes. The technical output includes developing tangible user interfaces (physical models augmented with digital layers via AR sensors) that enable users to physically interact with and navigate the virtual content\, translating scientific datasets (like user movement and geological structures) into interactive visualizations. \nThe artist\nMerve Şahin is a Vienna-based architect and researcher who specializes in using architectural and digital representation techniques as a medium for visual storytelling. Her work aims to uncover the socio-political and historic layers embedded in public spaces by creating immersive drawings and animations that reveal both tangible and intangible layers of the built environment. Her mediums include parametric 3D-modeling\, vectoral mappings\, digital renderings\, and data visualizations\, which she uses to explore the digital turn’s impact on public spaces through speculative\, engaging digital formats. Her residency project\, Merging Visions\, focuses on transforming urban digital twins into exploratory digital installations that can be experienced by audiences using XR technologies (Augmented Reality and Virtual Reality). By applying this approach to the Salzburg Festival use case\, she aims to overlay physical spaces with electronic data to bring the rich historical\, social\, and cultural layers of urban environments to life.  \n				\n				\n				\n				\n																														\n				\n				\n				\n					The Perfect Perfect Dirtyby Johanna BrucknerThe project\nJohanna Bruckner is pursuing research at the intersection of AI\, queer theory\, ecology\, and posthumanism\, focusing on the interface between the body\, affect\, and technology from the perspective of quantum physics. The project addresses the deconstructive and corporeal nature of interfaces in algorithmic systems\, employing a critical perspective rooted in queer-feminist and post-digital conceptions of the body. As a major outcome\, the artist is conceiving of art objects based on research from the Institute of Quantum Materials at TU Dresden\, combining processes like 3D-printing\, silicone\, glass craftsmanship\, and new materials derived from quantum research. The work also includes developing a multi-channel video installation incorporating new software based on Artificial Intelligence and methods from Large Action Modelling related to incalculable mechanisms in medicine and finance. Furthermore\, the artist is prototyping choreographic scores for the development of digital avatars based on AI research. \nThe artist\nAn artist born in 1984 in Vienna\, Austria\, who studied fine arts\, cultural studies\, and social anthropology across multiple international institutions. Her artistic output—including film installations\, performative scripts\, and writings—explores the tensions at the core of socio-political issues\, specifically focusing on biopolitics and queerness within the framework of late capitalism. She also uses collaborative performative design as an organizing principle for social practice and reflection. Her project\, The Perfect Perfect Dirty\, aims to closely investigate Artificial Intelligence technologies and their potential to complexify and diversify\, primarily by challenging the prevailing myth that digital systems are clean\, reliable\, and free of contamination. Bruckner seeks to modify the parameters through which information is weaponized against queer and other intersectional minorities\, instead establishing “dirtiness” as an ontology for queer AI to develop a more-than-human future coexistence. The research will manifest as a science-fiction based scenario featuring a new video installation and related objects that activate an immersive space\, showcasing fictional characters navigating co-contaminated embodiment with AI-based interfaces. \n				\n				\n				\n				\n																														\n				\n				\n				\n					There Is No Such Thing as a Fishby Carolyn KirschnerThe project\nCarolyn Kirschner’s residency project\, There Is No Such Thing as a Fish\, is an artistic investigation into the zebrafish as a model organism in scientific research\, examining its socio-cultural significance and speculating on possible interspecies futures. What does it mean to use the body of one species as a model or stand-in for another? What are the implications of efforts to bring zebrafish’s regenerative abilities into the human body? Are we becoming part fish? Or maybe we always have been? \nWorking with Physics of Life researchers from TUD Dresden University of Technology\, the project engages with a search for the foundational principles underpinning life\, and the interplay of living systems with computational processes. One of the project outcomes is a short film\, which documents a range of interconnected cultural\, material\, and ecological landscapes where human and zebrafish worlds collide – from a petri dish in the lab\, to pet shops\, server farms\, rivers and rice paddies in India. The project also leverages advanced computational methods to produce a speculative anatomical model\, based on digital reconstructions of the last common ancestor between humans and zebrafish 425 million years ago. \nThe artist\nCarolyn Kirschner