VIPARIS

The Palais des Congrès de Paris is at the origin of Paris’ world leadership for conventions. It is also a popular venue for lovers of the performing arts: musicals, symphony orchestras, international ballets and exceptional concerts.

RICK SILVA

Rick Silva is an American-Brazilian artist who makes experimental 3D animations that explore virtuality, futurology and speculative ecologies. He now lives in Oregon, where he works as an associate professor of art at the University of Oregon. Rick’s inspiration stems from his interest in the protection of natural spaces, wilderness, landscapes, and science fiction, which lead him to make engaging and visionary work.

GEOMANCER 4
He began his practice in the early 2000’s in conjunction with his film degree from the University of Colorado. His work has since been screened and exhibited around the world.
GEOMANCER 4
He began his practice in the early 2000’s in conjunction with his film degree from the University of Colorado. His work has since been screened and exhibited around the world.
GEOMANCER 13
Parmi ses expositions récentes figurent Hors Pistes au Centre Pompidou et State of the Art au Crystal Bridges Museum of American Art. Son travail a été présenté dans des publications telles que le magazine WIRED et le livre Net Art Anthology de Rhizome.
GEOMANCER 13
Parmi ses expositions récentes figurent Hors Pistes au Centre Pompidou et State of the Art au Crystal Bridges Museum of American Art. Son travail a été présenté dans des publications telles que le magazine WIRED et le livre Net Art Anthology de Rhizome.

BORIS MARININ

Boris Marinin is both an artist and a curator. He was born in 1987 in Moscow, Russia, and emigrated to Israel in 1997. His artistic approach is mainly influenced by self-learning and psychoanalytical analysis. In his art, he tries to capture the sublimity of nature by using amorphous forms, which are not necessarily related to the material world we know. With his analytical art, the artist takes us on a journey where we are exposed to the movement of nature, extinction and opportunity while discovering personal interpretations of the connection between an artist and an object to show us what lies beyond our dimension.

In his video art, Boris aspires to make the process of shooting video non-rational and non-narrative, a kind of trance where the camera guides him and not the other way around. He never knows in advance what he will shoot. His main source of inspiration is French psychoanalysis, mainly the work of Jacques Lacan, but also object-oriented ontology, animism, Black Metal and certain artists. The artists who inspire him the most are Ed Atkins, Joseph Beuys or the abstract films of Stan Brakhage.

VÉNUS BUBBLE
In the technique that Boris uses (PBR – physical based rendering), the 3D objects are not made like in reality, i.e. from some kind of material or by natural processes, but rather from quasi-materials. The bubble you see is made of layers of surfaces: shadow layer, diffusion layer, reflection map, translucency, etc. So bubbles are made of quasi-objects, the connections of the material to other materials. This is how environments are created in video games, and it changes the way we look for meaning in the new cyber reality – our new reality.
VÉNUS BUBBLE
In the technique that Boris uses (PBR – physical based rendering), the 3D objects are not made like in reality, i.e. from some kind of material or by natural processes, but rather from quasi-materials. The bubble you see is made of layers of surfaces: shadow layer, diffusion layer, reflection map, translucency, etc. So bubbles are made of quasi-objects, the connections of the material to other materials. This is how environments are created in video games, and it changes the way we look for meaning in the new cyber reality – our new reality.
GEOMANCER 13
The bubble gives us feelings, we communicate with the virtual object in a conceptual sense and this goes beyond the five material senses. Not only do we see the bubble, and hear other people see the bubble – we also receive information via the sixth sense – feelings. The feeling that the bubble gives is also an object, it is a quasi-object, and it is as real as any other object. So is the bubble part of you? Or are you part of the bubble? Everything is a part of a whole.
SARUTAHIKO ŌKAMI BUBBLE
The bubble gives us feelings, we communicate with the virtual object in a conceptual sense and this goes beyond the five material senses. Not only do we see the bubble, and hear other people see the bubble – we also receive information via the sixth sense – feelings. The feeling that the bubble gives is also an object, it is a quasi-object, and it is as real as any other object. So is the bubble part of you? Or are you part of the bubble? Everything is a part of a whole.
PSAMATHE BUBBLE
Parmi ses expositions récentes figurent Hors Pistes au Centre Pompidou et State of the Art au Crystal Bridges Museum of American Art. Son travail a été présenté dans des publications telles que le magazine WIRED et le livre Net Art Anthology de Rhizome.
PSAMATHE BUBBLE
Parmi ses expositions récentes figurent Hors Pistes au Centre Pompidou et State of the Art au Crystal Bridges Museum of American Art. Son travail a été présenté dans des publications telles que le magazine WIRED et le livre Net Art Anthology de Rhizome.

