fabric | ch

Note: While the Biennale di Venezia (2025) slowly reach its end, next November, we published a few pictures on our PIxelfed account. 

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By fabric | ch (on Pixelfed)

Note: Paik Replayed: Non-Digital Art Transformed by Hybrid Exhibition Practicies has just been published in the academic and peer-reviewed journal Kunstlicht, a research publication for art, visual culture, and architecture, edited and published by the Arts and Culture department at the Vrije Universiteit Amsterdam.

Paik Replayed  is a SNSF funded research, led by Patrick Keller, with fabric | ch and the Nam June Paik Art Center (prototype) as field partners, and hosted at ECAL / University of Art and Design, Lausanne (HES-SO).

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By paikreplayed.org (on Instagram)

 

 

 

 

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Note: the new project Atomized/Retroffited Functioning by fabric | ch has been selected for La Biennale di Venezia / 19th International Architecture Exhibition (2025), curated by C. Ratti.

The piece is currently on display in the Corderie (main exhibition space of the Arsenale, Venice) and will stay exhibited until the 23rd of November 2025 (10.05 – 23.11.2025).

The project present a live iteration of the ongoing Atomized (*) series of work, at this occasion within a fictional space that gather dynamic planetary conditions, in the form of environmental data coming from meteo stations across the globe.

This is a series of radical algorithmic experiments that fabric | ch discreetly initiated in 2014 with a publication—Desierto #3, 28°C—, and an experimental project—Reponsive Atmospheric Patios—on “spatial and environmental intelligence”: real-time environmental data feeds into the automated and continuous assembly of previously “atomized” elements of architectural functions (as well as a diverse set of “atoms” of use/misuse/non-use of space). The results help us to study renewed and evolving assemblies for our changing planet.

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The whole project, its genealogy, and the current live feed are presented on https://www.fabric.ch/Atomized/

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By fabric | ch

The "Pulsar Map" (Peirce quincuncial projection), or live environmental data coming from the selected planetary and historical setllements locations: Venice (IT), Athens (GR), Uruk (IR), Tokyo (JP), Vancouver (CA), Chicago (US), Manchester (EN), Brasilia (BR), North Pole (-). These live data help us build a fictional and planetary live space, to be investigated by Atomized/Retrofitted Functioning. 

Atomized/Retrofitted Functioning

Loosely inspired by particle physics experiments, where collisions reveal fundamental forces, the project explores new spatial paradigms by rethinking past functional assemblies. It parallels retrofitting, adapting spatial configurations to evolving climates and digital realities rather than following fixed models.

Drawing at the same time on vernacular architecture, which historically responded to local climates through material intelligence (notably the work of Professors F. Aubry at EPFL, and B. Rodofsky at Cooper Union, as well as Philippe Rahm’s contemporary interpretation), the project extends this logic into computational realms. It examines the patterns and phasing effects of contemporary space between material and non-material milieux.

The project takes form as an abstract and speculative habitable volume, where environmental data from key locations in human habitation evolution generate shifting conditions—day and night, hot and cold, urban and desert—coexisting in one space. This approach enables simulations of future climatic conditions, while using real-time data from 2025 during the Venice Biennale.

Presented as a video screencast of an application running live on a server in fabric | ch's studio, driven by machine learning, the project autonomously generates spatial scenarios that stabilize twice a day. These can be downloaded in parallel as an immersive, walkable AR/VR experience.

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Then, tendencies can be drawn: what is the average presence of a certain type of content (functional, non-functional) over 3 or 6 months (from May to November 2025), for instance, or also only during Venetian nights? During Spring or Summer, etc.? Incoming climate behaviour could also be extrapolated from scientific forecasts: what will the climate be like in 2050? And in 2100? Or conversely, what was it like in 1972, for instance (the year The Limits to Growth was published, which was a clear first warning—even if imperfect—of what was to come if “growth” remained unchecked)?

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And then, from a haze of potential space use, and non-use, opened and closed volumes can be drawn. None of them being entirely suitable, frozen shapes framing freely evolving conditions. 

Images from the project Responsive Atmospheric Patios – extended experiments (fabric | ch, 2016).

