Over a decade, it has been presented in different countries, such as Italy, Spain, Switzerland, Austria, Belgium, Taiwan, Argentina, and now, for the first time, in Russia.
“404 Festival” has received support of high level organizations over its editions. These include the UNESCO, National University of Rosario, Faculty of Humanities and Arts, Ministry of Innovation and Culture of the Province of Santa Fe, Ministry of Culture of the Municipality of Rosario, Rosario Canadian Studies Center, Mondriaan Foundation and The Council of Quebec. It has been awarded by the National Fund of the Arts and declared of National Cultural Interest by the Presidency of Argentina.
In its various consecutive editions, hundreds of artists have participated in different disciplines with high impact artwork, that each year surprises both the public the artists themselves.
“404 Festival” is the oldest festival of New Media in Argentina and this year Gina Valenti, Creator and Director of “404” has received the AVE Docente grant awarded by the Faculty of Humanities and Arts of the National University of Rosario in order to sponsor her visit to Russia, making possible the 11th edition of “404 Festival” in Moscow.
Under the motto “HUMAN VS USER”, the 11th edition of the “404 Festival” that will take place from 25 to 29 October 2014 in Platforma, Moscow, Russia, presents an innovative interactive exhibition introducing new productions from prominent artists and researchers.
“404 Festival” Russia 2014 is supported by Faculty of Humanities and Arts of Rosario, Audiovisual Academy from Moscow, Russian Visual Artists and Platforma.Official Website:
OPENING:25TH SATURDAY OCT
16 hs / Exhibition opens
16.30 hs / Guided tour with Artists and Curators.
19 hs / Official Opening Act and Gina Valenti´s piano concert.
26th OCTOBER AT 18 HS
Gina Valenti (Creator and Director, Argentina)
“HUMAN VS. USER”
Presentation of the manifesto of “404 International Festival of Art & Technology” 2014.
Exhibition talk, Introducing Artists, F&Q.
27th OCTOBER AT 18 HS
Tsai, Bing – Hua (Taiwan)
“Insect Swarm II: Symbiosis”
28th OCTOBER AT 18 HS
Lin, Pey Chwen (Taiwan)
“Revelation of Eve Clone III” and “Portrait of Eve”
29th OCTOBER AT 18 HS
Hu, Chin-Hsiang & Chao, Yen-Hsiang (Taiwan)
“Creation with Internet and Arduino”
Exhibition will be open from 12 to 20 hs.
- Revelation of Eve Clone III
- Interactive installation
- Moving image 3D Animation, Interactive Systems, Computers, Projectors, Stereo System
- Dimensions Variable
The Eve Clone Series stands as a critique of mankind’s use of technology to challenge the original creations of the Creator. Can people really entrust their survival to an artificial nature and life? Though faced with the phenomena of El Nino, global warming, melting ice caps, chemical spills, earthquakes, landslides, volcano eruptions, nuclear disasters, overpopulation, rampant consumerism, mutations, and others, mankind continues to push the frontiers of technology and the science of genetics to alter nature and life. What will the eventual fate of humanity be? That is the crucial issue in “Eve Clone” series I try to question.
I use the name, Eve Clone, to refer to mankind’s use of technology to subvert the creations of God. Using genetic cloning techniques to create life is akin to mimicking God’s creation of Eve. Yet, what will life created under such a pretext of hubris and desire look like? To portray Eve Clone as a virtual but attractive life form, I use digital media of 3D animation, dynamic hologram, and interactive systems to create a virtual and seductive woman that interacts with viewers in front of artworks. 3D animation is particularly useful in creating bizarre images of humanoid pupae and creatures whose necks and spines have pupa- or beast-like skin and bone textures. The image of this woman’s body is shaped like the Venus, and stands as a metaphor for the ideal woman (her creation adheres to the patriarchal standards inherent in the field of technology). Also, I draw from the Bible’s Book of Revelation for inspiration. For example, the Mark of the Beast, 666, is seared onto the forehead and hands of the Eve Clone, forming parallels between mankind’s reliance on technology and being marked with Mark of the Beast, a devilish number (e.g. modern people are already held hostage by serial codes, product codes, bank accounts, ID numbers, and computer passwords). This is exactly what the Book of Revelation had prophesized: ”He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16) and that no one would be able to buy or to sell, unless he has that mark, the name of the beast or the number of his name. (Revelation 13:17) Here is wisdom. He who has understanding, let him calculate the number of the beast, for it is the number of a man. His number is six hundred sixty-six. (Revelation 13: 18)”
Using wide projection screens and computer-processed images, Revelation of Eve Clone III presents a unique image of Eve Clone, a technological human species that has both authority and cloning ability, along with cautionary verses from the book of Revelation in the Bible transcribed in six languages to define and foreground this post-humanist Eve created through technology. She is beautiful as well as dangerous, and she is worshipped and courted blindly. The immersive space created through projection on a large curved surface, the religious songs playing in the background, and the interactive design make Eve Clone appear charismatic. However, this work is also a criticism of people’s worship of technology, which gives unlimited potential for development but which is possibly causing the downfall of the human race and leading the world to a disastrous end as technology gains a hold on man’s selfish desires.
Following are the texts of the Book of Revelation applied in the work:
He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16)
and that no one would be able to buy or to sell, unless he has that mark, the name of the beast or the number of his name. (Revelation 13:17)
Here is wisdom. He who has understanding, let him calculate the number of the beast, for it is the number of a man. His number is six hundred sixty-six. (Revelation 13: 18)
One of the seven angels who had the seven bowls came and spoke with me, saying, “Come here. I will show you the judgment of the great prostitute who sits on many waters, (Revelation 17:1)
with whom the kings of the earth committed sexual immorality, and those who dwell in the earth were made drunken with the wine of her sexual immorality.” (Revelation 17:2)
And on her forehead a name was written, “MYSTERY, BABYLON THE GREAT, THE MOTHER OF THE PROSTITUTES AND OF THE ABOMINATIONS OF THE EARTH.” (Revelation 17:5)
He said to me, “The waters which you saw, where the prostitute sits, are peoples, multitudes, nations, and languages. (Revelation 17:15)
The woman whom you saw is the great city, which reigns over the kings of the earth.” (Revelation 17:18)
For all the nations have drunk of the wine of the wrath of her sexual immorality, the kings of the earth committed sexual immorality with her, and the merchants of the earth grew rich from the abundance of her luxury.” (Revelation 18:3)
- Portrait of Eve Clone
- 3D Hologram, Acrylic Frame, Spotlight
- 46×57.5x4cm each piece
In the series of ‘Portrait of Eve Clone’, the facial images of human-cocoon and human-beast are created by 3D animation. In the forehead there are beast number ‘666’ in Chinese, English, Arabic, Egyptian, etc. As the Revelation depicts, He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16). Through the high-tech hologram and black acrylic frame, the gesture and the gaze of Eve Clone are shown at various angles. When a viewer looks at the portrait to his left or right, he will, surprisingly, find her gaze back at him. Behind the beautiful look lurks a crisis of temptation.
It is to symbolize that the attractive technology created by human beings turns out to be a counterattack on human beings themselves. This work gives us introspection, that human beings challenge God’s originality with technology, and will eventually face the fate of being manipulated by technology.