Salva Storie Instagram

ATTENTION ⚠️
فنون الميديا في ڤلالة 🏝️

شنوى الرابط العجيب ؟ 🤔🤔

Communication Meet #1 👀📲
@mizeji_studio@dizy.marketing ❤️

⁨ بدينا و على النبي صلينا 👀
عودة فيروزيات للجربة 🤣❤️⁩

Meet Chipo Mapondera at Dar Bach Hamba!
Between cultural heritage, water scarcity, and ancestral practices, her research unfolds through AI-driven explorations.
Join us for an artist talk and screening!
In the framework of S+T+ARTS Afropean Intelligence, a project funded by the European Union as part of the S+T+ARTS initiative.
In partnership with @biennalechroniques

Meet Chipo Mapondera at Dar Bach Hamba!
Between cultural heritage, water scarcity, and ancestral practices, her research unfolds through AI-driven explorations.
Join us for an artist talk and screening!
In the framework of S+T+ARTS Afropean Intelligence, a project funded by the European Union as part of the S+T+ARTS initiative.
In partnership with @biennalechroniques

بدينا ؟ 😂❤️👀

Three days in Lille for IBSIC, within the Video Mapping Festival.

Talking infrastructures, African perspectives, and everything in between but also meeting, exchanging, and building new connections.

@zakham__forcontemporaryculture
@interference_light_art
@seedjerba
@video_mapping_festival
@rencontres.audiovisuelles

We are honoured to welcome the artist Chipo Mapondera[a] for residency challenge #7 Beyond Borders: AI, Climate, and Resource Justice in Africa.
Chipo is a Creative Technologist weaving African heritage and emerging technologies into immersive, ancestral experiences. Her project, Cry to the Water, is an AI-facilitated ritual installation that draws on Tunisian water rituals, oral histories and ancestral archives to confront water scarcity, climate crisis and resource justice, building a relational technology that resists extractive logics and opens space for healing and sustainable futures.
In the framework of S+T+ARTS Afropean Intelligence, a project funded by the European Union as part of the S+T+ARTS initiative.
In partnership with @biennalechroniques

We are honoured to welcome the artist Chipo Mapondera[a] for residency challenge #7 Beyond Borders: AI, Climate, and Resource Justice in Africa.
Chipo is a Creative Technologist weaving African heritage and emerging technologies into immersive, ancestral experiences. Her project, Cry to the Water, is an AI-facilitated ritual installation that draws on Tunisian water rituals, oral histories and ancestral archives to confront water scarcity, climate crisis and resource justice, building a relational technology that resists extractive logics and opens space for healing and sustainable futures.
In the framework of S+T+ARTS Afropean Intelligence, a project funded by the European Union as part of the S+T+ARTS initiative.
In partnership with @biennalechroniques

A new identity for a new chapter.
‎هوية جديدة لفصل جديد

We’ve always believed that culture needs infrastructure — spaces to think, platforms to create, frameworks to grow. Today, that belief takes a new form.
Momentum — For Contemporary Culture is a Tunisian NGO building ecosystems for contemporary art, curatorial research, and cultural exchange across North Africa and beyond.
آمنّا دائماً بأن الثقافة تحتاج بنية تحتية — فضاءات للتفكير، ومنصات للإبداع، وأطراً للنمو. اليوم، يأخذ هذا الإيمان شكلاً جديداً.
زخم — للثقافة المعاصرة منظمة تونسية غير حكومية تبني أنظمة بيئية للفن المعاصر والبحث الكيوريتوري والتبادل الثقافي في شمال أفريقيا وما وراءها.

Created by @_iuliard

A new identity for a new chapter.
‎هوية جديدة لفصل جديد

We’ve always believed that culture needs infrastructure — spaces to think, platforms to create, frameworks to grow. Today, that belief takes a new form.
Momentum — For Contemporary Culture is a Tunisian NGO building ecosystems for contemporary art, curatorial research, and cultural exchange across North Africa and beyond.
آمنّا دائماً بأن الثقافة تحتاج بنية تحتية — فضاءات للتفكير، ومنصات للإبداع، وأطراً للنمو. اليوم، يأخذ هذا الإيمان شكلاً جديداً.
زخم — للثقافة المعاصرة منظمة تونسية غير حكومية تبني أنظمة بيئية للفن المعاصر والبحث الكيوريتوري والتبادل الثقافي في شمال أفريقيا وما وراءها.

Created by @_iuliard

A new identity for a new chapter.
‎هوية جديدة لفصل جديد

We’ve always believed that culture needs infrastructure — spaces to think, platforms to create, frameworks to grow. Today, that belief takes a new form.
Momentum — For Contemporary Culture is a Tunisian NGO building ecosystems for contemporary art, curatorial research, and cultural exchange across North Africa and beyond.
آمنّا دائماً بأن الثقافة تحتاج بنية تحتية — فضاءات للتفكير، ومنصات للإبداع، وأطراً للنمو. اليوم، يأخذ هذا الإيمان شكلاً جديداً.
زخم — للثقافة المعاصرة منظمة تونسية غير حكومية تبني أنظمة بيئية للفن المعاصر والبحث الكيوريتوري والتبادل الثقافي في شمال أفريقيا وما وراءها.