is a designer and researcher with a background in architecture. Her work explores the growing entanglements of ecologies and machines in the context of the climate crisis\, working with scientific tools\, simulation engines\, digital fabrication\, and film to produce fragments from alternate or expanded worlds. She is a Lecturer at Goldsmiths\, University of London\, and previously taught at Parsons School of Design in New York. \nHer S+T+ARTS residency project There Is No Such Thing as a Fish was developed in collaboration with scientists from the Physics of Life Cluster of Excellence at TUD Dresden University of Technology. Through film and creative applications of advanced computational methods\, the project explores interspecies dimensions of biomedical research and the role zebrafish play in the search for the underlying physical laws and mathematical equations that govern life. \n				\n				\n				\n				\n					Merz Akademieby NameThe project\nDescription... \nThe artist\nDescription... \n				\n				\n				\n				\n					AFRICAN INTELLIGENCEby NameThe project\nDescription... \nThe artist\nDescription... \n				\n				\n				\n				\n							\n							\n					\n													\n															\n								\n														\n												Day 1 | 18 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\n				\n							\n					\n													\n															\n								\n														\n												Day 2 | 19 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationState Theater StuttgartAI + Theater\n				\n							\n					\n													\n															\n								\n														\n												Day 3 | 20 - May\n					\n					EVENINGS+T ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationFundación Épica La Fura dels BausJavier Iglesias GraciaState Theater StuttgartAI + Theater\n				\n							\n					\n													\n															\n								\n														\n												Day 4 | 21 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationS+T+ARTSHungry Ecocities\, Musae und ResilienceArtist Hadassa NgambaCollaboration: HLRS + Living Atlas + AI (African Intelligence)\n				\n							\n					\n													\n															\n								\n														\n												Day 5 | 22 - May\n					\n					MORNINGS+T ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI Installation\n				\n								\n						\n				\n				\n				\n					REGISTER
URL:https://thegate-festival.com/event/eculture-convention/
LOCATION:HLRS – Stuttgart\, Germany
CATEGORIES:Convention
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260518
DTEND;VALUE=DATE:20260523
DTSTAMP:20260408T145949
CREATED:20251126T123605Z
LAST-MODIFIED:20260402T085638Z
UID:23771-1779062400-1779494399@thegate-festival.com
SUMMARY:theGATE Festival 2026
DESCRIPTION:theGATE Festival				\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n		\n						\n				\n				\n				\n					Never before has art been so close to science as it is now in the electronic age				\n				\n				\n						\n					\n			\n						\n				\n									Format 								\n				\n					\n		\n				\n			\n						\n				\n									ExhibitionInstallationPerformance  								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Date 								\n				\n					\n		\n				\n			\n						\n				\n									18-22 may\, 2026 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Location 								\n				\n					\n		\n				\n			\n						\n				\n									HLRS | Stuttgart 								\n				\n					\n		\n					\n		\n				\n				\n					REGISTER				\n				\n					\n		\n				\n			\n						\n				\n							\n			\n		\n						\n				\n				\n				\n							\n					\n						\n				\n				\n				\n									Never before has art been so close to science as it is now in the electronic age. Researchers at supercomputing centres\, universities and companies alike have been collaborating with artists through programs like S+T+ARTS and reaping the rewards for many years now. This festival exhibition pulls back the curtains on this unique mode of collaboration and the art-driven innovation it contributes to. \nAt the same time\, art finds itself increasingly estranged from its traditional media\, spaces and institutions. Computing technologies do not merely extend existing practices; they reconfigure how art relates to life and what art can be. \nThere is a new conception of humanity and nature–  and the changes are coming fast \n…We must be prepared for the transformations that lie ahead\,…We must systematically map and research current practices and trajectories\,…We must examine what artists are proposing as forms of cultural experimentation\,…We must track what scientists and engineers are advancing technically and epistemically\,…We must assess which artistic practices hold social relevance and civic potential\,…We must engage with philosophical inquiry about the ethical and conceptual ramifications \nExhibited Projects								\n				\n				\n				\n																														\n				\n				\n				\n					VR-Terroirby Bernat CuníThe project\nBernat Cuní’s residency focuses on challenging the rampant standardization of digital culture by creating hyperlocal avatars that absorb and are shaped by their environments\, carrying their “lived experiences” like terroir. The objective is to visualize how context—including data\, textures\, and local inputs—can alter