Digital
Dreams
Virtual Pavilion at THE WRONG – International Digital Art Biennale
Curator:
Aksana Pruttskova
Aksana Pruttskova
01/11 —
31/03/26
31/03/26
Hypno-
logue
logue
2025
interactive items & Oona Frost, USA
Hypnologue integrates live dialogue, neuroscience, visual narratives, artificial intelligence and emerging technologies to explore altered states of consciousness.
Web-based interactive artwork
Hypnologue is a web experience created as a part of the Dream Museum, exploring the evolution of human consciousness.
Inspired by the fragile state of lucid dreaming, the project recreates a sense of fading control, where metaphorical visions unfold and intertwine with the viewer’s inner identity. Entering the simulation, the viewer steps into a space of a verbal dialogue between artificial and natural—an environment designed to reveal new reflections of the self.
Hypnologue is a web experience created as a part of the Dream Museum, exploring the evolution of human consciousness.
Inspired by the fragile state of lucid dreaming, the project recreates a sense of fading control, where metaphorical visions unfold and intertwine with the viewer’s inner identity. Entering the simulation, the viewer steps into a space of a verbal dialogue between artificial and natural—an environment designed to reveal new reflections of the self.
Reading
Faces
Faces
2025
Marina Grekova, Russia
By working with corrosion as both process and image, the artist treats the surface as an archive of time and dreams.
Phygital object
The work refers to facial recognition algorithms and the human tendency to seek familiar forms within random patterns. Rust becomes a carrier of memory and time, while the fabric turns into a screen on which a hybrid dream unfolds — a dream of the city, the human presence, and the digital gaze attempting to capture an elusive identity.
These images exist on the threshold of recognition: the viewer senses faces emerging, only for them to slip away, dissolving the boundary between the real and the imagined, sleep and wakefulness.
The work refers to facial recognition algorithms and the human tendency to seek familiar forms within random patterns. Rust becomes a carrier of memory and time, while the fabric turns into a screen on which a hybrid dream unfolds — a dream of the city, the human presence, and the digital gaze attempting to capture an elusive identity.
These images exist on the threshold of recognition: the viewer senses faces emerging, only for them to slip away, dissolving the boundary between the real and the imagined, sleep and wakefulness.
Time
Dilation
Dilation
2025
Anna Sinitsyna, Spain
In this multilayered space, the present unfolds as a lingering reflection that refuses to be fixed.
Video art
In "Time Dilation", the linear perception of time dissolves, transforming the present into a fluid state akin to a dream or a fading breath on glass.
This work aligns with the "Digital Dreams" concept, where the boundaries between human memory and algorithmic logic become blurred. Instead of defining rigid forms, the video suggests them, creating a space for subjective experience and intuitive wandering. It echoes Bergson’s philosophy, treating time not as a sequence of frames, but as a continuous, fragmented flow of "duration". Here, the digital medium acts as a mirror, reflecting the flickering nature of our subconscious through the lens of modern technology. The image does not merely represent reality; it serves as a sensory bridge between the physical self and the digital realm.
In "Time Dilation", the linear perception of time dissolves, transforming the present into a fluid state akin to a dream or a fading breath on glass.
This work aligns with the "Digital Dreams" concept, where the boundaries between human memory and algorithmic logic become blurred. Instead of defining rigid forms, the video suggests them, creating a space for subjective experience and intuitive wandering. It echoes Bergson’s philosophy, treating time not as a sequence of frames, but as a continuous, fragmented flow of "duration". Here, the digital medium acts as a mirror, reflecting the flickering nature of our subconscious through the lens of modern technology. The image does not merely represent reality; it serves as a sensory bridge between the physical self and the digital realm.
IT IS
WATCHING
WATCHING
2025
Victoria Prosvirnina, Russia
Phygital collage
IT IS WATCHING is a reflection on the deep, pre-linguistic connection between humans and that which precedes individual consciousness — an ancient It, where biological memory, the collective unconscious, and archetypal images intertwine.
Within the context of digital dreams, this It reveals itself as a hidden algorithm — not created by humans, yet intuitively recognized by them. We do not observe nature or technology from the outside; we are their continuation, their body, and their memory.