Created by @_iuliard

A new identity for a new chapter.
‎هوية جديدة لفصل جديد

We’ve always believed that culture needs infrastructure — spaces to think, platforms to create, frameworks to grow. Today, that belief takes a new form.
Momentum — For Contemporary Culture is a Tunisian NGO building ecosystems for contemporary art, curatorial research, and cultural exchange across North Africa and beyond.
آمنّا دائماً بأن الثقافة تحتاج بنية تحتية — فضاءات للتفكير، ومنصات للإبداع، وأطراً للنمو. اليوم، يأخذ هذا الإيمان شكلاً جديداً.
زخم — للثقافة المعاصرة منظمة تونسية غير حكومية تبني أنظمة بيئية للفن المعاصر والبحث الكيوريتوري والتبادل الثقافي في شمال أفريقيا وما وراءها.

Created by @_iuliard

A new identity for a new chapter.
‎هوية جديدة لفصل جديد

We’ve always believed that culture needs infrastructure — spaces to think, platforms to create, frameworks to grow. Today, that belief takes a new form.
Momentum — For Contemporary Culture is a Tunisian NGO building ecosystems for contemporary art, curatorial research, and cultural exchange across North Africa and beyond.
آمنّا دائماً بأن الثقافة تحتاج بنية تحتية — فضاءات للتفكير، ومنصات للإبداع، وأطراً للنمو. اليوم، يأخذ هذا الإيمان شكلاً جديداً.
زخم — للثقافة المعاصرة منظمة تونسية غير حكومية تبني أنظمة بيئية للفن المعاصر والبحث الكيوريتوري والتبادل الثقافي في شمال أفريقيا وما وراءها.

Created by @_iuliard

A new identity for a new chapter.
‎هوية جديدة لفصل جديد

We’ve always believed that culture needs infrastructure — spaces to think, platforms to create, frameworks to grow. Today, that belief takes a new form.
Momentum — For Contemporary Culture is a Tunisian NGO building ecosystems for contemporary art, curatorial research, and cultural exchange across North Africa and beyond.
آمنّا دائماً بأن الثقافة تحتاج بنية تحتية — فضاءات للتفكير، ومنصات للإبداع، وأطراً للنمو. اليوم، يأخذ هذا الإيمان شكلاً جديداً.
زخم — للثقافة المعاصرة منظمة تونسية غير حكومية تبني أنظمة بيئية للفن المعاصر والبحث الكيوريتوري والتبادل الثقافي في شمال أفريقيا وما وراءها.

Created by @_iuliard

This work began with water.
And everything else followed.

ROOTS — It Begins With Water.

A meditation on flow, transformation, and connection, where organic life and digital materiality meet through glitch, texture, and movement.

Thank you @seedjerba

Credit raw videos: @ghassen.ez 🙏🏻

#glitch #newmediaart #digitalpoetry #experimentalvideo #light

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Fondouk Ben Ghorbel hosted the video animation ROOTS — IT BEGINS WITH WATER by Amira Chihaoui.

The artist explored the fluid continuum between organic life and digital materiality. The work traces the flow of water through rivers, seas, and plant systems as a metaphor for livelyness, connectivity, and transformation.

Drawing on the textures and rhythms inherent to the element in motion, Amira developed a visual current that drifted between natural patterns and technological distortion.

Imagery of gently moving water, spreading mycelium, and growing roots gradually dissolved. Through the technique of stretch, glitch, and data moshing, her visuals bend, distort, and dissolve into color, texture, and frequencies. Exploring the intersection of technological error and its aesthetics, Amira showed how nature’s flow and digital disruption can converge into a visual poetry.

PHOTOS / VIDEO
@ghassen.ez
@wassim_benaissa

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

OLD TOWN CENTER
@amira___chihaoui
@liudmila_siewerski
@mer.c_raskill @artistry__c
@nicolas.dardano
@yass.psd01

INTERNATIONAL PARTNERS
@britishcouncil
@shubbakfestival

PRESS & MEDIA
@mizeji_studio

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial

Projected onto the historic façade of St. Joseph’s Church in Houmt Souk, OBK’s “Sun” was an interactive digital intervention transforming the building’s mid-19th-century architecture into a canvas for cosmic storytelling.

On the limestone surface, four stellar forms are composed of spinning, energy-rich centers that generate continually shifting fields of color and particles across large-scale, two-channel projections.

Three of these radiant bodies, situated high across the twin towers and upper façade, are pre-recorded animations; a fourth, positioned above the main entrance, unfolds live in real time, its evolving form responding to the gestures and movement of passersby, tracked by a Kinect sensor. As visitors move, their presence shapes and animates this digital "sun," forging a dialogue between cosmic evolution and collective human energy.

“Sun” was not only a poetic rendering of astrophysics; it gestured toward the aspirations of a “Kardashev Type II” civilization, one capable of harnessing the full energy of its parent star. The Kardashev scale is a method of measuring a civilization's level of technological advancement based on the amount of energy it is capable of harnessing and using. The measure was proposed by Soviet astronomer Nikolai Kardashev in 1964, and was named after him.

PHOTOS / VIDEO
@ghassen.ez

SEE DJERBA International Media Art Festival
14 — 16 AUG 2025 Houmt Souk
17 AUG 2025 Guellala

ARTISTIC DIRECTORS
@aymen___gharbi
@kunstpelz

CURATORIAL COLLECTIVE
@khadouja_tmz
@vous__me__voyez
@jo.bmgrt

NEXT GEN CURATORS
@maha_bhamed
@manar._.younsi
@nourcine__nm
PRODUCTION COLLECTIVE
@elyesyahyaoui
@hamza_bouzwida
@omar.san.png
@sn00wz1
@med_torki

MALTESE QUARTER
@matousssi
@annefiefie @ra_dhi21
@obk.graphics
@ponks_collective
@skoutchi99

HOME
@zakham__forcontemporaryculture
@interference_light_art
@momentumcuratorial