a digital identity. The work involves creating synthetic 3D materials from image inputs and extracting material qualities from HLRS’s scientific simulation visualizations. The artist is prototyping a behavioral pipeline where a 3D mesh is affected by different material properties based on proximity\, moving towards designing a minimum-viable-avatar mesh with a defined movement system. \nThe artist\nBernat Cuní is an artist who explores the digitization of objects and spaces by blending code\, crafts\, and robotics\, focusing on emerging technologies through a post-capitalist lens. Although he began as an industrial designer in 1999\, he later shifted toward research-based design focused on people\, citing disillusionment with the consumerist nature of producing physical goods. His project\, LocalEchoes\, aims to create hyperlocal avatars for VR/AR environments that offer culturally rich alternatives to the standardized\, uncanny avatars typically provided by tech giants. The artistic mission is to disrupt consumerist avatar designs by creating generative avatars that reflect users’ local culture and environment\, drawing inspiration from Europe’s heritage of masks and costumes used in various festivities. The project will develop an engine that extracts characteristics from datasets and user contexts\, enabling avatars to interact with their surroundings and fostering deeper non-verbal communication within collaborative virtual environments like the COVISE software. \n				\n				\n				\n				\n																														\n				\n				\n				\n					Loopingby Oliver KruseThe project\nOliver Kruse is undertaking the looping project\, which involves translating the aerodynamic morphology of the maple tree’s flying fruit into a structurally and aerodynamically refined large-scale flying sculpture. The physical artwork is planned to be an aluminum aircraft construction\, measuring 6 meters in length\, analogous to the size of an airplane wing. The artistic research utilizes collaboration with HLRS for aerodynamic simulation and parametric design exploration to digitally forecast the object’s flight behavior. The project involves prototyping and making three-dimensional models in various materials\, as well as developing video and drawing work. Future plans include a “flight day” to test at least 20 objects\, examining how long they can be kept airborne and testing remote-controlled flight. \nThe artist\nOliver Kruse is a visual artist whose multidisciplinary work is inspired by architecture\, geometries\, and spatial environments\, encompassing both constructed and natural settings. His recent practice\, which includes large-scale urban sculpture and site-specific digitally generated projects\, explores the intersections of art\, nature\, and architecture\, challenging the traditional division between sculpture and architecture. A key element of his work is the critical investigation of virtual constructions\, where existing forms are digitally reconstructed and assembled in unexpected ways\, resulting in systems of interwoven\, non-hierarchic geometries. His project\, looping\, is a collaboration involving artistic research\, aerodynamic engineering\, and aircraft construction\, inspired by the effortless flight of the maple tree’s flying fruits. The goal is to translate the morphology of the maple fruit into a structurally\, aerodynamically\, and morphologically mature large-scale flying sculpture\, ultimately realized in aluminum aircraft construction in a size corresponding to an actual airplane wing (6 meters in length). \n				\n				\n				\n				\n																														\n				\n				\n				\n					HPC Data Symphoniesby Dr. Kirell BenziThe project\nDr. Kirell Benzi is developing HPC DATA SYMPHONIES\, a public-facing installation designed to make the invisible inner workings of the HLRS high-performance computing (HPC) center visible and understandable to non-specialist audiences. The artwork transforms live log data from HLRS’s HAWK supercomputer into an evolving digital landscape\, visualized as a heightfield where extruded cubes correspond to compute activity by scientific field (e.g.\, climate modeling\, AI\, materials science). The project’s goal is to move beyond conventional visualization by developing a composite visual language where visual parameters (like height\, shape\, texture\, color\, and rhythm) are directly tied to real metrics such as compute time and energy consumption\, ensuring the resulting landscape is expressive and data-driven. \nThe artist\nDr. Kirell Benzi is an award-winning data artist and AI researcher whose work explores how information can be transformed into artistic and immersive experiences. Holding a Ph.D. in Data Science from the École Polytechnique Fédérale de Lausanne (EPFL)\, he investigates the intersection of art\, artificial intelligence\, and visualization to reveal the hidden structures shaping our world.\n


\nHis practice treats data as a living material: something that can be sculpted\, animated\, and experienced. Through large-scale installations\, artistic data visualizations\, and interactive environments\, Benzi transforms complex datasets into narratives that engage both intellect and emotion.
