Mediated by virtual modes of representation, our optic for perception of nature itself has been reshaped by media technologies and big data. The planet is gradually becoming digitized, trans­formed into a geospatial information system, while reality becomes augmented. 

The exhibition features works in which international artists visualize the inevitability and irreversibility of numerous natural processes while simultaneously giving us hope of finding balance and peace with the Earth. Today, digital technologies offer a treasure trove of tools for contemporary artists whose practices delve into the porous boundaries between the man­made and the natural, the digital and the physical, the organic and the inorganic.

In our contemporary reality, technology not only allows us to access previously unreachable realms of life, but is increasingly laden with the qualities of subjective consciousness. Ronen Tanchum’s Artificial Wild Dream project investigates the latent space of artificial intelligence: the ma­chine’s interpretation of life, its perception of the organic world, and its poetic narrative of growth and transformation. Davide Quayola’s Jardins d’Été utilizes technology to capture tiniest nuances of the environment invisible to the human eye so that the landscape is portrayed through the eyes of the machine. 
The modeling of parallel hybrid realities and digital universes opens another frontier for im­agining alternative modes for evolution of life on Earth. Joey Holder’s work envisions the deep sea as a metaphor for the limits of human knowl­edge, a place beyond categorization and taxono­my. 

Surrounded by virtual reality headsets and tangled cables, and evoking the symbol of “zero,” Recycle Group’s object Closed System serves as a metaphor for the continuous flow of communication within a digital network. The motif of the “zero point” alludes to the emergence of a new coordinate system, where reality is reinterpreted through the lens of digital technology. The installation Forest of Expired Links transports the viewer into an artificial landscape reminiscent of a tropical thicket, where living trees are replaced by structures made of recycled plastic. This immersive work becomes a metaphor for mediated reality, in which the natural world yields to its digital projections.

Digital art enables experiments with life in a damaged world and proposes a range of intellectual and sensate strategies that are unconstrained by the frameworks of scientific objectivity. It creates a space for processing the emotional trauma brought on by climate change, environmental pollution, and extinction of species, and plays an essential role in preserving our memory of life on this planet.

The installation 52 Hz references an ancient Japanese myth of a ghostly whale — a gigantic skeleton rising from the depths of the sea as a symbol of warning and retribution. The skeletal form of the installation is not merely a shape but a space for contemplation. Within it sits a metal tank housing an audio installation.

The adrift project by the Metanoeia duo is based on a generative algorithm that simulates the melting of glaciers. The full­-dome audiovis­ual project Talking Sun by Apollinaria and Kira G converts the natural vibrations of the Sun into a sensory symphony. Ozan Turkkan’s FLORA, focused on the fractal geometry of nature and its generative mechanisms, explores the digital archive of biological forms of nature.

The Singularity Point installation by Sila Sveta × MTS Live, which drew attention at the INTERVALS festival held in Nizhny Novgorod from April 24 to 27, is also part of the exhibition. Singularity Point is a creative interpretation of the idea of the universe’s origin. The installation takes the form of Russia’s first fully enclosed 10-meter-diameter 360° LED sphere.