JAMIE SCOTT

Jamie Scott always wanted to be an artist and from the age of 8 he knew he would specialize in visual effects (although he didn’t know the name yet). He studied media production at Bournemouth University (UK), specializing in 3D animation, and began his career in 1999 at the award-winning post-production facility The Mill in London. From there, he worked his way up to become a leading artist working on numerous commercials, music videos and award-winning short films. In 2003, he moved to New York City and worked for another three years at The Mill. In 2006, he joined Mass Market / Psyop New York where he won more awards. After a brief stint in Los Angeles, he returned to New York and began freelancing. He then had the opportunity to work in many other creative mediums, including oil painting and photography.

He began experimenting with time-lapse photography in 2010. His first short film was titled Fall and covered the fall season in Central Park. Much to his surprise, the film was featured everywhere from The Weather Channel to The Huffington Post. His next film, Spring, was even more successful and was shown in New York’s Times Square as part of the Times Square Arts Midnight Moments series. It was shown on 60 digital screens nightly for a month in 2018. Since then, he has shot and directed time-lapse pieces for notable clients including Dell, Chanel, Target, Spotify and Florence and the Machine. He continues to work as a visual effects artist and time-lapse photographer.

PEONIES BURG
Peonies are different from other flowers. Most flowers have only one layer of petals – once they open, the show is over. Peonies are different, they contain several layers. When the artist selects a specimen for time-lapse, he has no idea what is inside. It’s always a nice surprise when you discover interesting shapes and patterns.
PEONIES BURG
Peonies are different from other flowers. Most flowers have only one layer of petals – once they open, the show is over. Peonies are different, they contain several layers. When the artist selects a specimen for time-lapse, he has no idea what is inside. It’s always a nice surprise when you discover interesting shapes and patterns.
PEONIES PINK ROT
Peonies are different from other flowers. Most flowers have only one layer of petals – once they open, the show is over. Peonies are different, they contain several layers. When the artist selects a specimen for time-lapse, he has no idea what is inside. It’s always a nice surprise when you discover interesting shapes and patterns.
PEONIES PINK ROT
Peonies are different from other flowers. Most flowers have only one layer of petals – once they open, the show is over. Peonies are different, they contain several layers. When the artist selects a specimen for time-lapse, he has no idea what is inside. It’s always a nice surprise when you discover interesting shapes and patterns.

SANTERI KEKKONEN

Santeri Kekkonen (aka discodance.xyz) is an interdisciplinary designer and digital artist based in Helsinki, Finland. His style, which fluidly morphs from one work to the next, is the result of constant technical exploration combined with an endless curiosity for discovering new visual worlds. Santeri’s work presents symbolic and abstract metaphors and correlations between nature and technology, with the added goal of challenging conventions in design, art, as well as society in general. Beyond the basic logic established by the artists, each piece also aims to leave a mental space open for unique interpretation by each individual.

Santeri has a long career in the fields of brand design and communication. He has worked for more than ten years for some of the most prestigious brands in Finland and Europe. His artistic activities have developed in parallel with his professional career and have allowed him to explore and express his creativity and curiosity without the limitations of client briefs.

EXUDE
An extraterrestrial structure forming organic matter. Exploration of dynamic surfaces and play on the contrast between the solid and the soft.
EXUDE
An extraterrestrial structure forming organic matter. Exploration of dynamic surfaces and play on the contrast between the solid and the soft.
MARBLES
Mini-drones from the future with artificial minds attracted to a strange artifact from the past.
MARBLES
Mini-drones from the future with artificial minds attracted to a strange artifact from the past.
VERY ODD PLANT IN A POT
Exploration of a biomechanical organism used as a houseplant in a dystopian future where nature has declined.
VERY ODD PLANT IN A POT
Exploration of a biomechanical organism used as a houseplant in a dystopian future where nature has declined.
HOSES
Imagine a dynamic sculpture imitating the movements of underwater vegetation.
HOSES
Imagine a dynamic sculpture imitating the movements of underwater vegetation.