\n

\nBridging scientific inquiry and artistic expression\, his work proposes a new language for perceiving the systems that define contemporary life. He has collaborated with museums\, research institutions\, and corporate partners worldwide\, and his data art has been presented at international exhibitions and conferences\, earning recognition for its distinctive approach to visualizing complexity. \n				\n				\n				\n				\n																														\n				\n				\n				\n					Merging Visionsby Merve ŞahinThe project\nMerve Şahin’s Merging Visions project addresses the challenge of communicating the transformation of the Salzburg Festival site by reimagining digital twins through artistic and immersive storytelling. The core concept is “Expanded Immersive Twins\,” extending digital twins to incorporate cultural\, ecological\, and historical layers of the heritage-protected urban environment. The project involves a mixed reality installation where 3D models and scans of the site and its archives are transformed into speculative digital landscapes. The technical output includes developing tangible user interfaces (physical models augmented with digital layers via AR sensors) that enable users to physically interact with and navigate the virtual content\, translating scientific datasets (like user movement and geological structures) into interactive visualizations. \nThe artist\nMerve Şahin is a Vienna-based architect and researcher who specializes in using architectural and digital representation techniques as a medium for visual storytelling. Her work aims to uncover the socio-political and historic layers embedded in public spaces by creating immersive drawings and animations that reveal both tangible and intangible layers of the built environment. Her mediums include parametric 3D-modeling\, vectoral mappings\, digital renderings\, and data visualizations\, which she uses to explore the digital turn’s impact on public spaces through speculative\, engaging digital formats. Her residency project\, Merging Visions\, focuses on transforming urban digital twins into exploratory digital installations that can be experienced by audiences using XR technologies (Augmented Reality and Virtual Reality). By applying this approach to the Salzburg Festival use case\, she aims to overlay physical spaces with electronic data to bring the rich historical\, social\, and cultural layers of urban environments to life.  \n				\n				\n				\n				\n																														\n				\n				\n				\n					The Perfect Perfect Dirtyby Johanna BrucknerThe project\nJohanna Bruckner is pursuing research at the intersection of AI\, queer theory\, ecology\, and posthumanism\, focusing on the interface between the body\, affect\, and technology from the perspective of quantum physics. The project addresses the deconstructive and corporeal nature of interfaces in algorithmic systems\, employing a critical perspective rooted in queer-feminist and post-digital conceptions of the body. As a major outcome\, the artist is conceiving of art objects based on research from the Institute of Quantum Materials at TU Dresden\, combining processes like 3D-printing\, silicone\, glass craftsmanship\, and new materials derived from quantum research. The work also includes developing a multi-channel video installation incorporating new software based on Artificial Intelligence and methods from Large Action Modelling related to incalculable mechanisms in medicine and finance. Furthermore\, the artist is prototyping choreographic scores for the development of digital avatars based on AI research. \nThe artist\nAn artist born in 1984 in Vienna\, Austria\, who studied fine arts\, cultural studies\, and social anthropology across multiple international institutions. Her artistic output—including film installations\, performative scripts\, and writings—explores the tensions at the core of socio-political issues\, specifically focusing on biopolitics and queerness within the framework of late capitalism. She also uses collaborative performative design as an organizing principle for social practice and reflection. Her project\, The Perfect Perfect Dirty\, aims to closely investigate Artificial Intelligence technologies and their potential to complexify and diversify\, primarily by challenging the prevailing myth that digital systems are clean\, reliable\, and free of contamination. Bruckner seeks to modify the parameters through which information is weaponized against queer and other intersectional minorities\, instead establishing “dirtiness” as an ontology for queer AI to develop a more-than-human future coexistence. The research will manifest as a science-fiction based scenario featuring a new video installation and related objects that activate an immersive space\, showcasing fictional characters navigating co-contaminated embodiment with AI-based interfaces. \n				\n				\n				\n				\n																														\n				\n				\n				\n					There Is No Such Thing as a Fishby Carolyn KirschnerThe project\nCarolyn Kirschner’s residency project\, There Is No Such Thing as a Fish\, is an artistic investigation into the zebrafish as a model organism in scientific research\, examining its socio-cultural significance and speculating on possible interspecies futures. What does it mean to use the body of one species as a model or stand-in for another? What are the implications of efforts to bring zebrafish’s regenerative abilities into the human body? Are we becoming part fish? Or maybe we always have been? \nWorking with Physics of Life researchers