fabric | rblg

fabric | ch during Gens Public Program, at the Venice Biennial | #cybernetic #sustainabilities #panel #venicebiennale

2025-11-21T17:39:00Z

Note: fabric | ch was in Venice (again) last October for the panel Cybernetic Sustainabilities – From Past Experiments to Contemporary Reinterpretations, organized in the context of the GENS Public Porgram.

Discussing historical cybernetics, its inheritance and recent evolution into sustainable territories, it brought together great interventions by Prof. Orit Halpern (TU-Dresden), Giulia Bini (Head of Arts at CERN), Chrissie Muhr (Art Director of Experimental Foundation), Maxwell Ashford (designer, ECAL/HES-SO), Prof. Christophe Guignard and Prof. Patrick Keller (both fabric | ch – studio for architecture, interaction & research | ch and ECAL/HES-SO), all under the insightful moderation of the panel by Gordan Savičić (artist, Lecturer HSLU).

We had the chance to organise with fabric | ch, with the support of Biennale di Venezia (Gens Public Program), and ECAL University of Art and Design Lausanne/HES-SO (Davide Fornari, Head of Research).

-----

By fabric | ch (on Pixelfed)

fabric | ch at Biennale di Venezia (2025) | #exhibition #atomized #retrofitting

2025-10-24T14:40:00Z

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

-----

By fabric | ch (on Pixelfed)

Kunstlicht publication about the Paik Replayed SNF research | #digitalexhibitions #hybridexhibitions #taxonomy #assessment

2025-08-27T10:39:00Z

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).

-----

By paikreplayed.org (on Instagram)

View this post on Instagram

A post shared by Paik Replayed Research (@paik___replayed)

Atomized /Retrofitted Functioning by fabric | ch, at Biennale Architettura 2025 in Venice (10.05 23.11.2025) | #environmental #data #computational #worldbuilding #architecture #exhibition

2025-08-26T15:06:00Z

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.

...

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

-----

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.

...

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)?

...

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).

...

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.

...

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.

fabric | ch at ISEA 2025 | #paik #digitization #digitalexhibition

2025-08-18T15:06:00Z

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.

-----

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/

Research Project at ISEA 2025 in Seoul | #research #Paik #digital #exhibitions

2025-06-02T15:39:00Z

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.

-----

By paikreplayed.org (on Instagram)

View this post on Instagram

A post shared by Paik Replayed Research (@paik___replayed)

Summoning the Ghosts of Modernity at MAMM (Medellin) | #exhibition #digital #algorithmic #matter #nonmatter

2025-03-12T10:33:00Z

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.

-----

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.

Atomized/Retrofitted Functioning, installation study | #fabricch #investigation #non-anthropocentric #environment

2025-01-13T11:20:00Z

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.

-----

By fabric | ch

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

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

All 242 fabric | rblg updated tags | #fabric|ch #wandering #reading

2024-09-11T14:29:00Z

By fabric | ch

-----

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)

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).

"Universal Machine": historical graphs on the relations and fluxes between art, architecture, design, and technology (19.. - 20..) | #art&sciences #history #graphs

2024-02-27T16:05:00Z

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

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.

...

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.

...

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

-----

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":

...

To be continued (& completed) ...

Mnemosyne History and Research in Arts and Design / (Re)Viewing Paik | #paik #digitization #digitalexhibition

2024-02-09T15:22:00Z

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.

-----

By Patrick Keller

Architecture & Landscape Award 2023 from Fondation Vaudoise pour la Culture (FVPC) | #award #fabricch #architecture #interaction #research

2023-11-29T13:52:00Z

Note: fabric | ch was honored to receive this year the Award for Architecture and Landscape Culture from the Fondation vaudoise pour la culture (FVPC).

The price distinguishes an actor who is "involved in the design or promotion of built environment and who, through this commitment, contributes to the quality of our natural, [digital] and built environment".

