This piece observes heavy metal vocalists during sound check.

“leaving / behind: me, wag.” is a collaborative, multi-media artwork created by Sharifa Lafon and Joshua Ware that focuses on the intersection of bodies, sound, image, and word.

World Premiere

The source footage comes for Stream is of bare tree limbs lying in water, but the result of the processing is that new types of landscapes are created. Some contain sensuously flowing images suggestive of human forms, while others flicker with the intensity of a storm. The work visually alludes to how our experience of events is not rooted in just one moment, but in an overlapping tapestry of memories, thoughts, and anticipations. Through the intense processing, uneventful spaces in the journey disappear as moments, now abstracted, happen again and again, synthesizing into something new.

Colorado Premiere

STEALTH LESBIAN is an experimental dance-film work part of a larger series of 2019 works by Elle Hong, "Terms of Use" (ToU). Through ToU, Hong collaborates with quotidian technologies of surveillance (e.g., smartphones, personal computers) in a dis/embodied investigation of AI, hyper-surveillance, queerness, and the social contracts agreed to both knowingly and unbeknownst to the general public. ToU employs absurdism as a coping mechanism for the social worlds the artist navigates, while proposing newer means of being in the world that destabilize dominant ideologies in technology, identity, and the body. The section STEALTH LESBIAN includes Hong’s reimagining as a former contestant on MNET K-Pop survival show, Produce 48, utilizing the everlasting space of the digital to envision self-determined modes of visibility. Through digital performance, Hong crafts a whimsical portrayal of how the intersection of experimental film and dance studies might serve as a site for imagining new genders and worlds that stand in deep opposition to the legacy of Europeanist, heterocentrism employed through dance as a field of study.

The Magnitude of the Continental Divides is an animation exploring the ways we define ourselves and our nations. It is a journey between many locations in various states of withdrawal and aggression. Borders become weaponized and damage is always dealt from afar. The individual is caught in the midst, unable to separate themselves, unable to define identity without place.

The Magnitude of the Continental Divides is a six minute high definition animation created over two and a half years that combines vector drawings derived from safety brochures with illustrations from scout manuals, science books, and boy's adventure stories, all from the 1930-1960's. Sound design was provided by David Fodel.

Colorado Premiere

Earth is experiencing its final winter. A giant streaming company hires all available camera operators to film the final weeks of this soon-to-be-lost season. After seeing their footage as a form of ecological exploitation, the camera operators refuse to commodify further climate collapse with their labor.

Everything was so rapid and deeply interconnected, and also so impossible to reduce down to a singular linear experience. The Boundary that never Was attempts to understand how we cognitively replay what we believe our senses can capture and explore how experiences change us. The sound is recorded using an electromagnetic frequency microphone shaped as a granular remix of the sounds of electrons happening.

Colorado Premiere

You can rob me of my skateboard but you can't take away my destiny.

World Premiere

“An Ode in the Key of Lost Light” is an inquiry into systems of control, erasure, and endurance. Rather than treating elements as fixed, it engages them as unstable signals - subject to translation, interruption, and decay. The work is less concerned with what is seen than with the structures that shape seeing - systems that exclude, distort, indoctrinate, or commodify. Within these frameworks, remnants of visual and cultural authority flicker, momentarily visible in the mechanisms designed to manage perception. Inheriting frequencies compressed through layers of geopolitical force, conflict, conquest, and control reveals the weight of histories embedded in perception itself. If there is memory here, it is neither linear nor whole; it loops through repetition and rupture, eroding even as it unfolds. The work seeks to stay with the ambiguity, to listen for the manifestations that dominant histories cannot contain or silence.

World Premiere

Rendering the invisible, this film is a visual poem abstracting vulnerability, breath and resilience in a world filled with air pollution.

World Premiere

We watch as two lovers search for each other, in a landscape without depth. What happens when we lose the horizon? Without it, our sense of orientation, time-scale, perspective, and rootedness to the Earth dissolves.

Flatnesses is a film shot entirely from a God's-eye view, —an unbroken aerial perspective flattening all depth and distance. Once impossible, now cheap and quotidian, our era of drones, surveillance, satellites, and digital mapping, flattens and abstracts. Now we float. In Flatnesses, homelands become maps, geographical features become data, one place is made to seem like another, algorithms dictate desire, and intimacy feels distant. Still, we look for one another.

"we weren't bored" is my longest-running project that started when I was sixteen. My krew of friends and I wanted to make a skate video but weren’t good at skateboarding so it mostly shifted into antics, pranks, and stunts. These were the parts of the skate videos I always gravitated to the most. This ended up becoming more of a document of a certain point and time in our lives. We were always shooting for “the video” but were seemingly more interested in making stuff happen instead of sitting down and editing the footage together. 

