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Minuit (Dorian Rigal) is a light and digital artist born in 1987 in Montmorency, France. After graduating in Architecture in 2011, Minuit explores the nocturnal world. He suggests inhabiting the urban night, a symbol of uninhibited freedom. It is through this prism that he uses digital art: architectural projection, animated film, screen sculpture and virtual reality, immersive installation to create an imaginary world where the harshness of reality is distorted to become a fantastic landscape. His work has been screened at several international festivals, including Nuit Blanche de Paris 2015, 2017 and 2023, Vivid Festival in Sydney, SAT Fest in Montreal, IMAPP in Bucharest, Ars Electronica in Linz, Winterlight in Dublin, Yes To All in Madrid, Voltaje in Bogotá. He presented his first animated short at Galerie Perrotin, Paris in 2022, as well as at Vidéoformes and the Clermont-Ferrand International Film Festival.

Vidya-Kelie Juganaikloo is a French-Mauritian transmedia artist, born in France, living and working in Paris. Vidya-Kelie is a graduate of the Beaux-Arts in Angers, France. Through sometimes interactive, sometimes contemplative experiences, the artist evokes the power of bodies, their interconnections, their capacities to transmit and receive in a biological, social or physical dimension. By confusing the scales of time or space, she continues her work in which she puts in parallel what exceeds us and what we try to control. Vidya-Kelie proposes a series of traces and exchanges around sensitive phenomena as tools of communication. Her work explores concepts such as trust, law, beliefs, time, love, data, space, knowledge, memories, magnetism, passions (…) through conceptual works that unfold as intimate connections between the artist, the work and the viewer. She develops her art/science practice around communication. Her productions, often interactive, are vehicles for poetising the complex relationships that humans have with their bodies and their environment. The artist also questions the place we give to the « Process » before the « Objective ». Borrowing keys from applied philosophy, ecofeminism or linguistics, she is committed to its valorization and transmission.

Léo Caillard is part of this new wave of artists questioning our relationship to reality. Time is at the heart of his creative approach through the revisiting of ancient statuary that he puts in relation with the virtuality of our time. After studying digital creation at the Gobelins school in 2008, he turns to antiquity and marble which he learns to work with technicality since 2010. Realizing a real big difference in his practice, he is interested in 3D creation that he then realizes in Carrara marble with a whole manual approach that follows his digital preparatory work.Since 2019, Léo Caillard is one of the most recognized artists of the NFT scene which has seen a strong evolution of its market since 2020. He is one of the 5 most quoted French NFT artists and realizes important art projects in this field. For the first time, he exhibits some of his new digital works in the exhibition "Inti-Punku" at the Strouk gallery.Léo Caillard was born in 1985 in Paris. A French artist recognized by the art world as early as 2016, he participated in an important exhibition at Kings College in London in 2017 where he had the chance to exhibit his work alongside the biggest names in the English scene.  Since then, he has been able to collaborate with various renowned institutions (Louvre Museum, Saint-Raymond Museum in Toulouse, Mougins Museum of Classical Art) and his works have been presented in numerous international art fairs.

The artist Arnie, realizes his last master piece "Der Golem": The robot takes the pose of the thinker Rodin. The post-human era has come. Man is no longer the sole holder of thought, he is now thought and put between paranthesis since the reflective paradigm of the technique. If the artist Arnie goes back to the history of the Golem to associate it with Rodin, it is with the intention of separating the robot from his Frankensteinian mythology: he is not a danger for man, he was originally its protection. Our contemporaneity is darkening more and more since the rebirth of modern barbarism, Arnie's Robot intends to submit to his contemporaries the complexity of history and the question of its programmed repetition.

Bevarela (Bernardo Varela) creates art that redefines and confronts our understanding of the immediate environment. Drawing on experimental psychology research, his work explores the role of ambiguity within the interplay of sound and motion perception. HIGH-PASS is an AudioVisual experience that inspires new ways to perceive the connections between sounds and images. Everyday sounds of a motorway have their meanings questioned when minimal visuals expose the inherent ambiguity of sensory information. Through an intricate audio analysis process, a sophisticated algorithm interprets and translates sounds around into rich, dynamic data. This data becomes the driving force behind the motion in the realtime generative visuals.

u2p050 is a pluridisciplinary studio founded in 2019 producing art, philosophy, music and technology. Through its creations, u2p050 attempts to construct thought experiments that open up ways of questioning our contemporary world, and in particular its increasing digitalisation. To do this, u2p050 uses experimental technologies in its works and explores a perspective in which the machine is no longer considered a tool to be enslaved, but a lens through which to view new worlds. The studio u2p050 has exhibited in several major institutions including UCCA Labs in China, Avant Galerie and FRAC in France, Ludwig Museum in Hungary. u2p050 is the recipient of the French Ministry of Culture’s commission Mondes Nouveaux in 2022 and presented at Octobre Numérique festival. It is currently hosted in the international artistic incubator Poush Manifesto in Paris and a member of the Glitch artistic project initiated by the blockchain researcher Primavera de Filippi.