from TUD Dresden University of Technology\, the project engages with a search for the foundational principles underpinning life\, and the interplay of living systems with computational processes. One of the project outcomes is a short film\, which documents a range of interconnected cultural\, material\, and ecological landscapes where human and zebrafish worlds collide – from a petri dish in the lab\, to pet shops\, server farms\, rivers and rice paddies in India. The project also leverages advanced computational methods to produce a speculative anatomical model\, based on digital reconstructions of the last common ancestor between humans and zebrafish 425 million years ago. \nThe artist\nCarolyn Kirschner is a designer and researcher with a background in architecture. Her work explores the growing entanglements of ecologies and machines in the context of the climate crisis\, working with scientific tools\, simulation engines\, digital fabrication\, and film to produce fragments from alternate or expanded worlds. She is a Lecturer at Goldsmiths\, University of London\, and previously taught at Parsons School of Design in New York. \nHer S+T+ARTS residency project There Is No Such Thing as a Fish was developed in collaboration with scientists from the Physics of Life Cluster of Excellence at TUD Dresden University of Technology. Through film and creative applications of advanced computational methods\, the project explores interspecies dimensions of biomedical research and the role zebrafish play in the search for the underlying physical laws and mathematical equations that govern life. \n				\n				\n				\n				\n					Merz Akademieby NameThe project\nDescription... \nThe artist\nDescription... \n				\n				\n				\n				\n					AFRICAN INTELLIGENCEby NameThe project\nDescription... \nThe artist\nDescription... \n				\n				\n				\n				\n							\n							\n					\n													\n															\n								\n														\n												Day 1 | 18 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\n				\n							\n					\n													\n															\n								\n														\n												Day 2 | 19 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationState Theater StuttgartAI + Theater\n				\n							\n					\n													\n															\n								\n														\n												Day 3 | 20 - May\n					\n					EVENINGS+T ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationFundación Épica La Fura dels BausJavier Iglesias GraciaState Theater StuttgartAI + Theater\n				\n							\n					\n													\n															\n								\n														\n												Day 4 | 21 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationS+T+ARTSHungry Ecocities\, Musae und ResilienceArtist Hadassa NgambaCollaboration: HLRS + Living Atlas + AI (African Intelligence)\n				\n							\n					\n													\n															\n								\n														\n												Day 5 | 22 - May\n					\n					MORNINGS+T ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI Installation\n				\n								\n						\n				\n				\n				\n					REGISTER
URL:https://thegate-festival.com/event/thegate-festival-2026/
LOCATION:HLRS – Stuttgart\, Germany
CATEGORIES:Festival
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260519
DTEND;VALUE=DATE:20260523
DTSTAMP:20260408T145949
CREATED:20251126T111944Z
LAST-MODIFIED:20260123T110301Z
UID:23706-1779148800-1779494399@thegate-festival.com
SUMMARY:ReACH
DESCRIPTION:theGATE Festival				\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n		\n						\n				\n				\n				\n					Never before has art been so close to science as it is now in the electronic age				\n				\n				\n						\n					\n			\n						\n				\n									Format 								\n				\n					\n		\n				\n			\n						\n				\n									ExhibitionInstallationPerformance  								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Date 								\n				\n					\n		\n				\n			\n						\n				\n									18-22 may\, 2026 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Location 								\n				\n					\n		\n				\n			\n						\n				\n									HLRS | Stuttgart 								\n				\n					\n		\n					\n		\n				\n				\n					REGISTER				\n				\n					\n		\n				\n			\n						\n				\n							\n			\n		\n						\n				\n				\n				\n							\n					\n						\n				\n				\n				\n									Never before has art been so close to science as it is now in the electronic age. Researchers at supercomputing centres\, universities and companies alike have been collaborating with artists through programs like S+T+ARTS and reaping the rewards for many years now. This festival exhibition pulls back the curtains on this unique mode of collaboration and the art-driven innovation it contributes to. \nAt the same time\, art finds itself increasingly estranged from its traditional media\, spaces and institutions. Computing technologies do not merely extend existing practices; they reconfigure how art relates to life and what art can be. \nThere is a new conception of humanity and nature–  and the changes are coming fast \n…We must be prepared for the transformations that lie ahead\,…We must systematically map and research current practices and trajectories\,…We must examine what artists are proposing as forms of cultural experimentation\,…We must track what scientists and engineers are advancing technically and epistemically\,…We must assess which artistic practices hold social relevance and civic potential\,…We must engage with philosophical inquiry about the ethical and conceptual ramifications \nExhibited Projects								\n				\n				\n				\n																														\n				\n				\n				\n					VR-Terroirby