A brief video portait of fabric | ch was produced on this occasion by director Pierre-Yves Borgeaud, as well as a small publication by Art Director Emmanuel Crivelli and photographic portraits by Matthieu Croizier (see below).

We'd like to thank the foundation and its jury for awarding our studio in 2023!

-----

By fabric | ch

---

... and for the record,

our bit of the award ceremony!

fabric | ch receives the award "Architecture & Landscape" from the Fondation vaudoise pour la culture | #architecture #experimental #digital #award

2023-10-30T17:53:00Z

Note: this Saturday (04.11) fabric | ch will receive the "Architecture & Landscape" price from the Art Council of Canton de Vaud (CH).

It is a rare but much-apreciated recognition of our work by the region where we've been working all those years (and, at the same occasion, also one to show our faces)! We're still waiting for an invitation to exhibit fabric | ch's work somewhere in our hometown though 😉

So rejoice, and let's celebrate together during the following drinks reception!

Via @fvpc

-----

View this post on Instagram

A post shared by Fondation vaudoise culture (@fondation_fvpc)

Beyond Matter Within Space, ZKM exhibition catalogue (eds. L. Nolasco-Rószás & M. Schädler), Hatje Cantz (Berlin, 2023) | #AI #AR #VR #XR #art #digital #exhibition #curation

2023-10-02T10:02:00Z

Note: this well-documented publication, complete with essays and which also serves as a comprehensive exhibition catalogue, was released to coincide with the end of a European research project Beyond Matter. The research was led by the ZKM (Zentrum für Kunst une Medien, Karlsruhe) and Centre George Pompidou in Paris. The publication also came out as the exhibition catalogue in relation to two exhibitions held in 2023 – n ZKM and Centre Pompidou – about the research obectives.

Beyond Matter – Within Space is certainly destined to become a central work on the issue of digital art exhibition in our time.

In this context, fabric | ch – studio for architecture, interaction & research had the chance to be involved in the exhibition at the ZKM and work with around 200 digitized artworks (of historical signifiance) provided by the research team. The "experimental architecture" project fabric | ch created at this occasion, a new work, was entitled Atomized (re-)Staging.

-----

By Patrick Keller

Satellite Daylight Pavilion (2017) at AC Cube in Chengdu (Sichuan, CN), during Chengdu Biennale | #pavilion #environmental # device

2023-08-07T09:41:00Z

Note: Satellite Daylight Pavilion (2017) – pdf file documentation HERE – by fabric | ch is presented during Chengdu Biennale at AC Cube in Chengdu (Sichuan, CN).

The piece is an architectural experimentation, displayed as 4 videos in loops, and articulated around two "environmental devices", namely two Satellight Daylight pieces, which tend to reorganize and entertwine the natural rythms of day and night within the pavilion.

This creates a form of luminous phasing between two spatio-temporal referents (the localized one of London's Hyde Park and those of two fictitious satellites circling the Earth), hybridizing their time and space... in a quest for a new liveable relationship with the now mediated space.

The work is part of the exhibition Community of the Future: The Same Frequency and Resonance (images below) and is curated by Guo Jinman.

Via @fabricch_asfound (fabric | ch's default Instragram account)

View this post on Instagram

A post shared by fabric ch (@fabricch_asfound)

Moviment exhibition at the Centre Pompidou fabric | ch during Chapter "Par-delà la matière" | #matter #non-matter #automated #exhibition #fabricch

2023-08-03T15:53:00Z

Note: Early last July, fabric | ch took part in the Moviment exhibition-festival at Centre Pompidou, in Paris.

Organized in 10 chapters (Red thread; The bedroom, the house, the city; In the spotlight; Aloud, Here and elsewhere, Other-worldly; Of gesture and time; To the max; Beyond matter; The grand finale!), this was the occasion – following the words of the curators – to "reactivate the essence of the Centre Pompidou ideals: to assemble all the different ways of encountering creativity, understanding it, participating in it; to be a monument in motion, a "moviment."

