Patterns of Aavistus 2024
The Aavistus Audiovisual Art Festival took place for the third time in Helsinki last weekend, attracting artists from across Europe. The festival served a role greater than just an art show or party; it also acted as a summit of creative minds, offering a rich source of inspiration for digital art from both technical and philosophical perspectives. This blog post offers a brief look at the recurring visual elements from the performances at the festival.
Identifying a clear technical trend is challenging. While AI technology was present in certain works, it was just one of many tools in the artists’ arsenals. Traditional techniques, such as 2D post-processing effects and analog footage, also played a significant role. The digital art subculture remains relatively small, and as some attendees pointed out, there’s little connection between artists outside of events like this one.
However, one thematic commonality was the event’s call on “interconnection,” which surfaced in many of the pieces. Whether portrayed through dancers, sunsets, or other symbolic visuals, the theme was a recurring thread that tied much of the artwork together.
Abstract and non-figurative shapes
Abstract shapes are a staple of VJ culture, often incorporating audio-reactive visuals with dynamic shapes and colors. Some artists blend analog devices with digital tools to create unique material. While abstract visuals allow for boundless creativity, they can also make it more challenging to convey a coherent message or move beyond the aesthetics of the technique itself.
A highlight of the abstract audiovisual experience was Impact Studies by Autr & Timo Tuhkanen, which featured a combination of analog recordings enhanced by digital feedback loops. The result was lo-fi visuals with morphing shapes that felt both familiar and unfamiliar at the same time.
Pre-recorded footage
One of the most prominent techniques was the use of various footage, mixed into the live visuals. This included pre-recorded and archive videos, 3D scenes created using game engines, and (to a lesser extent) AI-generated footage.
These were often used as input for heavy post-processing techniques, such as mirroring, color-shifting, and blending with computer-generated content. The combination of footage and digital effects served as a technical representation of the festival’s theme of interconnection.
Sufi Lodge by Ya Tosiba and XPLO featured a blend of pre-recorded videos, abstract shapes, and minimalist ethnic patterns. It was one of the most creative and complex performances at Aavistus, showcasing a seamless fusion of traditional motifs with modern VJ art.
Another excellent example of pre-recorded footage in an audiovisual experience was Juuret by Veera Neva and Arttu Nieminen. The organic variations of shapes in a natural landscape, mirrored along two axes, created a dream-like, floating sensation that perfectly harmonized with the calm, earthy and primal musical performance.
Reactive artworks
Particularly noteworthy were the installations that combined live video feeds with user input from controllers. Some performances utilized motion capture devices to project dancers alongside their 3D model counterparts on the screen behind them. These artworks served as a reminder that there are many tools for animating digital graphics beyond just audio reactivity.
Minimalism
Minimalism is a timeless theme in generative art, and it was a prominent style at Aavistus as well. The performances featured a range of audio-reactive geometric shapes, minimalist smoke and fluid simulations, and pre-recorded footage of simple yet powerful subjects, all perfectly matched to the accompanying music.
On the final day of the festival, Yoann Durant delivered an unforgettable performance accompanied by Angelica Tibblin Chen’s video compositions. The epic soundscape built throughout the show culminated in footage of a setting sun that filled the theater. This was a perfect example of a minimalist yet epic audiovisual experience that leaves a lasting impression.
The photo samples in this post offer just a brief glimpse into the event’s wide array of audiovisual artworks. Even videos cannot fully capture the complexity of some of the performances, which relied on the multi-dimensional interplay of audio, video, motion capture, and live VJ setups. It’s a truly magical experience when it all comes to life on the screen in theaters, and it’s highly recommended to experience it in person.
More information about this year’s and previous years’ shows can be found on the festival’s website: https://www.aavistusfestival.fi Despite the challenges posed by budget cuts in Finnish cultural funding, the organizers remain hopeful that Aavistus will return in two years. This is one of the most unique art events in the Nordics, and it’s vital for the community to support the organizers in any way possible. For the VJ folks in Europe: Consider getting involved or attending the festival to help ensure its continuation.