Bruno Bez (1984, BR) is a visual artist recently based in Berlin. Stimulated by the questioning of how the visual and cognitive systems perceive and adapt to the vast contemporary field of digital experimentalism, he develops multidisciplinary experiences, converging distinct environments into video art installations, mapping, virtual reality, hologram, digital sculptures and prints.
He began his career in the universe of audiovisual production in the mid-2000s at the age of 16. His early works, in partnership with professionals from an emerging surf scene in Florianopolis, quickly made him nationally recognized. Maintaining an interest in how audiovisual creation can provide immersive experiences of altering our perceptions of time, space, and movement, his work has unfolded in the field of digital art by focusing on exploring the technical and poetic possibilities afforded by new media. Since 2007, Bez has been mainly dedicated to the creation of digital video art and real-time visual performances, where he presents highly kinetic atmospheres.
His first solo exhibition, Thirdpsilon, was presented at the Museum of Image and Sound of the state of Santa Catarina (BR). Through his works, the museum's exhibition space converged with the engagement of a wide scene of electronic music creators.
With a multifaceted professional performance, Bruno Bez develops his career between Brazil and Europe, in the context of art institutions, festivals, clubs, musical concerts and cultural movements.
In 2018, he participated in the digital art biennial "The Wrong", at the São Paulo Cultural Center, with the holographic installation "Tripod of Life", and exhibited at "Immesphere" - Brazil's first Full Dome International Festival, held at the Brasília - where his work, in partnership with the artists Vinicius Luz and Edmosh, was awarded Best Film in the popular vote category.
He has collaborated in the field of contemporary dance creating for “The Worst of Me”, by Monica Siedler, and for the performance “Yellow Syntagma”, by the renowned Cena 11 Cia.
In collaboration with music producer Andrevictor, Bez created the Gangorra glitch art project - selected in two editions of FILE (International Festival of Electronic Language) and integrated the programming of the Live Performers Meeting (Roma-IT); and in partnership with digital artist Kaue Costa, created the generative art project TwoManik in development and research.
He collaborates with the international psychonaut art community through his live cinema and urban interventions - such as the tribute to HR Giger in Berlin - and signs numerous visual experiments in collaboration with electronic music producers - such as Mano Le Tough, Matt John, Elekfantz, Gui Boratto, B.Ashra, Jay Haze, Filip Sala, Nyma, Ludovic Vendi, Jamaica Suk, L_cio, Artemii, among others.
Throughout his role as VJ, there are houses and events the great relevance such as: Club der Visionaere, Hoppetosse, Panke, Ipse, Sisyphus and Scope Sessions (Berlin), Keep on Going (London), Broken Beat (USA). In Brazil, he also has presented his visuals for Skol Factory, Sesc Pompeia, Integrated Cultural Center - SC, and D-Edge, ODD, Mamba Negra, Detroit.br and Warung showcases. He has performed at festivals such as Electrode (Rome), Visual Brazil (Barcelona), Fusion (Germany), Amsterdam Dance Event (Netherlands), as well as Tribaltech and Creamfields (Brazil). And his visuals can be seen regularly in his hometown of Florianopolis, at events such as Acoustic Brognoli and Orchestra Skrotchenka shows, as well as his performances as a resident at clubs as Terraza, At Home, Sounds in the City, Trip to Deep and many others.
His works represent an imaginative simulacrum, where a hermeneutic boundary between figuration and abstraction is dramatic and transitory - remains in a constant state of fluctuation. Just as the geometry of their compositions goes back to infinity, the symbolic symbols of abstraction they create are as broad as a metaphysical mirror: they depend entirely on the subjectivity of each viewer.