It was truly a success, with outstanding guests and a very interesting hybrid museum format, somewhere in-between exhibition and performance, talks and workshops.

In this context and during "Chapitre 9: Par-delà la matière" curated by Marcella Lista & Philippe Bettinelli, fabric | ch presented recent works about digital exhibitions.

-----

By fabric | ch

A few pictures from Moviment / Chapter 9:

(with fabric | ch, M. Lista & Les Immatériaux, M. Klonaris & K. Thomadaki, H.U. Obrist – "Résistances" project with LUMA Foundation and P. Parreno, J.-L. Boissier - Electra / Pictures by C. Babski & H. Veronese)

Via Centre Pompidou

-----

Beyond Matter / Par-delà la matière

Moviment, chapter 9

Sat 8 – Sun 9 July 2023

Combining technology and memory, the penultimate chapter of Moviment looks back at two major cultural events in the world of art and music, and the ways in which they can be perpetuated, revived or experienced beyond their materiality and topicality.

In partnership with LUMA Foundation

Affiche de l’exposition "Les Immatériaux", 1985 – © Centre Pompidou. Conception graphique : Grafibus.

Retour sur « Les Immatériaux »

Arts plastiques, Nouveaux médias Exposition, rencontres

Organisé par les commissaires Jean-François Lyotard et Thierry Chaput en 1985, « Les Immatériaux » était un essai aux fondements philosophiques adoptant l’exposition comme média ou interface. En faisant dialoguer œuvres d’art, technologies et documents scientifiques, les commissaires interrogeaient la condition humaine à l’ère des nouvelles technologies, dans différents domaines de la vie physique et psychique. La scénographie, particulièrement novatrice, privilégiait la désorientation, la stimulation de tous les sens et l’interactivité. Les visiteurs, dont le parcours n’était pas contraint mais « induit » par des écrans suspendus à l’opacité variable, étaient munis d’un casque diffusant une bande sonore variant au gré de leur déambulation dans la soixantaine de sites et les vingt-six zones audio de l’exposition.

Cette exposition historique a récemment fait l’objet d’une reconstitution virtuelle dans le cadre du projet de recherche « Beyond Matter ».

Exposition en continu, samedi 8 juillet 2023

« Beyond Matter »

Financé par la Commission européenne, le projet de recherche « Beyond Matter: Cultural Heritage on the Verge of Virtual Reality » vise à développer des outils technologiques et théoriques pour la reconstitution virtuelle d’expositions historiques et la documentation d’expositions en cours. Les recherches menées dans le cadre de ce projet ont notamment porté sur deux expositions pionnières : « Iconoclash » (4 mai–1er septembre 2002, ZKM) et « Les Immatériaux » (28 mars–15 juillet 1985, Centre Pompidou).

Lívia Nolasco-Rózsás et Marianne Schädler du Zentrum für Kunst und Medien de Karlsruhe (ZKM) présenteront la publication conclusive du projet européen.

Les artistes Jeremy Bailey, Damjanski, fabric | ch (Patrick Keller, Christian Babski, Christophe Guignard), Geraldine Juárez (en visioconférence), Carolyn Kirschner et Anne Le Troter présenteront ensuite les œuvres qu’ils et elles ont pu concevoir dans le cadre de l’exposition « Matter, Non-Matter, Anti-Matter » (3 décembre 2022–23 avril 2023, ZKM), restituant une partie des résultats du projet « Beyond Matter ».

Samedi 8 juillet 2023, 13h30–16h

« Les Immatériaux » : Artistes et historiens en conversation

Le chercheur Andreas Broeckmann, ainsi que les artistes Katerina Thomadaki, Jean-Louis Boissier et Jean-Claude Fall reviennent sur « Les Immatériaux », exposition pionnière à laquelle ils ont participé.