Like a dream, in which images emerge without logic or authorship, the work invites an encounter with what is “watching” us from within — through images, codes, and reflections. Here, the phygital collage becomes a space of return rather than projection: a layered field where physical fragments and digital structures merge, allowing ancient modes of perception to resurface through contemporary technologies. The act of looking is reversed — the viewer is no longer the observer, but becomes embedded within a composite system of images, memories, and attention.
IT IS WATCHING is a reflection on the deep, pre-linguistic connection between humans and that which precedes individual consciousness — an ancient It, where biological memory, the collective unconscious, and archetypal images intertwine.
Within the context of digital dreams, this It reveals itself as a hidden algorithm — not created by humans, yet intuitively recognized by them. We do not observe nature or technology from the outside; we are their continuation, their body, and their memory.
Like a dream, in which images emerge without logic or authorship, the work invites an encounter with what is “watching” us from within — through images, codes, and reflections. Here, the phygital collage becomes a space of return rather than projection: a layered field where physical fragments and digital structures merge, allowing ancient modes of perception to resurface through contemporary technologies. The act of looking is reversed — the viewer is no longer the observer, but becomes embedded within a composite system of images, memories, and attention.
Death
in Venice
in Venice
2021
Alya Segova, Russia
Digital collage
Death in Venice reflects Merleau-Ponty’s idea that time is an objective condition that emerges through a person’s relationship with things.
What seems as past or future for an individual continues to exist as an ongoing present for the surrounding world: the places where one grew up, the cities one has visited, the events that have happened or are yet to unfold. From this perspective, death becomes a relative notion — not the end, but a shift within non-linear time.
Those who have physically disappeared continue to exist in memories, dreams, objects and places, while the living may drift away from one another, losing their connections day by day.
In this sense, dreams become a privileged time zone, where the boundaries between past, present and future dissolve.
Death in Venice reflects Merleau-Ponty’s idea that time is an objective condition that emerges through a person’s relationship with things.
What seems as past or future for an individual continues to exist as an ongoing present for the surrounding world: the places where one grew up, the cities one has visited, the events that have happened or are yet to unfold. From this perspective, death becomes a relative notion — not the end, but a shift within non-linear time.
Those who have physically disappeared continue to exist in memories, dreams, objects and places, while the living may drift away from one another, losing their connections day by day.
In this sense, dreams become a privileged time zone, where the boundaries between past, present and future dissolve.
I Dreamt That a Comet Fell onto My Desk and Blue Lizards Spilled Out of It.
A Streetlight Flickered Outside
A Streetlight Flickered Outside
2024
Aksana Pruttskova, Russia
Video art (a memory reconstructed by AI)
In the stillness of night, when the stars seemed to hold their breath and houses and cars dissolved into shadows of the past, the courtyard slipped into an uneasy half-sleep. A broken streetlight, flickering violently in time with a beating heart, shone brighter than usual. Under its cold light, ordinary objects took on unfamiliar shapes, as if the place existed somewhere between dream and waking. It was here, amid the nocturnal silence and the light of the broken streetlamp, that the deepest thoughts and feelings were born — perhaps the most real thing in the entire dream.
In the stillness of night, when the stars seemed to hold their breath and houses and cars dissolved into shadows of the past, the courtyard slipped into an uneasy half-sleep. A broken streetlight, flickering violently in time with a beating heart, shone brighter than usual. Under its cold light, ordinary objects took on unfamiliar shapes, as if the place existed somewhere between dream and waking. It was here, amid the nocturnal silence and the light of the broken streetlamp, that the deepest thoughts and feelings were born — perhaps the most real thing in the entire dream.
Dreams
of Surveillance
of Surveillance
2025
G1FT3D, Guatemala
"Aesthetic and narrative fuse into a hypnotic loop where reality folds into dream, and observer into observed. The result is a meditation on the instability of autonomy in a world where subject and system continuously trade roles in a perpetual choreography."