Bernat CuníThe project\nBernat Cuní’s residency focuses on challenging the rampant standardization of digital culture by creating hyperlocal avatars that absorb and are shaped by their environments\, carrying their “lived experiences” like terroir. The objective is to visualize how context—including data\, textures\, and local inputs—can alter a digital identity. The work involves creating synthetic 3D materials from image inputs and extracting material qualities from HLRS’s scientific simulation visualizations. The artist is prototyping a behavioral pipeline where a 3D mesh is affected by different material properties based on proximity\, moving towards designing a minimum-viable-avatar mesh with a defined movement system. \nThe artist\nBernat Cuní is an artist who explores the digitization of objects and spaces by blending code\, crafts\, and robotics\, focusing on emerging technologies through a post-capitalist lens. Although he began as an industrial designer in 1999\, he later shifted toward research-based design focused on people\, citing disillusionment with the consumerist nature of producing physical goods. His project\, LocalEchoes\, aims to create hyperlocal avatars for VR/AR environments that offer culturally rich alternatives to the standardized\, uncanny avatars typically provided by tech giants. The artistic mission is to disrupt consumerist avatar designs by creating generative avatars that reflect users’ local culture and environment\, drawing inspiration from Europe’s heritage of masks and costumes used in various festivities. The project will develop an engine that extracts characteristics from datasets and user contexts\, enabling avatars to interact with their surroundings and fostering deeper non-verbal communication within collaborative virtual environments like the COVISE software. \n				\n				\n				\n				\n																														\n				\n				\n				\n					Loopingby Oliver KruseThe project\nOliver Kruse is undertaking the looping project\, which involves translating the aerodynamic morphology of the maple tree’s flying fruit into a structurally and aerodynamically refined large-scale flying sculpture. The physical artwork is planned to be an aluminum aircraft construction\, measuring 6 meters in length\, analogous to the size of an airplane wing. The artistic research utilizes collaboration with HLRS for aerodynamic simulation and parametric design exploration to digitally forecast the object’s flight behavior. The project involves prototyping and making three-dimensional models in various materials\, as well as developing video and drawing work. Future plans include a “flight day” to test at least 20 objects\, examining how long they can be kept airborne and testing remote-controlled flight. \nThe artist\nOliver Kruse is a visual artist whose multidisciplinary work is inspired by architecture\, geometries\, and spatial environments\, encompassing both constructed and natural settings. His recent practice\, which includes large-scale urban sculpture and site-specific digitally generated projects\, explores the intersections of art\, nature\, and architecture\, challenging the traditional division between sculpture and architecture. A key element of his work is the critical investigation of virtual constructions\, where existing forms are digitally reconstructed and assembled in unexpected ways\, resulting in systems of interwoven\, non-hierarchic geometries. His project\, looping\, is a collaboration involving artistic research\, aerodynamic engineering\, and aircraft construction\, inspired by the effortless flight of the maple tree’s flying fruits. The goal is to translate the morphology of the maple fruit into a structurally\, aerodynamically\, and morphologically mature large-scale flying sculpture\, ultimately realized in aluminum aircraft construction in a size corresponding to an actual airplane wing (6 meters in length). \n				\n				\n				\n				\n																														\n				\n				\n				\n					HPC Data Symphoniesby Dr. Kirell BenziThe project\nDr. Kirell Benzi is developing HPC DATA SYMPHONIES\, a public-facing installation designed to make the invisible inner workings of the HLRS high-performance computing (HPC) center visible and understandable to non-specialist audiences. The artwork transforms live log data from HLRS’s HAWK supercomputer into an evolving digital landscape\, visualized as a heightfield where extruded cubes correspond to compute activity by scientific field (e.g.\, climate modeling\, AI\, materials science). The project’s goal is to move beyond conventional visualization by developing a composite visual language where visual parameters (like height\, shape\, texture\, color\, and rhythm) are directly tied to real metrics such as compute time and energy consumption\, ensuring the resulting landscape is expressive and data-driven. \nThe artist\nDr. Kirell Benzi is an award-winning data artist and AI researcher whose work explores how information can be transformed into artistic and immersive experiences. Holding a Ph.D. in Data Science from the École Polytechnique Fédérale de Lausanne (EPFL)\, he investigates the intersection of art\, artificial intelligence\, and visualization to reveal the hidden structures shaping our world.\n


\nHis practice treats data as a living material: something that can be sculpted\, animated\, and experienced. Through large-scale installations\, artistic data visualizations\, and interactive environments\, Benzi transforms complex datasets into narratives that engage both intellect and emotion.