Séance modérée par Marcella Lista, Philippe Bettinelli et Marie Vicet.

Samedi 8 juillet 2023, 16h-18h

Maria Klonaris, Katerina Thomadaki, "Orlando-Hermaphrodite II", 1985, photographies noir et blanc sur panneau.

Courtesy Katerina Thomadaki.

Après « Les Immatériaux »

Projet porté par le curateur Hans Ulrich Obrist et l’artiste Philippe Parreno avec le soutien de LUMA Foundation, « Résistances » fait écho à l’exposition « Les Immatériaux » imaginée par Jean-François Lyotard. Resté inachevé, ce projet se trouve tout à la fois continué et réimaginé à travers des rencontres et la production de « films de pensée ».

Samedi 8 juillet 2023, 18h–19h30

La conversation se déroulera en français et en anglais, suivie d’une projection des « films de pensée ».

Films de pensée :

Produits et commandés par LUMA Foundation

Courtesy Maja Hoffmann / Luma Foundation Collection

Être Résistances d’Albert Serra (2016, 198 min.)
« Être Résistances est un film qui résiste à en être un, c'est-à-dire qu'il résiste à la conscience et au langage cinématographique. C'est un film qui traite de théorie, de corps, de bruits, de discours, d'images, de jeu et d'ironie. C'est un film inspiré par son propre sujet invisible : l'exposition inexistante de Lyotard qui devrait résister à la communication. Le film est finalement cette exposition devenue réalité, mais comme un mirage et comme une illusion. » Albert Serra.

Séances, samedi 8 juillet 2023, à 13h30 et 17h30

Introduction par Albert Serra à 17h30

Cinéma 2, niveau –1

The Rare Event de Ben Rivers et Ben Russell (2017, 48 min.) sous-titrage en français
Tourné dans un studio d'enregistrement parisien au plancher de bois grinçant, lors d'un « forum des idées » inaugural de trois jours consacré aux multiples possibilités de la Résistance – titre de l'exposition de Jean-François Lyotard qui devait faire suite à son exposition « Les Immatériaux » de 1985 –, les collaborateurs occasionnels Ben Rivers et Ben Russell (avec la contribution de l'artiste américain Peter Burr) ont produit ce qui apparaît d'abord comme un document structuraliste d'une discussion philosophique performée qui se transforme lentement en The Rare Event, un portail qui réunit toutes les dimensions en une seule.

Resistances de Rachel Rose (2017-2019, 20 min.) VO en anglais
Ce court-métrage documente la deuxième rencontre sur les « Résistances » qui a eu lieu en février 2017 à New York, offrant ainsi un aperçu des conversations et des réflexions qui se sont déployées au cours de ce « forum des idées » organisé par Maja Hoffmann. Parmi les intervenants figurent Tyrone Hayes, Isabelle Thomas Fogiel, Reza Negarestani, Ariana Reines, Fred Moten, et de nombreux autres invités.

Projection, samedi 8 juillet 2023, à 19h30

Plan fixe du film "THE RARE EVENT" de Ben Rivers et Ben Russell.

Courtesy Maja Hoffmann / Luma Foundation Collection.

En lien avec la présentation temporaire au Musée, niveau 4, Espace de consultation des collections vidéos, films, sons et œuvres numériques :

« Les Immatériaux » (1985). Aperçus d'une manifestation postmoderne au Centre Pompidou. Du 5 juillet au 30 octobre 2023

Présentation détaillée

Couverture de l'album Daft Punk, "Random Access Memories" © Zaina

Daft Punk, Random Access Memories

Session d’écoute avec Sonorium

Musique Session d'écoute, rencontre

5 Grammy Awards et un triomphe instantané, un tube planétaire ("Get Lucky"), une production incroyable de précision et des collaborations prestigieuses (Pharrell Williams, Julian Casablancas, Panda Bear, Giorgio Moroder…), Random Access Memories, le dernier album de Daft Punk, a marqué les esprits et installé le duo comme une figure majeure de la pop contemporaine.

