LOLA 2.0 is an ongoing experiment dealing with female subjecthood and sexist biases in the gaze of the observer. Its second iteration was a collaboration with @___torr3s___, transforming the performance in a multimedia installation. Now, its third iteration sees the collaborations expanding to the impressive work by @vasili.vi, who translated into sound the concptual framework of data subjects stemming for the embodied performer.
A real-time system translates pose tracking into sound through neural audio models trained on @pia_nadema’s whispered voice. Movement becomes breath, gesture becomes spectrum, mediated by machine vision and machine listening.
NADEMA (1996, Naples, Italy), is a freelance curator and PhD candidate in Classical Philology and Gender Studies at the LMU in Munich, Germany. Her curatorial interests encompass feminist posthumanism, the Capitalocene, urban ecologies, and critical AI art. As a performer, she explores gender oppression, presenting the female body as a site of becoming, with sound as a vital component of both her curatorial and performative work.
Torres, a graduate of the Academy of Fine Arts Munich and the University of Applied Arts Vienna, creates versatile art—including drawings, sculptures, and performances—that explores the relationship between society and the individual. His works often invite audience participation and utilize chance, encouraging self-reflection on social behaviors through chaotic and provocative interactions. Committed to community engagement, Torres promotes culture and education, especially for children, while fostering intercultural exchange between artists in Ecuador and Germany.
Vasilii Vikhliaev is a sound and media artist based in Munich, born in the Soviet Union and raised between Moscow, Moldova, and Germany. His work moves between memory, translation, and disarticulation, with particular interest in machine listening, machine vision, spectral processing, and narrative collapse under algorithmic mediation.
Artists:
Nadema, Torres & Vasilii Vikhliaev