\n

\nBridging scientific inquiry and artistic expression\, his work proposes a new language for perceiving the systems that define contemporary life. He has collaborated with museums\, research institutions\, and corporate partners worldwide\, and his data art has been presented at international exhibitions and conferences\, earning recognition for its distinctive approach to visualizing complexity. \n				\n				\n				\n				\n																														\n				\n				\n				\n					Merging Visionsby Merve ŞahinThe project\nMerve Şahin’s Merging Visions project addresses the challenge of communicating the transformation of the Salzburg Festival site by reimagining digital twins through artistic and immersive storytelling. The core concept is “Expanded Immersive Twins\,” extending digital twins to incorporate cultural\, ecological\, and historical layers of the heritage-protected urban environment. The project involves a mixed reality installation where 3D models and scans of the site and its archives are transformed into speculative digital landscapes. The technical output includes developing tangible user interfaces (physical models augmented with digital layers via AR sensors) that enable users to physically interact with and navigate the virtual content\, translating scientific datasets (like user movement and geological structures) into interactive visualizations. \nThe artist\nMerve Şahin is a Vienna-based architect and researcher who specializes in using architectural and digital representation techniques as a medium for visual storytelling. Her work aims to uncover the socio-political and historic layers embedded in public spaces by creating immersive drawings and animations that reveal both tangible and intangible layers of the built environment. Her mediums include parametric 3D-modeling\, vectoral mappings\, digital renderings\, and data visualizations\, which she uses to explore the digital turn’s impact on public spaces through speculative\, engaging digital formats. Her residency project\, Merging Visions\, focuses on transforming urban digital twins into exploratory digital installations that can be experienced by audiences using XR technologies (Augmented Reality and Virtual Reality). By applying this approach to the Salzburg Festival use case\, she aims to overlay physical spaces with electronic data to bring the rich historical\, social\, and cultural layers of urban environments to life.  \n				\n				\n				\n				\n																														\n				\n				\n				\n					The Perfect Perfect Dirtyby Johanna BrucknerThe project\nJohanna Bruckner is pursuing research at the intersection of AI\, queer theory\, ecology\, and posthumanism\, focusing on the interface between the body\, affect\, and technology from the perspective of quantum physics. The project addresses the deconstructive and corporeal nature of interfaces in algorithmic systems\, employing a critical perspective rooted in queer-feminist and post-digital conceptions of the body. As a major outcome\, the artist is conceiving of art objects based on research from the Institute of Quantum Materials at TU Dresden\, combining processes like 3D-printing\, silicone\, glass craftsmanship\, and new materials derived from quantum research. The work also includes developing a multi-channel video installation incorporating new software based on Artificial Intelligence and methods from Large Action Modelling related to incalculable mechanisms in medicine and finance. Furthermore\, the artist is prototyping choreographic scores for the development of digital avatars based on AI research. \nThe artist\nAn artist born in 1984 in Vienna\, Austria\, who studied fine arts\, cultural studies\, and social anthropology across multiple international institutions. Her artistic output—including film installations\, performative scripts\, and writings—explores the tensions at the core of socio-political issues\, specifically focusing on biopolitics and queerness within the framework of late capitalism. She also uses collaborative performative design as an organizing principle for social practice and reflection. Her project\, The Perfect Perfect Dirty\, aims to closely investigate Artificial Intelligence technologies and their potential to complexify and diversify\, primarily by challenging the prevailing myth that digital systems are clean\, reliable\, and free of contamination. Bruckner seeks to modify the parameters