We would organize entire day-long events for ourselves to shoot, like finding water skis and pulling each other down a dirt road, road trips to Las Vegas, scoping spots to do car launches and donuts, throwing parties with the explicit goal of shooting footage, or building different potato guns to shoot at tube televisions and toilets found in the desert and eventually turning those into flame throwers. We also documented simple day-to-day interactions of a young subcultural person, mosh pits and fights at the local punk youth venue "Skrappys," interactions with adults and cops that hate skateboarders, late-night graffiti runs, and just shooting the shit, making each other laugh. Over the years, I’ve revisited and compiled this footage, recognizing its foundational role in my journey as an artist.   

I’m still friends with everyone from this krew.

For twenty years, Sultan Zeib Khan has kept watch over a ruined Neolithic necropolis in the Sharjah desert in the United Arab Emirates. Although majestic, the wide-angle shots have no monumentalising intent: the beauty and extent of the site speak for themselves. What is playing out here is the possibility for one man to become part of a landscape that overwhelms him yet seems to need his help. Seen under the silhouette of a rock about to devour him or as a dwarfed figure spade in hand walking from the back of the frame, Sultan curiously busies himself from day to day to prevent the ruins… from falling into ruin. Here the human remains have long since become archaeological artefacts: the highly luminous outside sequences alternate with shots inside a museum where the bones are sorted and laid out for the visitor’s eye. The switching between day and night but also the soundscape of the man’s singing and the sound of his transistor radio suggest that even the greatest solitude can allow itself be inhabited. Above all, it underlines the paradox of these empty tombs, where death is compounded by the absence of the relics.

Wetlands embody potential in their perpetually undefined qualities. The alligator has survived 65 million years within these intermingled depths. Fugitive slaves fled from plantations in the American south and the Caribbean, founding egalitarian maroons in swamps and forests. Although dwindling, this commingling of land and water generates a shrouded space for the most complex biodiversity of all planetary ecosystems.

Soft Slough is an offering of possibility, where we might become subsumed in murky depths of interconnectedness: envisioning ourselves outside of the realms of failing societal strictures, de-and-recomposing, becoming of a place where a myriad of different practices, relations, and worlds are suspended together.

Colorado Premiere

A Line is Not a Line examines the practice of landscape visualization as a technology of colonialism and occupation. Using Google Street view and Earth as a contemporary analog to colonial landscape painting as a technology of power, A Line is Not a Line unpacks how we visualize and understand borders and bordering in global economies and ecologies marked by migration, extraction, and exploitation. The work unpacks how this technology constructs landscapes through a process of cultural and bodily erasure, flattening a multiplicity of subjectivities under the totalizing subjectivity of the colonial gaze.

USA Premiere

By looking into artistic and theoretical aspects of the concept of place (or space) and its political, social, economical and cultural implications “Dear Aki” explores notions of fluidity, difference and transformation in relation to topics of naming, identity, nationality, belonging, home, family, state, (im)migration, territory and landscape and its fictions. How do we today in the age of globalization, migration, violent displacement, instability, relate to specific locality, where do we belong, what is home for us? At the time of rise of nationalism, hate, fear, segregation when the borders are getting stronger and walls higher, where do we find safety? Is it physical or perhaps imaginary space?

Presented in the form of a series of fictional letters sent from Nina Kurtela to Aki Kaurismäki read against a backdrop of atmospheric exterior shots, "Dear Aki" is an experimental visual-narrative essay on the nature of naming in the globalized world. Originating from an accidental anecdote about the artist's surname, the film develops through juxtaposing northern and southern imagery while questioning the possibilities of creating new fictional spaces in the realm of already existing landscapes.

Colorado Premiere

Western Fronts: Cascade Siskiyou, Gold Butte, Grand Staircase-Escalante, and Bears Ears is an experimental video that reflects the political and ecological threats that face four U.S. National Monuments. The work combines aerial drone footage and photogrammetry with 3D animation to create a nature documentary that collapses into itself. The wilderness is scanned by large shapes that momentarily reduce the landscape into grayscale polygons —in these redactions we glimpse a near-future dystopia of computer-vision aided resource extraction.

I visited Newfoundland for the first time in 2012 and could immediately feel what a special place it was. It has since come to be one of the most artistically rich areas for my work. I was struck by how the land exists in a liminal space between the boreal forests of Southern Canada and bare Arctic tundra. The way the rocks heave out of the ocean and hold the weight of the sky is sublime and mournful. The power and complexity of the place is palpable when you’re there.