À l'occasion de l'édition 10e anniversaire de l'album culte le 12 mai dernier, le Centre Pompidou et Sonorium vous invitent à une session d'écoute de l'album en intégralité, dans des conditions exceptionnelles grâce à une installation sonore immersive réalisée par l’Ircam et une nouvelle technologie immersive développée par sa filiale Ircam Amplify.

Dimanche 9 juillet 2023 – gratuit sur réservation

Sessions précédées d'une introduction par Éric Jean-Jean et suivies d'une discussion avec le public

Réservation gratuite

Day-by-day program

Saturday, 8 July 2023

Continuous

11am-1pm

Performance

Christian Falsnaes, First (2016)

Exhibition

Reconstitution virtuelle de l'exposition « Les Immatériaux »

1:30pm-2pm

Meeting

« Beyond Matter »

Présentation de la publication conclusive du projet européen « Beyond Matter: Cultural Heritage on the Verge of Virtual Reality »

1:30pm-5pm

Screening

Après « Les Immatériaux » : Films de pensée

Être Résistances d’Albert Serra (2016, 198 min.)
Cinéma 2, niveau –1

2pm-4pm

Meeting

« Beyond Matter »

Présentation d'œuvres conçues dans le cadre de l'exposition « Matter, Non-matter, Anti-Matter »

Avec les artistes Jeremy Bailey, Damjanski, fabric | ch (Patrick Keller, Christian Babski, Christophe Guignard), Geraldine Juárez (en visioconférence), Carolyn Kirschner et Anne Le Troter

4pm-6pm

Meeting

« Les Immatériaux » : Artistes et historiens en conversation

Avec Andreas Broeckmann, Katerina Thomadaki, Jean-Louis Boissier et Jean-Claude Fall

Modérée par Marcella Lista, Philippe Bettinelli et Marie Vicet (Centre Pompidou)

5:30pm-9pm

Screening

Après « Les Immatériaux » : Films de pensée

Être Résistances d’Albert Serra (2016, 198 min.)
Cinéma 2, niveau –1

En présence du cinéaste

6pm-7:30pm

Meeting

Après « Les Immatériaux » : Rencontre en partenariat avec LUMA Foundation

Avec Hans Ulrich Obrist, Philippe Parreno, Daniel Birnbaum, Anna Longo, Maja Hoffmann (en visioconférence) et Albert Serra

7:30pm-9pm

>Screening

Après « Les Immatériaux » : Films de pensée

The Rare Event de Ben Rivers et Ben Russell (2017, 48 min.)
Resistances de Rachel Rose (2017-2019, 20 min.)

Sunday, 9 July 2023

Reconstitution virtuelle de l'exposition « Les

Immatériaux »

Closing of the gallery 3 at the beginning of the day

Continuous

3pm-9pm

Performance

Christian Falsnaes, First (2016)

4pm-6pm

6:30pm-8:30pm

Listening session, meeting

Daft Punk, Random Access memories

Introduction par Éric Jean-Jean

Session d'écoute

Discussion avec le public

Guests

Hans Ulrich Obrist

Visual arts

Philippe Parreno

Visual arts

Jean-Louis Boissier

New media

Katerina Thomadaki

New media

Also in the presence of:

Jeremy Bailey, Daniel Birnbaum, Andreas Broeckmann, Damjanski, fabric | ch (Patrick Keller, Christian Babski, Christophe Guignard), Jean-Claude Fall, Maja Hoffmann, Éric Jean-Jean, Geraldine Juárez, Carolyn Kirschner, Anna Longo, Marianne Schädler, Albert Serra, Anne Le Troter.

fabric | ch at Centre Pompidou for Moviment (Ch. 9, "Par-delà la matière") | #hybrid #exhibition #centrepompidou #matter #non-matter #LesImmatériaux

2023-07-18T16:14:00Z

Note: fabric | ch presented its recent works at the Centre Pompidou in early July, as part of the Moviment program of exhibitions/performances/conferences/projections. We took part in Chapter 9: Beyond Matter.

