"The main motivation for this exhibition is not only to show the latest trends in electronic art, but also to cast a look at their roots and development," notes RICHARD CASTELLI, who as leading curator designed the exhibition concept. 

Around 60 artworks from the 19th century to the present will be shown in a space covering 10,000 square meters, creating a singular exhibition experience that explains how art and technological developments are interrelated. Among the works on show at the Pittlerwerke, Leipzig, are 4 new productions, 10 European premieres and 17 German premieres. 

The exhibition is divided into chapters – media and visual, immersive art, robotic art, algorithmic-generative art, and virtual and augmented reality – intertwining past and present in a spectacular way. 

The venue, an impressive industrialization-era machine factory, creates a fitting symbolic home for the exhibition: the machinery that once revolutionized society has been replaced with today's digital art revolution. Moreover, RICHARD CASTELLI is especially pleased to host the exhibition in Leipzig, "the birthplace of Gottfried Wilhelm Leibniz, who developed elements of binary logic, which formed the foundation of computer science, and who was receptive to the beauty and aesthetics of the binary (digital) world, thus anticipating the core of this exhibition." 

Viewers will engage directly with expansive artworks in the monumental industrial halls, challenging their expectations for a digital art exhibition. For example, IVANA FRANKE has created a spatial installation specifically for the space which will challenge the thresholds of the viewer's perception. Her multi-disciplinary work draws from neuroscience research and combines technology and architecture. 

Historically, the exhibition begins with the French photographer and sculptor FRANÇOIS WILLÈME who succeeded in 1859 in capturing motifs from all perspectives through the simultaneous use of 24 cameras. By superimposing these simultaneously achieved photographic images, his photo sculptures prepared the way for today's 3D scan. Through a QR code visitors receive an augmented reality 3D model of the photo sculpture shown in the exhibition – a self-portrait of Willème, which they can take back home with them on their mobile phones. 

Other forms of engaging in digital art are presented as immersive projections
in the exhibition: the two monumental stereoscopic 3D audiovisual artworks ‘MOVEMENT-L’ and ‘WAVEFORM-L’ by ULF LANGHEINRICH were created especially for this show. They visualize the tension between time, space, body and technology. The fog and stroboscope installation by KURT HENTSCHLÄGER is an ambient-like soundscape with kaleidoscopic impressions through light stimuli. 

Robotic art represents the physically tangible aspect of technology-based art. The moveable, organic-mechanical light sculptures by CHOE U-RAM display a fictional ecosystem populated by cybernetic life. For the 3D Water Matrix SHIRO TAKATANI and CHRISTIAN PARTOS have created water sculptures and water animations in which the gravity of water drops is slowed down, suspended or even reversed. 

In the installations created by LU YANG and LATURBO AVEDON avatars play a central role. As a digital version of themselves, they develop multiple virtual identities, emphasizing the potential of non-physical and fluid identities. In digital sculptures, photographs and videos they reference elements from contemporary net culture and critically explore the medium Internet and its technological and economic developments.