IC @ Rundgang 2026

This Person Did Not Exist

Aisling Phelan (IR)

‘This Person Did Not Exist‘ is a sculptural installation examining the translation of synthetic identities into physical form. Faces generated using the generative adversarial network (GAN) platform ­thispersondoesnotexist.com are translated through 3D printing, mould-making, and casting into sculptural forms made from recycled plastic. Once melted and reformed, the plastics lose all trace of their source, mirroring the aggregated and untraceable datasets from which the faces are generated. 

Anti-Work-Simulator

made by 4L34M

Alessandro Ambrosini (IT)

If u’ve ever been trapped in the 9to5 prison, u know how hard it is to escape. Some of us don’t have the privilege to even think about it. I designed this piece with that in mind. Think of it as a gym for the civil disobedience muscle. A button in the bottom right camouflages the screen as Excel if u don’t wanna get caught. U’re not alone: the worker before u left something behind. The game is a tool. Use it at work. Start small. Steal an hour. Then another.

Retrons 

Dagmar Schürrer (AT/DE)

The installation consists of a series of identical interactive objects — the Retrons — distributed throughout the exhibition space. Each 3D-printed sculpture is equipped with a sensor that responds to the proximity of visitors, which triggers a dismissive retraction. The Retrons can be understood as sensing extremities of a larger, underlying machinic structure, with the connected screens offering only a partial glimpse of its internal mechanisms. The work reflects on the growing complexity of behaviour, responsiveness, and agency exhibited by technological and machinic systems today.

Non-Human Topographies

Giulia Olivieri (IT)

Non-Human Topographies is a series of portraits of non-human entities: fragmentary representations of digital figures that retain only physiognomic residues of human faces. The three-dimensionality of the human figure, captured through photogrammetry, is annulled. The object of investigation becomes the ­texture map, which is transposed onto latex, as though it were a skin-like surface. These maps are legible to computational logic yet difficult for the human eye to reassemble into a unified whole. Thus, hybrid and disorganic creatures emerge: fragments of digital bodies resurfacing from a future past as cartographies to be explored.

No-machine / Nein-maschine

Grace Kim (US)

No Machine is an interactive device that offloads the emotional toll and potential consequences of saying ‘no’ to a machine. Using toggles, the No Machine 
allows the user to calibrate a refusal across axes of tone and intent (‘Flat/Expressive’, ‘Cold/Warm’, ‘Hesitant/Firm’, and ‘Sincere/Sarcastic’) to produce a bespoke ‘no’ appropriate for the situation. The No ­Machine is a vessel for the fantasy of a consequence-free refusal, utilizing an automated sys

Naturally Unnatural (2026)

Yasmin Bock (DE)

‘Naturally Unnatural’ is a biosculptural project by ­Yasmin Bock. It explores what it means for something or someone to be alien: something familiar yet unfamiliar; something recognizable and foreign; something both natural and unnatural. In order to achieve this, the artist used natural materials and organic shapes in an attempt to create creatures that feel alien. The sculptures are made from homemade bioplastics on a gelatin base, colored with lemon peel, blueberry powder and blue spirulina.

Defence Contractor Fantasy World

by freeculture.api

Joshua Mattson (CA)

Defence Contractor Fantasy World is a deployable incremental game demonstrating the violent progression of AI-powered warfare concealed behind digital veils. The game interface is inspired by real
AI-amplified military hardware designed to put networks of automated sensors, weapons, and analysis systems into the hands of a single operator, accelerating the speed at which destruction can be inflicted. The user engages with this interface intimately by interlocking fingers with a vampiric demon hand, materializing the violent and extractive nature of technology-based warfare masked by the abstraction of digital systems.

Leberkäse Ultimate

Kate Yalovetsky (RU)

Imagine it’s night, around 2:00 a.m., you’re drunk and hungry for adventures, but everything is closed in the beloved city of Linz. Eating Leberkäse
(2 semmel buns with a pinkish substance inside) might be a fulfilling and sacred experience at this point. The installation includes the artist impersonating a Leberkäse, a video game where the goal is to reach 100000000000000000% Austrianness, a critical promotional sales catalogue, and other related artefacts. Take a risk and visit LEBERKÄSE ULTIMATE.

air_roto 

Marwin Nehl (DE)

air_roto is a synthetic species perceiving its surroundings through WiFi signals. By working in a network of many nodes, it senses the observer’s presence, location and breathing rate. Communication is done through movement of its flexible parts using vacuum pressure from the network of nodes.
Viewers can experience air_roto connecting to
their body and explore the exposed components.
The work focuses on experimental sensing and
communication, looking to nature for inspiration to make the most of limited information.

Warscrolling

m22 (Nail Gainulla & Vlada Oleinik) (AT)

War has become mundane in algorithmic social media. It could be casually observed while eating our meal or relieving ourselves. Simultaneously, the platforms serve forensic investigation: combatants share DIY weapons, ammunition details, and field methods, making viewers closer to destruction than ever. Warscrolling is a form of doomscrolling that documents the hyperreality of war: videos collected via social media algorithms, displayed through a custom app mimicking the short-video scroll interface.

Ways to coexist 

Natalia Muñoz Carpintero (CL)

Ways to coexist presents an artistic research process examining interspecies relationships between humans and non-humans. The work documents excursions to different spaces of human/nature coexistence as a methodology for becoming and making sense, 
using a three-organism-wearable device that senses shared electrical and environmental activity to unveil the imperceptible nature of our shared vital energy.

Cyborg Puppy Play!

Nyx Günther (DE)

In this sound performance, artist Nyx explores how queer, transgender and furry identities can open up a view on the posthuman condition, while eluding technocratic power structures. Through body modification, here by piercing herself, she proposes a playful, queer, feminist approach to becoming a furry cyborg. In a greater context, this project follows the tradition of electronic music production, body modification and a touch of drag - all of those being queer expressions in their own right.

Basilisk

Paul Eßer (DE)

AI safety discourse is closely tied to the marketing of large language models, while often sidelining ethical and ecological concerns tied to their production. The artwork investigates these potential dangers of illicit use. The structure consists of an exciter speaker with a real-time text-to-speech system. Inside, an ­open-source large language model’s safety precautions are repeatedly circumvented using harmful prompts with poetry-like wording.

Rainbow Bicycle Project

Suzuki Mitsuyasu (JP)

The Rainbow Bicycle sprays a mist that becomes a real rainbow when the sun is behind you. I have ridden it around the world; the rainbow makes people smile. It can change how we see the world, yet this useless act can seem a deceptive escape from reality. Does it give false hope, or offer the bonds people need to live? Torn between deception and salvation, I keep pedalling. The exhibition centres on a documentary; on sunny days, visitors make rainbows themselves.

Deep Space Experience

[not] breaking the cycle

Curated by Kevin Blackistone

This explores the way we move through different phases of cycle, from order to chaos to order again. Trying to find the answers to questions, such as: 
How do things interact when they attract each other? How can what we perceive be distorted? How do things change when they are observed? Even if we ever find those answers, we end up at the starting point, having to learn everything from scratch. In the end, the point is not to break the cycle, but to find a way to move with(in) it. This performance was created as a collaborative project between visual artists from Kunstuniversität and dancers from Anton ­Bruckner Privatuniversität.