Next in our digital series is Grandmamauntsistercat. Film created from archival materials of the Educational Film Studio in Łódź, tells the story of a matriarchal family through the eyes of a child grappling with the reproduction of ideological and representational systems. Originally created as didactic and propagandist tools in communist Poland, the footage is repurposed as a locus of auto-fictional memories, with their scientific register shifted towards a treatment of images themselves as specimens. The classic Slavic witch figure, Baba Jaga, is reimagined as a 'prehistoric goddess from the times of the matriarchy'. This transformation incites layered reflections on kinship and identity, as the child navigates binary gender roles. The women in the family find home within the archive, engaging in a process of self- and world-making, overturning the often sexist and anthropocentric images into tools of freedom and resistance.

Next in our digital series is Hardly Working, a work that sheds a limelight on the very characters that normally remain in the background of video games: NPCs. They are non-player characters that populate the digital world as extras to create the appearance of normality. A laundress, a stable boy, a street sweeper and a carpenter are observed with ethnographic precision. They are Sisyphus machines, whose labour routines, activity patterns as well as bugs and malfunctions paint a vivid analogy for work under capitalism.

Next in our digital series is Never Forget, a multi-channel, algorithmic novel by Jacob Broms Engblom.

Never Forget is a multi-channel, algorithmic novel compressing the visual realms of 9/11, the Avatar franchise and several Dreamhacks into lossy retellings of Chris Marker's La Jetée.

Expanding across several platforms and timelines, it generates worlds as mediums for hazy digital memories, channeling the splintered and mutating realities of the digital now.

Next in our digital series is On Location, a video by Rustan Söderling.

On Location presents as a dioramic stage play which unravels the history of a place known only as "The Site," tracing its evolution in reverse through a series of imagined historical ages. At the heart of this performance is a lecture delivered by "The Society," a group obsessed with cataloging every detail of the site. The true significance of The Site is never explicitly revealed, but the speaker's reverence suggests an almost sacred importance. As the lecture moves closer to the present, behind-the-scenes glimpses of the production reveal the artificiality of the performance, inviting the viewer to question the boundaries between reality and fiction. The film delves into the impossibility of fully understanding the past, highlighting the futility of freezing time or capturing the truth of any historical moment. The film playfully interrogates the construction of history itself, asking which narratives survive, who controls them, and how history, like some experimental stage play, is constantly rewritten.

Next in our digital series is you will always be a hyena... etc., a video work by Nicholas Korody.

you will always be a hyena... etc.is a 2015 video work based on the "The Unreality of Time," an essay by J. M. E. McTaggart, and "Somebody Else: Arthur Rimbaud in Africa," a biography by Charles Nicholl that chronicles the poet's "disappearance" in Africa. It has previously been exhibited at Six Month Space in New York and the Moderna Museet in Stockholm.

Next in our digital series is Item Falls, a film by Ryan Trecartin.

In Item Falls, we are peaking. We start out at a casting call, but before long we're firmly in the grip of hallucination, shedding our anxieties and evidently regressing to the animation era, a time when stunt chickens were mere chicklets. Friendly archetypes float in and out of what seems like our bedroom. The red-headed Jenny has returned, but this time she's squeaky and trusting. Unlike in Center Jenny, here our perspective is literally centered. The camera seems to be the in middle of the room, which is good, because we're too blissed out to move. Luckily, our hallucinations look directly at us.

Next in our digital series is Hashd0x, a work by Egor Kraft.

Hashd0x (spelled hæʃdɑːks) is a tactical software initiated by the artist in cooperation with a group of hactivists & software engineers. It is designed to combat disinformation by allowing instant & spoof-proof on-chain evidence capture and forensics tools through the registration of metadata and content hashing. The video-installation, called "Proof of War," features a film and custom-designed hand- and drone-operated cameras that utilize the software to capture a 3D model of the remnants of a house in the infamous Bucha Raion, a district in the Kyiv region. The images & videos used to create the photogrammetric 3D scan are hashed, registered, and stored on-chain using hashd0x's decentralized application (dApp). These records will be stored as blockchain data across a vast network of computers for potentially countless years, serving as a digitally sculpted memorial to the atrocities of present-day war crimes, forever preserved in our digital archives, uncorrupted, uncensored, and time-stamped.

Next in our digital series is Monad +, a video work by Dana Dawud.

Dawud's latest film Monad + situates webcam footage, projection mapping and texting both within the time space of the film and in the real time space outside, reformulating itself with each screening until Monad becomes fully saturated or until submarine internet cables stop working, whichever comes first.

Next in our digital series is The Drone Is The Message, a video essay by Jacob Hurwitz-Goodman.

The work was created in early 2020 as a respond to the U.S drone assassination of Iran's Qasem Soleimani, and remains highly relevant today. This thought-provoking piece examines the dual nature of drone technology as both instruments of state power and increasingly accessible consumer devices, emphasizing how these aspects intertwine to shape our perception and acceptance of drones in modern society.

Next in our digital series is Fragments On Machines, a film by Emma Charles.

The work reveals the physical framework and materiality of the Internet, a vast network often thought and spoken about solely in abstract terms.

The film will be available for viewing until October 4th.

Next in our digital series is Ultraface, a programmed film by Alex Murray.

Ultraface, initiated by artists GVN908 and Alex Murray, is a programmed film that renders in real-time. It dynamically assembles live footage from security cameras and sound from online databases.
--The video presented at hybrida.space is a render from 1 September 2024.

Our Digital Series presents a work every two weeks, spotlighting artists who primarily engage with digital mediums. The program delves into the essence of the digital format, exploring its impact on, and intricate relationship with, the physical world.

We are excited to introduce our brand-new website, a dedicated space for showcasing a diverse range of digital artworks and highlighting our location-based projects.