through which information is weaponized against queer and other intersectional minorities\, instead establishing “dirtiness” as an ontology for queer AI to develop a more-than-human future coexistence. The research will manifest as a science-fiction based scenario featuring a new video installation and related objects that activate an immersive space\, showcasing fictional characters navigating co-contaminated embodiment with AI-based interfaces. \n				\n				\n				\n				\n																														\n				\n				\n				\n					There Is No Such Thing as a Fishby Carolyn KirschnerThe project\nCarolyn Kirschner’s residency project\, There Is No Such Thing as a Fish\, is an artistic investigation into the zebrafish as a model organism in scientific research\, examining its socio-cultural significance and speculating on possible interspecies futures. What does it mean to use the body of one species as a model or stand-in for another? What are the implications of efforts to bring zebrafish’s regenerative abilities into the human body? Are we becoming part fish? Or maybe we always have been? \nWorking with Physics of Life researchers from TUD Dresden University of Technology\, the project engages with a search for the foundational principles underpinning life\, and the interplay of living systems with computational processes. One of the project outcomes is a short film\, which documents a range of interconnected cultural\, material\, and ecological landscapes where human and zebrafish worlds collide – from a petri dish in the lab\, to pet shops\, server farms\, rivers and rice paddies in India. The project also leverages advanced computational methods to produce a speculative anatomical model\, based on digital reconstructions of the last common ancestor between humans and zebrafish 425 million years ago. \nThe artist\nCarolyn Kirschner is a designer and researcher with a background in architecture. Her work explores the growing entanglements of ecologies and machines in the context of the climate crisis\, working with scientific tools\, simulation engines\, digital fabrication\, and film to produce fragments from alternate or expanded worlds. She is a Lecturer at Goldsmiths\, University of London\, and previously taught at Parsons School of Design in New York. \nHer S+T+ARTS residency project There Is No Such Thing as a Fish was developed in collaboration with scientists from the Physics of Life Cluster of Excellence at TUD Dresden University of Technology. Through film and creative applications of advanced computational methods\, the project explores interspecies dimensions of biomedical research and the role zebrafish play in the search for the underlying physical laws and mathematical equations that govern life. \n				\n				\n				\n				\n					Merz Akademieby NameThe project\nDescription... \nThe artist\nDescription... \n				\n				\n				\n				\n					AFRICAN INTELLIGENCEby NameThe project\nDescription... \nThe artist\nDescription... \n				\n				\n				\n				\n							\n							\n					\n													\n															\n								\n														\n												Day 1 | 18 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\n				\n							\n					\n													\n															\n								\n														\n												Day 2 | 19 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationState Theater StuttgartAI + Theater\n				\n							\n					\n													\n															\n								\n														\n												Day 3 | 20 - May\n					\n					EVENINGS+T ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationFundación Épica La Fura dels BausJavier Iglesias GraciaState Theater StuttgartAI + Theater\n				\n							\n					\n													\n															\n								\n														\n												Day 4 | 21 - May\n					\n					EVENINGS+T+ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI InstallationS+T+ARTSHungry Ecocities\, Musae und ResilienceArtist Hadassa NgambaCollaboration: HLRS + Living Atlas + AI (African Intelligence)\n				\n							\n					\n													\n															\n								\n														\n												Day 5 | 22 - May\n					\n					MORNINGS+T ARTSECHO Project STARTSART & MusicPerformance LED WallMerz Akademie – University of Applied Arts\, Design and MediaAI InstallationSONY LABAI Installation\n				\n								\n						\n				\n				\n				\n					REGISTER
URL:https://thegate-festival.com/event/reach-2026/
LOCATION:HLRS – Stuttgart\, Germany
CATEGORIES:Workshop
END:VEVENT
END:VCALENDAR