The focus of the weekend was a return to the historic exhibition "Les Immatériaux" (1985, cur. T. Chaput & J.F. Lyotard) and the contemporary questioning of the postmodern period.

Participants included artists who took part in Les Immatériaux (J.-L. Boissier, K. Thomadaki, J.-C. Fall), as well as contemporary curators such as H.-U. Obrist and D. Birnbaum, so as artists and filmmakers P. Parreno, A. Serra and philosopher A. Longo.

Via @ptrckkllr

-----

View this post on Instagram

A post shared by Patrick Keller (@ptrckkllr)

Atomized (re-)Staging by fabric | ch at Centre Pompidou | #exhibitions #digital #revival #iconoclash #immatériaux

2023-06-29T16:50:00Z

Note: At the invitation of Macella Lista and Livia Nolasco-Roszas (curators), fabric | ch presents Atomized (re-)Staging during the Moviment festival-exhibition at the Centre Pompidou in Paris, as part of a weekend devoted to a return to the landmark exhibition Les Immatériaux (which took place at Beaubourg in 1985).

Via @ptrckkllr and @beyondmatereu (research project & exhibition: Beyond Matter)

-----

View this post on Instagram

A post shared by Patrick Keller (@ptrckkllr)

View this post on Instagram

A post shared by Beyond Matter (@beyondmattereu)

Creation and Curation with Artificial Intelligence, Swissnex China Blog (Shanghai, 2022) | #talk #fabricch #automated

2023-05-08T16:32:00Z

Note: this was a talk fabric | ch gave online, along with Aiiiii Art Center later last year, in the context of Swissnex Shanghai Art & Science talks.

The online session was moderated by Cissy Sun, Head of Art-Science at Swissnex and the topic was the "hot topic" of the time: "AI" and curation. fabric | ch has recently worked on several experimental or research projects related to this topic, as well as developed in-house tools along the way, and this was an opportunity to explain how we approach this question. In particular by rooting it in architectural thinking and our previous works.

Via Swissnex China

-----

By Cissy Sun

On 6th September, we had an inspiring discussion on curation and artificial intelligence with Mr. Patrick Keller, Architect & Co-founder of fabric | ch - studio for architecture, interaction & research, and Ms. Xi Li, Curator & Director of Aiiiii Art Center.

Mr. Patrick Keller introduced the architecture studio, fabric | ch, where architects and computer scientists work together on a variety of experimental projects that combine architecture, networks, data, and algorithms.

Delving into these projects, Patrick first introduced the work - Platform of Future-Past, which was shown at HOW Art Museum in Shanghai in 2022. “Platform of Future-Past” is an architectural device and monitoring installation, it is equipped in three zones with environmental monitoring devices. The sensors record as much data as possible over time, generated by the continuously changing conditions, presences, and uses in the exhibition space. The data is then stored on Platform Future-Past’s servers and replayed in a loop on its computers. It is a “recorded moment”, “frozen” on the data servers, that could potentially replay itself forever or is waiting for someone to reactivate it. A “data center” on the deck, with its set of interfaces and visualizations screens, lets the visitors-observers follow the ongoing recording process. However, as the exhibition was interrupted by the pandemic, the museum was closed for a few months, and the data from the real exhibition space was very limited. Thus the artists fed the platform the prepared data to generate the moving images. With the touch on artificial data, Patrick reminded us to think about massive ways to treat datasets while talking about artificial intelligence.