GRAHAM FINK is a multimedia artist. His photography has been used in many advertising campaigns including Sony PlayStation’s Blood and Mental Wealth poster campaigns. He has also directed a short film ( Z ) for the millennium, commissioned by David Puttnam, which was shortlisted at BAFTA. In 2001, he created thefinktank, a conceptual production company and ideas forum. In 2005, he was awarded a Honorary Doctorate from Bucks New University. In 2014, he had his first one-man exhibition at London’s Riflemaker gallery called NOMADS. In 2015, he had his second exhibition in London entitled Drawing with my eyes. For this he drew directly onto a screen using only his eyes via a Tobii eye tracker and software he developed with Tobii. Fink is also the Chief Creative Officer at the advertising agency Ogilvy & Mather China. Before taking up that appointment in April 2011, he was Executive Creative Director at M&C Saatchi in Lon- don. In 1995, he began directing television commercials and music videos at the Paul Weiland film company. Previously, he was Deputy Creative Director at the Gold Greenlees Trott, Group Head at Saatchi & Saatchi and WCRS. Before that he was an Art Director at CDP. He became the youngest ever President of D&AD (Design and Art Directors Association) in 1996. He was subsequently voted into D&AD’s The Art Direction Book, repre- senting the top 28 Art Directors of all time. He is one of the world’s most awarded creatives. having won awards at Cannes, D&AD, One Show, BAFTA, Clio’s, LIAA, BTAA, Campaign’s UK Big Awards, Creative Circle, Mobius, Eurobest, EPICA, New York Festival, China 4A’s, Longxi and SPIKES. In 2011, he won the UK Creative Circle President’s Award. And in 2012, he won Ogilvy Asia’s first ever Cannes Grand Prix

George is a UK Space Agency PhD candidate at University College London (UCL) researching trace gases in the Martian atmosphere. George holds a Master’s in Space Science and Engineering from University College London and a Bachelor’s in Mathematics and Physics from the University of Warwick. George’s journey into the world of AI art is circular, from art to space science to machine learning to art. His influences in AI art lie at the nexus of space exploration, dreams, and science fiction. His work through Oxia Palus, reconstructing the past with AI offers an alternative to how AI is creating new value in the art world. He asks, “If we could use AI to accelerate the identification and reconstruction of all art that has been lost from the world, how would this change our understanding of the history of art and society today?”. Anthony is a Machine Learning and Behavioural Neuroscience PhD candidate at University College London. Anthony holds a BA in theoretical physics from Trinity College Dublin, an MSc in high performance computing from the University of Edinburgh and an MSc in machine learning from University College London and has worked on many industry projects in the machine learning domain. With great passion in the machine vision space and the philosophy of computation, Anthony’s interest in AI art is rooted in humankind’s perception of creativity. Since the early 1930s, the mere concept of artificial computation has been at the epicentre of thinking in mathematics and the philosophy of mind. “Are minds mechanical processes?” … and therefore, subject to the same incomplete properties of formal systems as set out by mathematician, Kurt Godel? Humankind’s difficulty in empathising with AI. George and Anthony’s different backgrounds, perspectives and motivating passions for art are at the centre of Oxia Palus’ unique approach rooted in an unusual adversarial collaboration, where often competitiveness drives progress. Much like natural selection drives evolution. Often a consensus on the appropriate methods or algorithms cannot be reached and many diverse plans are implemented. The result is a way of looking at the past that has never before been considered, with an objective that has never before been explored, using a range of technologies that have never before been combined. OUR MISSION IS TO UNCOVER MASTERPIECES LOST TO THE AGES USING AI. Oxia Palus is an artificial intelligence startup resurrecting the world’s lost art. In September 2019 Oxia Palus featured in MIT Technology Review for reconstructing a lost Picasso, La Femme Perdue and subsequently gained worldwide press coverage. Since then Oxia Palus has presented research at NeurIPS 2019, came 3rd in NVIDIA’s Top 10 AI Developer Stories of 2019 and recently featured in NVIDIA’s GTC 2020 Keynote by NVIDIA CEO Jensen Huang. In May 2020 Oxia Palus joined NVIDIA’s Inception Program. In October 2020 we were featured in NVIDIA’s GTC Inaugural AI Art Gallery to unveil Madonna, a lost Leonardo da Vinci, hidden beneath da Vinci’s Virgin of the Rocks. Oxia Palus was founded in London in January 2019 by George Cann and Anthony Bourached.