I met Amy in 2019 and began work with her on this film when I was early in my journey as a documentary filmmaker. We recorded our first interview that year and I visited her childhood home of Daniel’s Harbour on the Northern Peninsula in 2021. Amy’s perspectives were enlightening- her words about the inherent kindness of nature, the land and the universe have resonated with me on all my travels since. The wisdom she shares in this film is remarkable for a young person. It is a privilege to bring her words and my images of our shared love of Newfoundland to international audiences.

Colorado Premiere

Diogenes Dreamer has been crawling through the claustrophobic tunnel of abstract music for decades, leaving a trail of innovations in the fields of turntablism, sound collage, sampling, contemporary composition, and sheer radio broadcast charisma. Dozens of albums in as many genres, countless daring performances, and a sum total of three fans.

With Projections from… Glitchybb

Glitchybb is a digital artist bringing you transmissions from a technicolor dream.

Specializing in psychedelic and glitch art, she uses visual distortion as a form of escapism. She bends reality to match the rhythm of music and transforms everyday visuals into surreal experiences. Her work spans music videos, visualizers, animations, album covers, event posters, and more. Each piece offers a vivid glimpse into her altered perspective.

Alluvium, a collaborative project of Nika Kaiser and Nathan Stickel, uses a combination of composed and improvised video projection, field recordings, and experimental sound to create performative installations that respond to site-specific details within the natural world’s fluctuating environmental and political conditions.

The geologic phenomenon of alluvium occurs when loose clay, silt, or sand has been deposited by running water in a stream bed or floodplain for an impermanent period of time, making unique radial shapes. Inspired by this phenomenon, Kaiser & Stickel's responsive compositions develop cumulatively, collecting and compiling sound and imagery that reflect tenuous, shifting states. Alluvium is a recent intersection of both members' established practices based in the Sonoran desert. Alluvium has performed throughout the Southwest and their work was most recently exhibited at MOCA Tucson and The American Institute of Thoughts and Feelings, in Tucson, AZ.

Alluvium will be doing their own projections…

Bolt Of Void is a sonically amorphous band, and a family coven. They are interested in eternally divine music, electroacoustic experimentation, soundscape, and cosmic vibrational fields. The trio have played together in various iterations and groupings since 2014, at one time co-operating Shadowtrash Tape Group, a label and performance-focused radio show in the Denver/Boulder Colorado area. They went on hiatus as an outfit in 2020 only to be re-awakened in 2025 across the scattered geographies of the Sonoran Desert and the Pacific Northwest. Their latest tape, "Gate" is out on Harmonic Ooze Records in July 2025, and is centered on extreme noise, instrument disruptions, and atonal portal jumping via three extended pedal lap steel guitars, bells and objects.

With Projections by OrchidZ3ro

A day in the life of a pixel artist.

The Zium Gallery is the third instalment of The Zium series. It houses a collection of works from several artists all around the world in various traditional, new and emerging mediums. The Zium is an art gallery experience build in the Unity Game Engine.

Colorado Premiere

This little game could be best understood as a sketch or a study. I wanted to try my hand at an engine called Binksi at inkJam 2022. Unfortunately, I was only able to block out around 6 hours for the project. The result is a short and rough execution of an idea (in association with the jam’s theme “Incredible, yet…”) that is nevertheless a playable from start to finish.

Ekphrasis is a game about looking at things. I lived for many years in New York, and the Metropolitan Museum of Art was always a refuge - a public space for private moments. The experience of looking at art is as much about our personal stories, our desires, and our humor as it is about the objects themselves. What a gift to travel through time and space and imagine how you might be changed when you leave!

World Premiere

Art Survivors (2024), an interactive FPS (first-person shooter) game newly created by Mak2 that invites its audience virtually into the world of a fictional art fair. Filled with the artist’s own AI-generated artworks, what begins as a familiar cultural experience quickly escalates into a fight for survival – all the non-player characters have turned into zombies. Players must navigate through the fair and eliminate infected fair attendees, battling for victory in a place once of creative expression and appreciation, now turned into a labyrinth for survival.

As the living dead charge at you wearing business casual outfits, the immersive storytelling of the game becomes as thought-provoking as it is thrilling. Synthesizing the imagined tranquility of an art fair with the chaotic absurdity of a zombie outbreak, the artwork posits a humorous hyperbole of certain invisible dynamics. Complete with rankings of both the best and worst players as well as droll reenactments of common art-fair-incited behaviors, the game magnifies and examines the aspects of competition, hierarchy, trauma, and strategy that are interwoven into the starry-eyed illusion of art. Art Survivors, however, is not just a tongue-in-cheek comment on art’s Darwinist, dog-eat-dog world. It is, more importantly, a reminder of the ultimate objective: To stay alive without becoming one of the infected – and with the right adjustment to mindset, maybe even have fun.

You, an inimitable artist, have been commissioned by a wealthy patron to create art. As we know, art is simply consuming existing art and regurgitating it.