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Atomized/Retrofitted Functioning is presented in a standardized way by the curatorial team, with the screencast video of the application running on the servers of fabric | ch. It is installed in the Artificiale section of the Biennale, next to the iconic–and somehow problematic–Seek project (1969–1070), by Nicolas Negroponte and Leon Groisser at the MIT Architecture Machine Group. Next to Architecture as a Living System, by John and Julia Frazer—as part of Cedric Price's Generator project (1976–79), but also of more contemporary (post-)critical takes on "computing" and "cybernetics" through the work of Kate Crawford and Vladan Joler (Calculating Empires, 2022), and others.

Atomized/Retrofitted Functioning in the Corderie building, at Biennale Architettura 2025.19th International Architecture Exhibition, Venice 10.05 – 23.11.2025.

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The project can also be "followed" during the Biennale, at this address: https://www.fabric.ch/Atomized/ , in live streaming during Biennale opening hours.

The whole genealogy of the research and its previous iterations are also accessible at the same location.

Note: fabric | ch is participating in the Paik Replayed research project, a Swiss National Science Foundation funded research, which focuses on digital/hybrid exhibitions of non digital-native artworks. 

Patrick Keller and Christian Babski, both members of fabric | ch, are particularly involved as researchers and field partners, along with fellow researchers. fabric | ch having undertaken numerous digital exhibitions in the past.

We recently took part to the ISEA conference in Seoul (South Korea), to present the early outcomes of the research and take part in a panel. These endeavours are now published in the proceedings of the conference.

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By paikreplayed.org

The two papers, discussing hybrid exhibitions and the influence of early works from the Korean artists Nam June Paik on such tasks, are now accessible on the website of the research,

They can be accessed here: https://www.paikreplayed.org/2025/08/15/isea-2025-proceedings-two-papers-by-paik-replayed/

Note: Patrick Keller was part of the trip to Seoul (for both fabric | ch and ECAL/University of Art and Design Lausanne) to present the early results of the SNSF funded research Paik Replayed during the international conference ISEA 2025.

This was a week of talks, debates, panels, sounds, exhibitions, Nam June Paik and many more. 

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By paikreplayed.org (on Instagram)

 

 

 

 

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Note: fabric | ch is part of the exhibition Summoning the Ghosts of Modernity at the Museo de Arte Moderno de Medellin (MAMM), in Colombia.

The show constitutes a continuation of Beyond Matter that took place at the ZKM in 2022/23, and is curated by Lívia Nolasco-Rószás and Esteban Guttiérez Jiménez. 

The exhibition will be open between the 13th of March and 15th of June 2025.

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By fabric | ch

Atomized (re-)Staging (2022), by fabric | ch. Exhibited during Summing the Ghosts of Modernity at the Museo de Arte Moderno de Medellin (MAMM). March 13 to June 15 2025.

More pictures of the exhibtion on Pixelfed. 

Note: fabric | ch has been selected to be part of the next Venice Biennial of Architecture 2025, starting in May '25.

While we cannot display much of the project engaged for now, these (below) are preliminary studies for what was planned first as a large media/data arrchitecture installation, inspired by previous works (notably Atomized Functioning). It will likely become a more standard presentation of the project driven by the curator's team, in the "Artificiale Canon" part of the exhibition.

Nonetheless, fabric | ch will take part in the Biennale Architettura 2025, alos known as the 19th International Architecture Exhibition in Venice.

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By fabric | ch

Atomited/Retrofitted Functiong (early draft as large media/data architecture installation, 2025)

 Atomized Functioning & Atmospheric Patios extended study (2018, 2016)

By fabric | ch

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As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 09.2023), via all its tags!

FIND BELOW ALL THE TAGS THAT CAN BE USED TO NAVIGATE IN THE CONTENTS OF | RBLG BLOG:

(to be seen just below if you're navigating on the blog's html pages or here for rss readers)

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Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "fair use" - we've never made any money or advertised on this site).

Nevertheless, we continue to publish from time to time information on the activities of fabric | ch, or content directly related to its work (documentation).

Note (03.2024): The contents of the files (maps) have been updated as of 02.2024.

