Connected, linked and in permanent contact. Closer than ever before. We observe and follow friends and strangers as they observe and follow us. Addicted to their daily activities, we focus attention on our not-completely-real cyber personalities. By experiencing each other via interfaces, we create interfaces of our own identities in order to be able to communicate. Streaming, swiping, drifting online and meeting strangers in cyber space may seem liberating. In our performances of other-selves, other roles and other genders, we enjoy creating and freely using new mixed identities or alternative realities. We desire the presence of others but instead of touching them directly, we touch the cold bodies of devices. This is why we are calling for a new opening, for an uninhibited sharing of digital closeness and intimacy. We meet in cyber space because we long to overcome limitations. We want to touch in all possible ways. LET'S DISMANTLE THE MYTH OF LOVE AND DREAM OF AMOROUS CYBER SHARING.

Amorous Sharing Pavilion | The Wrong Biennale 5 | 01.11.2021–01.03.2022 | Curator: Dawid Adrjanczyk

Ellie Niblock
Nasty Sugar Said Fly, As We Danced On Top Of Mars, 2020

An animated film exploring the relationship between the digital and the physical worlds and how they interact with one another. Through 3D scanning software, sculpture and photogrammetry, Ellie has created a series of whimsical, animated entities that exist together, flying and dancing in a utopian state. The manipulation of the tactile, physical sculptures to glitchy, digital objects offers an insight into the future possibilities of touch and technology.

The digitised human experiences the allure from the simulated world and encounters the cyber born character ‘Nasty Sugar’ and decides to remain in the idyllic space. Nasty Sugar Said Fly, As We Danced On Top Of Mars explores the hedonist view that pleasure is the solution to happiness.

Stahl Stenslie/Kirk Woolford
cyberSM, 1993

The cyberSM (1993) project was an attempt to create a real time, visual, auditory, and tactile communication in the world of cyberspace. In the first cyberSM experiment, the user began to experience what others have only talked about for years: live, tactile communication through a computer environment. The CyberSM project expanded upon text based virtual environments, such as Minitel, MUDs, or most BBSs. It also takes the next logical step toward true telepresence by employing 3D graphics, live audio, and direct physical stimulation to allow participants to physically “touch” each other over distances.

The cyberSM project allows the establishment of trans_gender appearances, identities and entities by letting the participants choose their own visual appearance from a large databank of digitized human bodies. Once chosen, the participents send the image of their virtual self to the others on the network. The body thus becomes a visual fantasy.

Central to the cyberSM project is the ability to transmit physical stimuli from one participant to the other. This is made possible through the use of stimulator suits connected over international telephone lines, which allow the users to remotely stimulate one-another`s bodies. Not only does this physical element of communication allow the CyberSM project to more closely model inter-human communication, it creates a new form of interaction. Throughout the cyberSM connection, participants have a physical dialogue, but they remain anonymous the whole time.

Emma Obemeata
touch-type, 2021

Are you a looker or a feeler?

‘touch-type' explores the re-contextualisation of intimacy post-pandemic. By creating a sensorial relationship with the viewer, the film explores the tension between the haptic relationship we have with our devices, and the bodily yearning we experience for others.

Gabrielle Civil
Touch Piece, 2020

Touch Piece
for anya & kristianne

in darkness, a bronze
hand erupts

a volcanic knee, a splay-
ed body, half submerged
still shocks us

keeps us
from turning away


a body trying to break
out break in break through

a body trying to break
out break in break through

a body trying to break
out break in break through

break out break in break through


walking across an overpass
lines of verse
shot through glass

etched into steel
suspended in air
a certain unlikeliness

my body,
an epicenter of green
and mystery

Originally published within The Quarterless Review Digital Performance Series

Karina Gorzkowska
high cyber instant, 2021

Sight, hearing, taste, smell and touch combined are a complete hybrid for receiving external stimuli as it all happens in real life. But what if to reverse the situation and to upload it into the virtual space?
Wired up by the amorous weave of cables, transferring lines of binary code, executing an infinite number of loops. The body, characterized by the multitude of receptors, ready for receiving stimuli and sensual pleasure vs. an organism built from the point of clouds, systematically analyzing its coordinates, ready for new software instant uploads, leading to enhancement of mental pleasure.

Nina Adrjanczyk
Peer-to-Peer Love Song, 2021

How can bodies meet in an abandoned cyber space? Can digitized emotions be captured or simulated and then shared to others? Emotional-related social media provide the background to the story about desire and longing for intimacy in times of a digital disembodiment. Settled in a familiar but difficult to define reality, it explores an affective relationship between human bodies and technology. Is there a chance to escape the existing form of communication or re-think it beyond the flow of big capital and control? Suspended between material and digital, can we maintain hope for tenderness and love?

Claire Lefèvre/Zosia Hołubowska

A voice, kneaded and massaged with software until it sounds like a forest
Resting bodies with a soft core
Tender lavender fingers craving for touch
Layers upon layers coming and going like waves
Room temperature has never been so hot

Courtesy of the Artists and brut Wien

Jana Moroz
Cyber Tenderness, 2021

What is tenderness in times of Tinder? Is it possible to share a feeling using (almost) static forms taken out of its context? Cyber Tenderness is a visual essay which uses footage from movie remakes and sensual/erotic photographs. Chosen frames transformed into 3D objects look like squeezed through the AI algorithms.

Marie-Eve Levasseur
Calling Upon the Digital Touch, 2020

„and then, it did cast a spell upon this place (through my phone)“

„calling upon the digital ones..."

„to touch you beyond the physical"

augmented reality intervention, 2020

Jan Matýsek
I can be Real as you can Dream, 2019

Music & Sound: Natálie Pleváková