DOOM: The Gallery Experience was created as an art piece designed to parody the wonderfully pretentious world of gallery openings. In this experience, you will be able to walk around and appreciate some fine art while sipping some wine and enjoying the complimentary hors d’oeuvres in the beautifully renovated and re-imagined E1M1 of id Software's DOOM (1993).

This is a poetic observation of the emergence and development of movements that challenge hegemonic traditional culture in a small town on the Mexican coast.

World Premiere

Experimental video with 2D Animation elements. The video features an absence shaped like a figure, which barely moves. It just is, as though it's always been there. And when you stare too long, you begin to remember things that never happened.

Colorado Premiere

Tele-Nouvelles follows a small town Canadian news broadcast as it navigates the cultural challenges and clashes of a rural town on the constant verge of economic collapse. The animated project mirrors and mocks its Southern neighbors but with a more obvious "communal" base of society.

World Premiere

World Premiere

Feedback Loop explores our relationship to technology, fringe ideas, and commercials. In 2023, the US Surgeon General declared an epidemic of loneliness. Simultaneously, we find ourselves diving deeper and deeper into echo chambers of conspiracy theory, misinformation, and fear-mongering. Every click on a hyperlink and second lapsed on an ad feeds cyberspace algorithms that work by design to keep us hypnotized by our screens. Talking heads and influencers are successful by providing the illusion of intimacy that is otherwise deeply lacking in the flesh. Would conspiracy theories and misinformation spread the same way if we weren’t so significantly lonely? What makes otherwise rational and educated people fall into cesspools of dangerous rhetoric that make them act against their own self-interest - and who reaps the benefits? This short film takes inspiration from science fiction, body horror, and Saturday morning cartoons.

The official music video for the Daedelus single Sunflower Stems from their 2020 LP What Wands Won’t Break. This piece combines hand-drawn rotoscope animation with circuit-bent analog video glitch effects run through a vintage CRT broadcast monitor.

theres only two days a year where nothing can be done -- yesterday and tomorrow.

Colorado Premiere

Symbiotic decay through flesh on flesh connection

World Premiere

Naora's Tape is an expert from the stripper's clown performance at a drag show, shot from the performer's point of view. Sound of the video is derived from a collection of crowd noises from concerts.

World Premiere

Our installation is a multi-channel video, sound, and surveillance-based ritual

installation by Law J. Butler and Taylor, exploring what it means to be watched, desired, and distorted in white spaces while Black. Drawing on our personal experiences of growing up under the double pressure of visibility and erasure, the project transforms the gallery into a sanctified surveillance zone—an altar of tension, resistance, and reclamation.

The work is driven by the haunting question: What does it mean to be constantly consumed by the eye, but never fully seen?

A series of videos set to music exploring detachment, isolation, and surveillance.

The Obstruction of Action by the Existence of Form documents a game played between two full hockey teams in a custom fabricated rink measuring 18 feet by 12 feet. The condensed space forces the participants to play shoulder to shoulder robbing the game of the grace, speed, and power typically found in hockey. The result reframes the familiar, allowing overlooked moments to shine and invoke a sense of awe and/or humor.

Colorado Premiere

What's your vibe? Don't know? Let the Gloopies read your palms and find out if you are more of a "Bloop-Crackle" or a "Sleep-Fizz" kind of person. The Gloopies know all!

Gloopy Vibes is an interactive video work where participants will place their palms over sensors, allowing the Gloopies to get a feel of their vibe. Once the Gloopies have chatted with each other, viewers will receive an all encompassing vibe reading.

World Premiere

For this audiovisual performance, MSHR has designed a digital system that links visual and sonic parameters using open-source software. The duo improvises with the system via a handmade sculptural interface to unfold a series of compositions for video projection and four-channel sound. The result is a kind of live cinema in which visual and sonic shapes mutate through mutual interaction, guided by the players.

Colorado Premiere

An improvisation with a self-built audio-visual performance system. The system combines three techniques from previous performance work: HD Analog (VGA) video synthesis, breadboard based modular synthesis using digital logic chips (CMOS), and analog mixer feedback through various effects units. The sonic and audio textures will derive from the fundamental frequencies of an HD video signal subdivided, layered, switched, and fed-back into an audio-visual landscape that evolves slowly but chaotically between rhythm, harmony, dissonance and noise.

World Premiere

bitwhisper.exe is a live audio-visual performance that blends abstraction and rhythm, navigating the fragile terrain between structure and collapse. Visuals flicker like corrupted memory, responding in real time to whispered frequencies and fractured beats. The performance examines AV alignment as a dynamic system that invites both immersion and disorientation. It is a meditation on digital instability, and the human instinct to find meaning in abstract sound and image.

Colorado Premiere