Platform of Future-Past, fabric | ch, 2022

The practice of using networks, data, and algorithms led the artists to develop a systematic approach to combining digital information with physical elements according to certain rules. Furthermore, such practices brought the artists to the exhibitions and curation projects. In the context of Entangled Realities, Living with Artificial Intelligence at the House of Electronic Arts (Basel), 2019, fabric | ch developed the work of Atomized (curatorial) Functioning (A(*)F), which was later also exhibited during Art and Science in the Age of Artificial Intelligence at the National Museum of China (Beijing), 2019.

A(*)F is an architectural project based on automated algorithmic principles, to which a machine learning layer can be added as required. It is a software piece that endlessly creates and saves new spatial configurations for a given situation, converges towards a “solution”, in real-time 3d and according to dynamic data and constraints. During the exhibition at HeK, the sensors collected data both from the artworks and the physical environment, including the walls and the lighting. The information collected by the sensors mapped out the space and helped the curators to organize the exhibition flows.

Atomized (curatorial) Functioning, fabric | ch, 2019

As an ending note, Patrick shared with us the ongoing research project between fabric | ch, the Nam June Paik Art Center (Yongin, South Korea), and ECAL / University of Art and Design, Lausanne (HES-SO), on "viewing rooms" and "digital exhibitions". The research is to give access to the collection of the art center in new ways and forms, out of the physical museum and through digital means. In addition to the research project, fabric | ch is also working on a new project about the digital presentation of the past exhibitions at ZKM (Center for Art and Media, Karlsruhe), the exhibition is planned to open at ZKM at the end of the year.

Ongoing project by fabric | ch

The International Conference on AI Art was co-organized by the Aiiiii Art Center and the Art and Artificial Intelligence Lab of Tongji University. With the theme of “AI and Authorship” (2021) and “Artificial Imagination” (2022), the conference combines the most radical of research from a diverse international curation of fields ranging from art, design, computational science, cultural critique as well as political philosophy. This network is established to pioneer and push the boundaries of artificial intelligence and creative production.

Exhibition space of Aiiiii Art Center

While looking at the exhibition space, two questions came to Xi’s mind: how to physicalize the digital artwork into the space and how to visualize AI art. The two questions lead Xi and her team to the curation concept of the Book of Sand. She chose literature to narrate the exhibition to catch the public attention and tell a good story of AI art. The exhibition starts by employing literary imagination to juxtapose seemingly infinite, random generative art and Borges’ “Book of Sand”, a book that possesses neither a beginning nor an end, just like sand. A book in which “I”, the subject, can turn the pages but cannot predict the outcome, just as we cannot fully comprehend the operational logic of the “black box” embedded by and into a neural network. Against the joy of possessing the book grows the fear that the book is not really infinite, just as we fear that the infinite productivity of AI will make us its captives, as well as the fear that its “infinite creativity” is simply the outcome of intelligent permutations of existing human ideas.

Artificial Remnants, Entangled Others Studio (left) & The Mind Scrap, Certain Measures (right)

“The Book of Sand” is an exhibition done by the joint efforts of machines and humans — the output of the machines interferes with human curatorial and artistic practices. By showcasing the works of Jake Elwes and Dabeiyuzhou, Xi explained further how they worked with the artists to turn web-based artwork into spatial installations.

The ZIZI Show, Jake Elwes (left) & Text Gene Project, Dabeiyuzhou (right)

It is inevitable to talk about what AI art is and who the author is when curating the programs and research projects at Aiiiii Art Center. However, such questions are not at the core of their curatorial practice but to discover the potential of AI itself and deliver the message appropriately to the target audience. With the involvement of machines in the creation and curation process, the question of the role of the machine became a challenging topic. Moreover, it also leads us to think – is there have to be a curator/creator’s name in the exhibition?

Responding to Xi’s question, Patrick pointed out that there are different cases dealing with the question. Taking their own practices, for example, the algorithm is at the core of their work. With the help of AI, the artists could dig deeper into their works, but the concept and the way of working are developed by the collective over years of research and practice. It is important to have their names in the exhibition as they are the creators of the work. Nevertheless, it might be challenging to define the creator for other works using open-source software and text-image software. However, in Patrick’s view, any machine learning program is fed with a huge dataset, without this, the algorithms could not do anything. The things the machines are trained to do and how they are trained to make it essential to define the creator.

