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Chris
Tegho



I am a multidisciplinary artist, and machine learning engineer from Lebanon and the UK.  

I work with movement, code, 3D modeling, and material, and I am  interested in raw emotion and play. I explore how technology shapes identity and perception, and I use play to connect, experiment and expand our perspectives. My practice is driven by questions of queer belonging and a need to build ecosystems that hold multiplicity and difference.
 
I have collaborated on immersive installations with numerous artists, Jazmin Morris on TRex Dreams of Mangoes and Figs, exploring technological access, waiting in digital spaces, and consciousness; and Zach Blas on installations such as Cultus (Arebyte, Secession), Profundior (Berlin Biennale), and The Doors (Edith-Russ-Haus für Medienkunst, De Young Museum, Van Abbemuseum). These works examine consciousness expansion, human/machine relations, and AI religiosity, interrogating the extractive data practices underlying AI's rapidly advancing emotional intelligence.


I am co-founder of Disruptive Nostalgia, a collective which sets out to reimagine and challenge the narratives of architecture, landscape, and cultural memory informed by intersectional politics. The collective is currently resident at Spreepark in Berlin where they explore how memory, color, and play shape our understanding of place and connection to each other and nature.  


I completed a Master's in Machine Learning at the University of Cambridge in August 2017.


art residencies


Rupert Alternative Education Program (2025), Vilnius, Lithuania

Spreepark International Art Residency (2025), Berlin, Germany

Loop Art Critique 17th Edition (2025), Online

Immersive Assembly Volume 4 (2024), Dreams and Echoes, Mediale, Oxford and York, UK 


work in progress and experiments


Instructions for Future Playgrounds / Rituals of Play

Strange Kinships — virtual installation with 3D animation

Scattered Minds — short film / coded animation exploring multiplicity of the mind

How Do I Dance? / Where Do I Go? (2025) — new media art installation with animated archeological relics, part of the Onland Loop Art Critique 17th Public Activation

Ecological Dialogues — ongoing research, workshop and collective choreography on movement, play and technology


artwork and commissions

 
Moving Differently (2025) — AEP Final Event, Rupert, Vilnius

How We Play: Practices of Care and Collective Making (2025) — IMPACT25, Pact Zolverein 

When T-Rex Dreams of Mangoes and Figs with Jazmin Morris (2024) — commissioned by Mediale, and exhibited with Videocity UK at Tyneside Cinema (Newcastle), with Forum Sudutpandang at Kongsi 8 (Jakarta) and Marlah! Hub (Palu), at Modal Gallery (SODA, Manchester), Mozilla Festival 2025 (Barcelona), Peckham Digital (London), Imagined Worlds at Lewisham Library (London), and Adventures in Consciousness (University of Oxford)

Infrastructures of AI (2025) — accepted for presentation at the Connective (t)Issues Workshop, with Data & Society and The Politics of AI: Governance, Resistance, Alternatives with Sustainable AI Futures (Goldsmith University)

CULTUS with Zach Blas (2023) — commissioned by Arebyte Gallery, London, UK, and Secession, Vienna, Austria

Profundior with Zach Blas (2023) — commissioned by Berlin Biennale for Contemporary Art, exhibited at Hamburger Bahnhof

576 Tears with Zach Blas (2022) — commissioned by UP Projects for “This is Public Space” series

Triple Chaser, with Forensic Architecture (2021)—exhibited at Uncanny Valley: Being human in the age of AI, at the de Young Museum in San Fransisco

Machines of Loving Grace, with DJ and producer Sonikku (2021) — music video for single release Lifestyle with Boilerroom TV
— audio reactive StyleGANs video generation

The Doors with Zach Blas (2020) — commissioned by Edith-Russ-Haus für Medienkunst, Oldenburg, de Young Museum, San Fransisco, and Van Abbemuseum, Eidhoven

MELTS INTO LOVE with Xin (2020)— album cover

CAD Conspiracy: Pattern Recognition in Contemporary Art with Mahan Moalemi and Bahar Noorizadeh (2020)— commissioned by the Mosaic Rooms, London


ml research interests video language models — few shot learning — generative models — Bayesian modeling — computer vision: video understanding, video generation, object and movement detection


other interests contemporary dance — internal family systems — humanistic councelling


publications


  1. D’Cruz, A.∗, Tegho, C.∗, Greaves, S.∗, & Kermode L. (2022). Detecting Tear Gas Canisters With Limited Training Data. IEEE/CVF Winter Conference on Applications of Computer Vision (WACV). 
    ∗equal contribution

  2. Tegho, C., Budzianowski, P., & Gašić, M. (2018). Benchmarking Uncertainty Estimates With Deep Reinforcement Learning for Dialogue Policy Optimisation. IEEE International Conference on Acoustics, Speech, and Signal Processing (ICASSP).

  3. Tegho, C., Budzianowski, P., & Gašić, M. (2017). Uncertainty Estimates for Efficient Neural Network-based Dialogue Policy Optimisation. Accepted at the Bayesian Deep Learning Workshop, 31st Conference on Neural Information Processing Systems (NeurIPS).

machine learning work


2022 - 2024
Unitary, London, UK
— Develop and deploy multimodal machine learning models and pipelines for detecting harmful content in videos, images and text


2017 - 2022
Calipsa, London, UK
— Design, implement and evaluate models and software prototypes for object detection and motion detection in videos


Chris Tegho —
Mark

Moving Differently 


Rupert Alternative Education Programme Final Event 2025, Vilnius

Moving Differently invites audiences to move, play, and interact with three sculptural objects, each accompanied by its own set of instructions, that invite negotiation, tension, and shared choreography. Emerging from an ongoing research process on play and movement as methods for resistance, collective authorship, and reimagining, the project explores play as a relational practice to reclaim space, and emotion.

Developed through a series of movement and play workshops, the project also archives rituals of play drawn from improvised games played in in-between and ad-hoc spaces.

Through two 30-minute public activations, participants are also invited to warm up, move together, and activate the objects.

My Reflections

The AEP offered a space to try something unfamiliar, to test approaches to movement and participation that I had not yet attempted. What emerged was a clear sense that the installation succeeded most when it created a quiet permission for people to act differently. Children engaged most readily, but adults followed once they understood that the work welcomed a shift in behaviour. The objects functioned as gentle provocations and small cues that signalled it was acceptable to move, to play, to step outside expected conduct.
Interestingly, the stones drew the most engagement. Their everyday quality, and the fact that they weren’t fabricated by me, made them less intimidating. Their score felt accessible, and this simplicity encouraged curiosity. The more visibly “constructed” objects, despite their intention, carried a sense of artistic preciousness that made people hesitate at first. But after the public activation, this hesitation softened. Once participants experienced the objects in action, once they were shown that the installation invited looseness, irregularity, and experimentation, others began to approach with greater ease.
This affirmed something central to the project: people often need an invitation to step outside the norm. When that invitation is clear, and when the environment signals that unusual behaviour is permitted and welcomed, people respond. The installation became a way to open a small breach in everyday etiquette, allowing movement, awkwardness, and play to enter the gallery space without apology.

The work revealed that the threshold for play is not fixed, that it can be shifted through instructions, context, and the presence of others. When offered the chance, people are willing to play, to experiment, and to be a little strange. The installation showed that the desire for this shift is already there, that it simply needs to be named, held, and activated.




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