On September 18 and 19, Wrocław’s Nadodrze district will once again become a vast open-air gallery of new media art as Kinomural 2026 brings 113 works by 67 artists from around the world to the walls of the city.
This year’s eighth edition, titled Infinite Loop, explores repetition as rhythm, habit, error, memory, and a mechanism of everyday life. Across six walls and seven programme sections, audiences will encounter experimental animation, digital video, generative imagery, and immersive works that move far beyond the conventional screen.
Contemporary Lynx is proud to be a media patron of Kinomural 2026 and will also present its own award during the festival. Our editorial team will select the work that, in our view, stands out most strongly from the programme presented during the two festival evenings.
Among the highlights of this year’s programme is Oliver Latta, known as Extraweg, whose surreal 3D animations have become one of the most recognisable visual languages in contemporary motion design. A Berlin-based artist and director, Extraweg is a two-time Primetime Emmy Award winner for the opening titles of Severance and has collaborated with Valentino, MTV, and Bring Me The Horizon. His work has also been presented by institutions including Sotheby’s and Christie’s and at the Venice Biennale.
His work is particularly fitting for a festival built around the idea of the loop. Bodies stretch, multiply, merge, and become caught in systems of repetition, creating surreal images through which the artist explores social pressure, routine, ambition, anxiety, intimacy, and the desire to conform. As Extraweg puts it, the contemporary loop reflects a familiar cycle: “Work, consume, scroll, repeat.”
Another major figure in this year’s programme is Peter Burr, whose immersive, cinematic digital environments draw on the visual language and technologies of video games. Presented at institutions including the Whitney Museum, the Barbican Centre, and Documenta 14, Burr will take on both curatorial and artistic roles at Kinomural.
For the LOOP STATE wall, Burr has selected works by Yoriko Mizushiri, Réka Bucsi, Takeshi Murata, and Meejin Hong. He has also created Interstitial Maintenance, an installation projected simultaneously across four walls. Its digital building is inhabited by automated workers who endlessly repair a malfunctioning system that continues to produce new failures and traces of decay.
The festival’s programme also includes Ghosts of Tomorrow by Krzysztof “Kuki” Iwański, presented at Concordia Design. Moving away from projection and into the physical medium of the flag, the exhibition considers disappearing ecosystems, digital waste, climate migration, and the things contemporary societies hold in common — as well as the things they risk losing.
At the centre of the festival is the Main Section, divided between PRIMORDIAL LOOP and IMPULSE LOOP. The programme brings together artists including Boris Labbé, Conner Griffith, Max Cooper, Edwin Rostron, Max Hattler, Emanuele Kabu, Damien Looney, Mario Ruggiero, Brandon Eversole, and L00p.
Their approaches to repetition vary widely. In Boris Labbé’s Orogenesis, millions of years of geological transformation are compressed into minutes. Elsewhere, repetition becomes a way of examining advertising, social-media overload, technological interference, violence, catastrophe, rhythm, and perception.
This diversity is central to what makes Kinomural particularly relevant to contemporary visual culture. Animation and digital imagery are now everywhere — from streaming platforms and music videos to concerts, advertising, and social media. Kinomural takes these familiar forms out of their usual environments and places them on an unexpected scale: the walls of Wrocław’s tenement buildings.
The audience, meanwhile, is not given a single prescribed route. Six walls operate simultaneously between 19:30 and 22:00, allowing visitors to move through Nadodrze and construct their own experience of the festival. At the end of each evening, the boundaries between the individual programmes disappear as Hieu Vu’s Tension is projected across all of the festival’s walls, accompanied by Thomas Farnon’s Masquerade.
For Contemporary Lynx, the opportunity to participate in Kinomural as a media patron and award-giving partner is a natural extension of our interest in artists working at the intersection of contemporary art, moving image, technology, and visual culture. The festival’s ambition to take digital and experimental practices beyond the conventional gallery or screen also makes it a particularly exciting context in which to encounter new artistic languages.
We will be following the programme closely and selecting the recipient of the Contemporary Lynx Award from among the works presented during Kinomural 2026.
