Diego Muhr
Diego Muhr (he/*, 1994, Santiago) is a media artist and lighting/video designer working between Vienna and Hamburg. He holds an MA in Multimedia Composition from HfMT Hamburg (2023, class of Alexander Schubert), where he teaches Live Media. He studied composition at Pontificia Universidad Católica de Chile, alongside performance training with Angelo Solari, and film scoring at Berklee College of Music (Valencia). His work spans performative environments, installations, and concert formats, organising sound, light, image, bodies, and text as interdependent systems. He develops worlding as a compositional practice using game engines and real-time multimedia. Diego co-founded Studio Noclip (2023), a media art collective focused on participatory performance.
“I use multimedia systems—real-time processes, spatial audio, game engines, light and video, networked tools—to construct worlds capable of sustaining complexity and autonomy”
My practice develops performative environments that function as worlds. I construct systems with internal rules and constraints that develop through time and interaction. These environments operate as immersive spaces designed for active inhabitation.
I approach worlding as a compositional method grounded in systems thinking. Each work emphasizes operational mechanics: the relationships between elements, the structuring of constraints, and the evolution of situations through use. Within these environments, contradiction operates as a sustained structural condition. My practice embraces the productive friction of these unresolved ideas, and they prioritize tension over statement. The work remains deliberately open, allowing multiple readings to coexist.
Audience participation forms the core of this approach. People engage directly with the work from within: It may happen with them, or to them. As inhabitants, they navigate, comply, resist, misread, and reconfigure the world’s logics. Meaning emerges directly from these situated encounters. The work establishes an experiential field where interpretation comes through active engagement.
In my work, technology is the infrastructure, and the digital remains as my main material. I use multimedia systems—real-time processes, spatial audio, game engines, light and video, networked tools—to construct worlds capable of sustaining complexity and autonomy. Although technology is fundamental in the work, it is not the core but the medium for it to happen.
Formally, my projects take shape as installations, performances, and hybrid formats that connect stage and exhibition contexts. These works frequently extend into site-specific situations, integrating the conditions of a place directly into the system’s logic. Across all formats, the practice focuses on the construction, cohesion, and internal experience of these worlds.
Collaboration operates as a structural component of my practice. I work within distributed constellations of performers, designers, programmers and all sorts of artists, and I actively seek for a shared and negotiated authorship. In some works, the worlds created may just become alive –independent and autonomous, creating and evolving themselves beside my own input.