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Note (07.2021): As part of my teaching at ECAL / University of Art and Design Lausanne (HES-SO), I've delved into the historical ties between art and science. This ongoing exploration focuses on the connection between creative processes in art, architecture, and design, and the information sciences, particularly the computer, also known as the "Universal Machine" as coined by A. Turing. This informs the title of the graphs below and this post.

Through my work at fabric | ch, and previously as an assistant at EPFL followed by a professorship at ECAL, to experience first hand some of these massive transformations in society and culture.

Thus, in my theory courses, I've aimed to create "maps" that aid in comprehending, visualizing, and elucidating the flux and timelines of interactions among individuals, artifacts, and disciplines. These maps, imperfect and constrained by size, are continuously evolving and open to interpretation beyond my own. I regularly update them as part of the process.

Yet, in the absence of a comprehensive written, visual, or sensitive history of these techno-cultural phenomena as a whole, these maps serve as valuable approximation tools for grasping the flows and exchanges that either unite or divide them. They offer a starting point for constructing personal knowledge and delving deeper into these subjects.

This is precisely why, despite their inherent fuzziness - or perhaps because of it - I choose to share them on this blog (fabric | rblg), in an informal manner. It's an invitation for other artists, designers, researchers, teachers, students, and so forth, to begin building upon them, to depict different flows, to develop pre-existing or subsequent ideas, or even more intriguingly, to diverge from them. If such advancements occur, I'm keen on featuring them on this platform. Feel free to reach out for suggestions, comments, or to share new developments.

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It's worth mentioning that the maps are structured horizontally along a linear timeline, spanning from the late 18th century to the mid-21st century, predominantly focusing on the industrial period. Vertically, they are organized around disciplines, with the bottom representing engineering, the middle encompassing art and design, and the top relating to humanities, social events, or movements.

Certainly, one might question this linear timeline, echoing the sentiments of writer B. Latour. What about considering a spiral timeline, for instance? Such a representation would still depict both the past and the future, while also illustrating the historical proximities of topics, connecting past centuries and subjects with our contemporary context in a circular manner. However, for the time being, and while recognizing its limitations, I adhere to the simplicity of the linear approach.

Countless narratives can emerge as inherent properties of the graphs, underscoring that they are not their origins but rather products thereof.

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The selection of topics (code, scores-instructions, countercultural, network-related, interaction, "post-...") currently aligns with the themes of my teaching but is subject to expansion, possibly toward an underlying layer revealing the material conditions that underpinned and facilitated the entire process.

In any case, this could serve as a fruitful starting point for some further readings or perhaps a new "Where's Waldo/Wally" kind of game!

Via fabric | ch

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By Patrick Keller

Rem.: By clicking on the thumbnails below you'll get access to HD versions.

"Universal Machine", main map (late 18th to mid 21st centuries):

Flows in the map > "Code":

Flows in the map > "Scores, Partitions, ...":

 Flows in the map > "Countercultural, Subcultural, ...":

Flows in the map >  "Network Related":

Flows in the map > "Interaction":

Flows in the map > "Post-Internet/Digital, "Post -..." , "Neo -...", ML/AI":

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To be continued (& completed) ...

Note: as part of a year-long preliminary research into digital exhibitions, we teamed up with the Nam June Paik Art Center (South Korea) - and their incredible collection and archive of Nam June Paik's works -, as well as ECAL/University of Art and Design Lausanne, to deliver initial thoughts and proofs of concept.

Late last year saw the publication of Mnemosyne, a book on "History and Research in Arts and Design" (ed. Davide Fornari, published by ECAL/University of Art and Design Lausanne (HES-SO)). 

In this context, I had the chance to be in conversation with NJPAC curator Sang Ae Park about this joint research. Among other topics, we discussed the unrealized piece  – at the time – "Symphony for 20 rooms"  (1961) by Nam June Paik as a potential inspiration for "remote" exhibitions, at home.

This discussion gave ground to the paper "A Symphony for Nam June Paik, Digitally" (below), while this preliminary research is likely to continue in the form of a longer-term research.

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By Patrick Keller