JAKUB ŠPASČEK

Jakub Špaček is a Czech visual effects artist now based in London. Originally from Prague, he was initially a self-taught artist who quickly became interested in visual effects and developed a passion for design. He then decided to study architecture, industrial design and interactive graphics. This is how he progressed as a freelance artist and eventually settled in London where he still works today.

.

Thus, he explores how we can truly enjoy the vision by composing immersive, enjoyable and meditative content. Working with the notions of mystery and imagination are in his eyes the essential key to being able to produce amazing pieces of art. His creations are all the more surprising as Jakub works with both 3D to build his subjects and uses generative art to modify their appearance, especially their color.

CANDY – VERTICALE
Jabuk’s work is primarily concerned with simulating abstract visions of real-world phenomena. In his work, he focuses heavily on the smallest subtleties of form and movement. This artistic approach results in aesthetically pleasing and mesmerizing pieces that will capture the fascinated eyes of the viewer.
CANDY – VERTICALE
Jabuk’s work is primarily concerned with simulating abstract visions of real-world phenomena. In his work, he focuses heavily on the smallest subtleties of form and movement. This artistic approach results in aesthetically pleasing and mesmerizing pieces that will capture the fascinated eyes of the viewer.
OMBRE METALIX – VERTICALE
He then expanded his artistic perception, developing a deep passion for simulating abstract visions of real-world phenomena, focusing especially on the smallest subtleties of form and movement.
OMBRE METALIX – VERTICALE
He then expanded his artistic perception, developing a deep passion for simulating abstract visions of real-world phenomena, focusing especially on the smallest subtleties of form and movement.
OMBRE CERAFLOW – ACRYLIC
His main sources of inspiration are nature, industrial and product design, architecture, the human body, the very concept of art and music.
OMBRE CERAFLOW – ACRYLIC
His main sources of inspiration are nature, industrial and product design, architecture, the human body, the very concept of art and music.

JOHANN BARON LANTEIGNE

Johann Baron Lanteigne lives and works in Quebec City, Canada. However, the essence of his work comes from infiltrations of numerous cyber-communities and virtual collaborations. This web-based practice is reflected internationally through participation in numerous digital art events: The Wrong Biennale, real-fake, Les Garages Numériques (BE), Mapping Festival (CH), Mirage Festival (FR), Vector Festival (CA), Dutch Design Week (NL), Sónar+D (ES), CUVO Video Art Festival (ES), Electrofringe (AU), CPH:DOX (DK) as well as at the Ludwig Museum in Budapest (HU). Johann also specializes as a technology consultant to artists and artist-run centers.

Johann explores our relationship with technology and its infrastructure through installations of altered screens opening into virtual worlds. Alienating at times, this has the potential to make us forget the physical world. He attempts to recall the infrastructure of the digital medium with works that connect these two realities. This reappropriation of the screen does not pretend to contribute to the technological advances of the consumer object. Rather, it serves to develop its symbolic image and to create a bridge between the real and the virtual.

MANIPULATION 1
“The hand is my canvas. I shape it as I would a landscape. These are my manipulations.”
MANIPULATION 1
“The hand is my canvas. I shape it as I would a landscape. These are my manipulations.”
MANIPULATION 4
“At first I wanted a matte textile finish, but I changed it to a glossy weave with droplets to further distort the image. Now, the rippling motion and sunlight reflections really make it look like water.”
MANIPULATION 4
“At first I wanted a matte textile finish, but I changed it to a glossy weave with droplets to further distort the image. Now, the rippling motion and sunlight reflections really make it look like water.”
MANIPULATION 5
“The RGB connection is necessary to continue.”

This work belongs to the series “Manipulation”. This series of animated works is based on gestures, their expressiveness and imperfections. Each iteration allows the artist to touch the virtual material by driving various simulations and procedural systems from motion capture data.

MANIPULATION 5
“The RGB connection is necessary to continue.”

This work belongs to the series “Manipulation”. This series of animated works is based on gestures, their expressiveness and imperfections. Each iteration allows the artist to touch the virtual material by driving various simulations and procedural systems from motion capture data.

About VIPARIS

We host exceptional, exciting, crazy, innovative and unusual events in our nine locations in Paris. Listing them all would be tedious, but the ones you are thinking of are most certainly organized here: the Paris Motor Show, the Paris Fair, the Agriculture Show, Viva Technology, Who’s next, all make the heart of Paris Expo Porte de Versailles beat faster.

SUBSCRIBE TO OUR NEWSLETTER.