Sindi Shkodrani

A reflection on impermanence through the lens of cosmology. We often imagine the universe as eternal, a vast structure that has existed for billions of years, yet its beginnings tell a different story. Cosmic Microwave Background data gives us a glimpse into the early universe, revealing traces of a cosmos that emerged from an incredibly brief and violent period of rapid expansion.

Inspired by Bubble Multiverse Theory, which imagines our universe as one of many expanding bubbles within a larger cosmic landscape, appearing from processes not yet fully understood by physicists, the work lingers on their fragility: if a universe can appear so suddenly, perhaps it can disappear just as easily.

Using CMB data from the Planck mission as a foundation, traces of our own universe are translated into evolving visual systems. Simple mathematical processes act upon imagined multiverse bubbles, which combine and evolve into worlds far beyond their simple beginnings.

Created during the Masterclass Immersive Room at the Node Institute in Berlin. Presented at Kunstkraftwerk Leipzig.

A speculative archive exploring what happens when memory becomes data, and data becomes identity. Drawing from a personal photo library of outdoor raves in Amsterdam, documenting a collective that shaped the artist's formative years and relationship to culture, the work reflects on memory not as stable storage, but as a dynamic process of selection, reinforcement, and decay.

Moments that once felt infinite are reduced to the fragments we can still access, through fading memory and the digital traces we return to again and again. As images are revisited, transformed, and stored, the archive begins to mirror memory itself. What is preserved, what is altered, and what quietly disappears? Every act of remembering is also an act of loss.

An audiovisual piece exploring the space between living systems and computational logic. Bees move through the world in patterns that feel almost algorithmic, from the geometry of the hive to the collective choreography of their flight.

Real footage gathered from rooftop hives across Zurich becomes the raw material for a passage between the living and the computational. Using the same mathematical functions to transform image and sound, the work moves back and forth between the organic and the algorithmic, until the two become difficult to distinguish. If a living creature can be described through patterns, and a mathematical system can begin to resemble life, where does the pattern end and the living begin?

An audiovisual installation exploring the space between life and machine. At its center are two seemingly distinct worlds, an octopus embodying living complexity and adaptive intelligence, and a circuit board, representing the machinery we build to reproduce intelligence. Two systems that appear worlds apart yet emerge from the same universe of forces, patterns, and functions.

We are fascinated by the complexity of living things. We marvel at their intelligence, their adaptability, their strange beauty. Yet when we build complexity ourselves, in machines and artificial systems, it can provoke something entirely different: a strange fascination that easily turns into fear, distrust, even disgust.

Through sound, moving image, repetition, and transformation, the two systems gradually disturb each other's space. What is life? What is machine? Where does one begin and the other end? The boundary becomes less certain, the distinction less comfortable. And when the two inevitably compete for space, who will win?