"Magnitude" features a new series of work produced by Berlin-based artist Robert Seidel during his residency with Epicenter Projects in June, 2015. This online exhibition showcases long exposure photographs of Robert Seidel’s "environmental laser drawings" captured in collaboration with Epicenter Projects curator Cristopher Cichocki. Spanning from the Coachella Valley to the edge of the Imperial Valley's Salton Sea, this series of time-based laser drawings was developed alongside the mountain terrain of the San Andreas Fault. To begin, Seidel derived each laser pattern from creating digital line drawings: gestural markings suggestive of curve progressions seen within the Richter Scale or tectonic deformations. These minimalist sketches are manipulated into complex transformational sequences scribed by the laser onto the desert’s topology.
This fleeting yet precise gesture of the laser choreography becomes a visual spectacle at the intersection of seismology, performative drawing and laser interferometry extending upon the historic trajectory of Land Art in the American deserts. The inherently shifting San Andreas Fault line becomes fragmented and redefined through the laser's ephemeral distortion of light and, virtually, space as well. As a true collaboration with the geology of the desert environment, "Magnitude" offers perceptual insights through the documentation of these performative actions. Here, from one minute to the next, the San Andreas Fault becomes a geomorphic intersection both reflective and refractive, tracing a portrait of a highly unpredictable landscape.
Permanent projection installation for the Volgograd State Panoramic Museum.
3D modeled, mapped and blended simultaneously in a hardcore way - directly within projection on the object, without any source sketches or layout drawings.
18x4m size model, 8+4 full HD projectors, 15Mpix content resolution, OSC-controlled playback.
PM and content: RL Design
Projectors setup and installation: Focusnik production
Projection calibration, server setup, 3D rendering: in[visible] studio
2 HD Projectors and 2.1 Stereo Sound
8min11sec Video Loop
Visual Artists: Liu Chang,Miao Jing
Sound Design: Gan Jian
Curator for Infinite 115: Sirui Zhang
Created by Liu Chang & Miao Jing
Opening Reception: 6pm Saturday April 26th, 2014
On View: 6pm Saturday April 26th, 2014- 6pm Sunday April 27th
Address: Room 115, Avery Hall, Columbia University
Special Thanks to Graduate School of Architecture, Planning and Preservation
Xizhe Wang/Cheney/Li Zan/Lu Su/ Shiyu Zhu/Qiu Yun/Wang Mi/Tianyao Wei
Organized by Sirui Zhang
“Infinite 115” is an exhibition experiment. In this experiment, a team of emerging artists will install their audiovisual installation “Infinite” in Avery Room 115. “115” is not only the room number but also the serial number of the experiment, which is the first attempt of a series of ongoing debugging activities that will take place in different venues.
“Infinite 115” is also a spatial replacement. It replaces two seemingly structural walls and the corner they enclose in Room 115 by projecting moving, non-structural, opened geometric shapes, thus questioning the existence and the formation of the space.
Observations on “Infinite” by LIU Chang
The idea of this work first came to my mind when I was visiting Dia:Beacon at upstate one year ago, where I encountered Sol Lewitt’s wall drawing series. When I saw those huge linear elements traced on the wall deliberately in graphite, I felt the weight but in a contradictory lightness. The linear elements are light, while the heaviness of the wall gives a pressure upon the viewer. The heaviness of the wall is overwhelming. Especially when I stood in front of a huge black wall with two transformed cubes, I felt a mysterious force which motivated me to go to this enigmatic shape. This contradiction continues in Lewitt’s Open Cube series, in which there are two walls that enclose a spatial corner, and a cube that belongs to both sides. The combination of the cube and the wall give me a driving force to be willing to be absorbed by the corner, but it exists in reality and would not allow me to enter.
When I talked about this experience to Miao Jing, he was very excited to discuss the topic of “Cube”. As a fundamental shape in geometry, it composed of six faces and 12 edges. It became more complex when we tried to locate a cube in a real interior space; the components of the cube would rise to 24 2-D right angles and 8 3-D right angular vertices. Meanwhile, the logic of the cube will extend to the shape of viewer. The 90° right angle does not welcome anybody nor resist. It is depressed, extended and infinite.
The experience is an encounter with a marvelous spectacle. Then the projection and the sound add up within the space interleaving. Infinite is a unique experience, or an atmosphere, like when one is immersed in a mountain, a waterfall or a cliff in infusive perceptions.
The geometric visual shapes and synthesized sounds express the same velocity and tactility. Then tension and force generated by the vision and sound deploy permanently. We compute the incomputable universe with couter and time. Artificial codes embody the universe and make it connected with us. Time, codes and the 81 Open Cubes of Lewitt compose the visual part of Infinite. There is neither end nor beginning to be found. Universe, time, code of machine and perception are all our concerns and are been pursuing infinitely.