Conceptual artist exploring our use of technology and its ethical and aesthetic implications.
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[EN] Filipe Vilas-Boas was born in Portugal in 1981. He is a self-taught conceptual artist currently living and working in Paris. Without being a naive tech utopist or a reluctant technophobe, he explores our use of technology and its ethical and aesthetic implications. His installations, performances and conceptual artworks question the global digitalization of our societies, mostly by merging our physical (IRL) and digital (URL) worlds.
His works were highlighted in the Portuguese Emerging Art Books, 2018 & 2019 Edition and have been shown internationally notably at Nuit Blanche Paris, the UNESCO, Biennale Siana, Le Cube, The French Ministry of Culture, Biennale Némo - Le 104 (FR), Athens Digital Art Festival, Monitor - Heraklion Contemporary Arts Festival (GR), Zaratan, MAAT Museum (PT) and at the Tate Modern (UK).
Born in 1982. His works, centralising in real-time processed, computer programmed audio visual installations, have been shown at national and international art exhibitions as well as the Media Art Festivals. He is a recipient of many awards including the Excellence Prize at the Japan Media Art Festival in 2004, and the Award of Distinction at Prix Ars Electronica in 2008. Having been involved in a wide range of activities, he has worked on a concert piece production for Ryoji Ikeda, collaborated with Yoshihide Otomo, Yuki Kimura and Benedict Drew, participated in the Lexus Art Exhibition at Milan Design week. and has started live performance as Typingmonkeys.
My most recent sculptural installations are constructed with discarded electronic materials: computer, telephone and electric cables, thousands of burnt-out bulbs, meters of videotape, old slot machines, celluloid, DVDs, etc. The installations explore the short life expectancy of the technologies we cast off and their relationship to organic mortality.
These installations also seek to reanimate the lifeless. Light animations projected onto the installations appear to free the energy stored in the electronic waste, awakening in it memories of its past.
Through my work I try to bring dead materials back to life, reveal their secrets, revive the collective memory they contain to construct an accurate portrait of a society and an age.
Daniel Canogar, January 2012
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