The three artists behind this strange entity indeed inhabited the space full time: sleeping, playing music and visuals, eating, dreaming and living in the Hangar from the beginning to the end of the festival.

The Cloud would vibrate with sound; overlapping multiple sonic environments from atmospheric leaps to earthy pulses, whilst roaming the internet or it’s personal forking paths. It was opening simultaneous windows echoing anyone’s late-night online vortexes, from confused Chatroulette users to slimy ASMRs, passing through content weaved by endlessly loading snaps.

The scenographic installation of the space has been developed in collaboration with the artist Nelle Gevers as a post-everything environment, filled with leftovers of technology, broken cables, electric wires, re-used pieces of metal and ever-leaking magma of petrolic liquidity.

The shapes were echoing one another, inspired by constantly moving topographic lines eroded by fluids. The materials, belonging to an age of capitalist overproduction, invited anyone to merge and rest within their chaotic and layered transition.

Entering the space and being welcomed by such familiar built-ups of degenerating webs created a feeling of inclusivity and invoked a form of intimacy made up of timeless nights and inner comforting mess.

As a modular entity, the Cloud encompassed us within a world floating between the virtual and the physical, mirroring the irrational outbursts of the real.

Basing the installation upon concepts of material memory, studies of fluidity, toxicity, aggression, and care, it was aimed to create an environment that would welcome each person as an organic part of the space, whilst criticising singular narrations of collapse by generating a space open for collaborations, an a-apocalyptic chill zone with ambiguous mutant purposes.

Surrounding that could provide rest, quiet and inclusion without rejecting the remaining traces of violence, decay, shadows and ambiguity. A place of cohabitation, accepting of multiple casualties and partial bits of histories.

Rather than creating a safe space, it would rather be a welcoming unsafe space-changing according to one’s needs and the time of the day. To learn not to escape from traces of confrontations but rather finding a way to engage with them through mechanisms of care and collective intelligence.

Through symbiotic and gathering processes, oscillating between the individual and the collective, Scardanelli & Nelle Gevers generated a world in constant scattered motion and perpetual textures of translations.

This alive piece has been visited by groups, creatures and artists who punctuated the three days and nights. Redder Helsinki and the band Virta played a wonderfully eerie set of spontaneous melodies, shaping the space with their sonic “déambulations”. Weightausend and Giacomo Bisario, sound artist and photographer weaved across the mass of suspended cables and programmed them to make the EL wires interact with the rhythm of the music. The LSP duo (Matteo Pennesi and Riccardo Patrone created an imaginative set composed of sounds designed for mobile applications. Italian producer Mendoza has intervened with very sparse and minimal performance, light but sharp at the same time. Mexican composer, multimedia artist, and a researcher in the field of computer music Sabina Covarrubias performed "Viaje”.

Throughout the festival, the Hangar has been lived, experienced and submitted to shifts induced by its visitors. Scardanelli was ever-present and experimented exponentially along the hours, or providing space for introspection and levitation. The public sat on the couches, beneath the bed, became a part of the installation as well as being its audience. People slept there, drank, talked, relaxed or got lost within the lines drawn by the cables. Exhibitionists, lovers, dancers came to find a space where they ultimately could feel welcomed.