Video art
The work constructs a chain of dreams and surveillances where each level plays both master and servant. It pays homage to Philip K. Dick’s question — Do androids dream of electric sheep? — reimagined for an era of algorithms, networks, and planetary-scale systems. Dreams of Surveillance proposes that control is a fragile illusion: those who believe themselves custodians are always embedded in larger structures that monitor, condition, and reshape them.
The work constructs a chain of dreams and surveillances where each level plays both master and servant. It pays homage to Philip K. Dick’s question — Do androids dream of electric sheep? — reimagined for an era of algorithms, networks, and planetary-scale systems. Dreams of Surveillance proposes that control is a fragile illusion: those who believe themselves custodians are always embedded in larger structures that monitor, condition, and reshape them.
Discourse on the origins of inequality among≥≈
2025
Barcode People, Australia
In the context of Digital Dreams, it becomes a meditation on how technology redefines not only our world, but the very act of dreaming itself.
Video art
A speculative short film combining AI-generated and animated imagery, reflecting on human-made hierarchies encoded in artificial intelligence and the fluid nature of equality in a world where the old continually gives way to the new.
Inspired by Rousseau’s Discourse on Inequality, the work asks whether AI merely mirrors human biases or dreams of its own value system — one beyond our imagination.
A speculative short film combining AI-generated and animated imagery, reflecting on human-made hierarchies encoded in artificial intelligence and the fluid nature of equality in a world where the old continually gives way to the new.
Inspired by Rousseau’s Discourse on Inequality, the work asks whether AI merely mirrors human biases or dreams of its own value system — one beyond our imagination.
A Dialogue That Irreversibly Transforms Reality
2025
Olga Nekrasova, Russia
Within the context of Digital Dreams, dialogue unfolds as an algorithmic and dreamlike process in which interaction gives rise to a new reality.
Video art
This project is an abstract audiovisual exploration of the point of no return in communication — the moment when dialogue ceases to be an exchange of information and becomes an active environment of transformation.
The work focuses not on outcomes, but on the process of change itself — an invisible yet irreversible restructuring of consciousness under the influence of another presence, even when that presence remains silent. Visual and sonic structures operate as triggers, intensifying immersion and shifting the boundaries between perception, imagination, and reality.
This project is an abstract audiovisual exploration of the point of no return in communication — the moment when dialogue ceases to be an exchange of information and becomes an active environment of transformation.
The work focuses not on outcomes, but on the process of change itself — an invisible yet irreversible restructuring of consciousness under the influence of another presence, even when that presence remains silent. Visual and sonic structures operate as triggers, intensifying immersion and shifting the boundaries between perception, imagination, and reality.
screenprint / skrinizdat (скриниздат)
2025
TsveT / цвет, Russia
"Within the framework of Digital Dreams, the project reflects on how acts of seeing, sharing, and hiding transform under digital conditions—where every pixel holds the potential for both censorship and revelation."
Video art
A project about screenshots as a form of active viewing and a means of horizontal communication. The video is glitched so that the human eye sees a cat, while the algorithms see noise. But the screenshot reveals hidden images banned in various countries in the 20th century.
The project utilizes the concept of transferring street art practices into digital space through steganography (a form of encryption) and the exploration of "poor images." Screen capture becomes a way of viewing content.
A project about screenshots as a form of active viewing and a means of horizontal communication. The video is glitched so that the human eye sees a cat, while the algorithms see noise. But the screenshot reveals hidden images banned in various countries in the 20th century.
The project utilizes the concept of transferring street art practices into digital space through steganography (a form of encryption) and the exploration of "poor images." Screen capture becomes a way of viewing content.
Dreams are the language through which we speak to ourselves. In the digital age, this language shifts: imagination and memory entwine with code, and the logic of dreaming enters the realm of algorithms. Digital Dreams explores artificial intelligence not as a tool, but as a medium where new forms of imagination emerge. Algorithms become mirrors, reflecting our hidden images, desires, and fears. Here, artists and machines co-create multilayered spaces where the present unfolds as a stream of images and reflections — an encounter with ourselves through the digital realm.
About the Exhibition
The exhibition will take place from 1 November 2025 to 31 March 2026, as part of THE WRONG – International Digital Art Biennale
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