"Tangible Data" is an oxymoron. Or so it seems. In this series, Baron Lanteigne materialises our relation to software  and telecommunications. While data remains in flux, communication depends on tangible infrastructures and devices to circulate. Baron Lanteigne demonstrates the constant and seamless manipulation of interfaces. He brings  forth what everyone might forget: access to online content is mediated and involves body interactions just as much  as any IRL experience.

The series includes various works and media that the artist presents depending on the exhibition context to imbricate displays  within displays, mixing tangible and virtual elements. For its first feature in the metaverse, looped videos ‘Tangible Data 1,4  and 5’ appear alongside ‘80 Gbytes SATA HDD’, a virtual sculpture whose rigid shape has become malleable, as if moulded  under our grasp." (Marie Chatel, curator)

"Tangible Data" is an oxymoron. Or so it seems. In this series, Baron Lanteigne materialises our relation to software  and telecommunications. While data remains in flux, communication depends on tangible infrastructures and devices to circulate. Baron Lanteigne demonstrates the constant and seamless manipulation of interfaces. He brings  forth what everyone might forget: access to online content is mediated and involves body interactions just as much  as any IRL experience.

The series includes various works and media that the artist presents depending on the exhibition context to imbricate displays  within displays, mixing tangible and virtual elements. For its first feature in the metaverse, looped videos ‘Tangible Data 1,4  and 5’ appear alongside ‘80 Gbytes SATA HDD’, a virtual sculpture whose rigid shape has become malleable, as if moulded  under our grasp." (Marie Chatel, curator)

"Tangible Data" is an oxymoron. Or so it seems. In this series, Baron Lanteigne materialises our relation to software  and telecommunications. While data remains in flux, communication depends on tangible infrastructures and devices to circulate. Baron Lanteigne demonstrates the constant and seamless manipulation of interfaces. He brings  forth what everyone might forget: access to online content is mediated and involves body interactions just as much  as any IRL experience.

The series includes various works and media that the artist presents depending on the exhibition context to imbricate displays  within displays, mixing tangible and virtual elements. For its first feature in the metaverse, looped videos ‘Tangible Data 1,4  and 5’ appear alongside ‘80 Gbytes SATA HDD’, a virtual sculpture whose rigid shape has become malleable, as if moulded  under our grasp." (Marie Chatel, curator)

"Tangible Data" is an oxymoron. Or so it seems. In this series, Baron Lanteigne materialises our relation to software  and telecommunications. While data remains in flux, communication depends on tangible infrastructures and devices to circulate. Baron Lanteigne demonstrates the constant and seamless manipulation of interfaces. He brings  forth what everyone might forget: access to online content is mediated and involves body interactions just as much  as any IRL experience.

The series includes various works and media that the artist presents depending on the exhibition context to imbricate displays  within displays, mixing tangible and virtual elements. For its first feature in the metaverse, looped videos ‘Tangible Data 1,4  and 5’ appear alongside ‘80 Gbytes SATA HDD’, a virtual sculpture whose rigid shape has become malleable, as if moulded  under our grasp." (Marie Chatel, curator)

Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her  pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars  and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the  concept of being alone together when online. 

Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she  delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear  against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone  distressed.

With her series of 3D-scan selfies ‘Untouched’,  Martina Menegon engages in an intimate process with her physical body, where she extends its reality to the digital sphere. Her poses  translate into virtual sculptures whose glitches  and flaws reveal the data lost as she records  her body in movement. Despite their partiality  and abstraction, these digital renditions of herself retain authenticity. They show her physical body « as is » without any retouching and  change its context from a personal setting IRL  to other virtual ones. 

‘Untouched’ holds a performative nature and  allows the artist to connect with her physical  body at fixed times. The performative aspect  of the work also extends to viewers whom the  artist invites to manipulate the virtual sculptures through augmented reality.

Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her  pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars  and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the  concept of being alone together when online. 

Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she  delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear  against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone  distressed.

Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her  pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars  and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the  concept of being alone together when online. 

Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she  delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear  against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone  distressed.

With her series of 3D-scan selfies ‘Untouched’,  Martina Menegon engages in an intimate process with her physical body, where she extends its reality to the digital sphere. Her poses  translate into virtual sculptures whose glitches  and flaws reveal the data lost as she records  her body in movement. Despite their partiality  and abstraction, these digital renditions of herself retain authenticity. They show her physical body « as is » without any retouching and  change its context from a personal setting IRL  to other virtual ones. 

‘Untouched’ holds a performative nature and  allows the artist to connect with her physical  body at fixed times. The performative aspect  of the work also extends to viewers whom the  artist invites to manipulate the virtual sculptures through augmented reality.

With her series of 3D-scan selfies ‘Untouched’,  Martina Menegon engages in an intimate process with her physical body, where she extends its reality to the digital sphere. Her poses  translate into virtual sculptures whose glitches  and flaws reveal the data lost as she records  her body in movement. Despite their partiality  and abstraction, these digital renditions of herself retain authenticity. They show her physical body « as is » without any retouching and  change its context from a personal setting IRL  to other virtual ones. 

‘Untouched’ holds a performative nature and  allows the artist to connect with her physical  body at fixed times. The performative aspect  of the work also extends to viewers whom the  artist invites to manipulate the virtual sculptures through augmented reality.

With her series of 3D-scan selfies ‘Untouched’,  Martina Menegon engages in an intimate process with her physical body, where she extends its reality to the digital sphere. Her poses  translate into virtual sculptures whose glitches  and flaws reveal the data lost as she records  her body in movement. Despite their partiality  and abstraction, these digital renditions of herself retain authenticity. They show her physical body « as is » without any retouching and  change its context from a personal setting IRL  to other virtual ones. 

‘Untouched’ holds a performative nature and  allows the artist to connect with her physical  body at fixed times. The performative aspect  of the work also extends to viewers whom the  artist invites to manipulate the virtual sculptures through augmented reality.

Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her  pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars  and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the  concept of being alone together when online. 

Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she  delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear  against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone  distressed.