Matter. Non-Matter. Anti-Matter @ZKM Webinar on the digital museum | #fabricch

2023-03-22T15:13:00Z

Note: fabric | ch is taking part next week in this webinar about digital museums, organized by ZKM. Participants include members from ZKM Hertz-Lab, Ars Electronica Futurelab, CCCB in Barcelona, Aalto University and Futurium in Berlin.

Via ZKM | Karlsruhe (research project & exhibition: Beyond Matter)

-----

View this post on Instagram

A post shared by Beyond Matter (@beyondmattereu)

fabric | rblg

fabric | ch during Gens Public Program, at the Venice Biennial | #cybernetic #sustainabilities #panel #venicebiennale

fabric | ch at Biennale di Venezia (2025) | #exhibition #atomized #retrofitting

Kunstlicht publication about the Paik Replayed SNF research | #digitalexhibitions #hybridexhibitions #taxonomy #assessment

Atomized /Retrofitted Functioning by fabric | ch, at Biennale Architettura 2025 in Venice (10.05  23.11.2025) | #environmental #data #computational #worldbuilding #architecture #exhibition

fabric | ch at ISEA 2025 | #paik #digitization #digitalexhibition

Research Project at ISEA 2025 in Seoul | #research #Paik #digital #exhibitions

Summoning the Ghosts of Modernity at MAMM (Medellin) | #exhibition #digital #algorithmic #matter #nonmatter

Atomized/Retrofitted Functioning, installation study | #fabricch #investigation #non-anthropocentric #environment

All 242 fabric | rblg updated tags | #fabric|ch #wandering #reading

"Universal Machine": historical graphs on the relations and fluxes between art, architecture, design, and technology (19.. - 20..) | #art&sciences #history #graphs

Mnemosyne  History and Research in Arts and Design / (Re)Viewing Paik | #paik #digitization #digitalexhibition

Architecture & Landscape Award 2023 from Fondation Vaudoise pour la Culture (FVPC) | #award #fabricch #architecture #interaction #research

fabric | ch receives the award "Architecture & Landscape" from the Fondation vaudoise pour la culture | #architecture #experimental #digital #award

Beyond Matter  Within Space, ZKM exhibition catalogue (eds. L. Nolasco-Rószás & M. Schädler), Hatje Cantz (Berlin, 2023) | #AI #AR #VR #XR #art #digital #exhibition #curation

Satellite Daylight Pavilion (2017) at AC Cube in Chengdu (Sichuan, CN), during Chengdu Biennale | #pavilion #environmental # device

Moviment exhibition at the Centre Pompidou  fabric | ch during Chapter "Par-delà la matière" | #matter #non-matter #automated #exhibition #fabricch

Beyond Matter / Par-delà la matière

Moviment, chapter 9

Sat 8 – Sun 9 July 2023

Retour sur « Les Immatériaux »

Arts plastiques, Nouveaux médias Exposition, rencontres

« Beyond Matter »

« Les Immatériaux » : Artistes et historiens en conversation

Après « Les Immatériaux »

Daft Punk, Random Access Memories

Session d’écoute avec Sonorium

Day-by-day program

Saturday, 8 July 2023

Sunday, 9 July 2023

Guests

Hans Ulrich Obrist

Philippe Parreno

Jean-Louis Boissier

Katerina Thomadaki

fabric | ch at Centre Pompidou for Moviment (Ch. 9, "Par-delà la matière") | #hybrid #exhibition #centrepompidou #matter #non-matter #LesImmatériaux

Atomized (re-)Staging by fabric | ch at Centre Pompidou | #exhibitions #digital #revival #iconoclash #immatériaux

Creation and Curation with Artificial Intelligence, Swissnex China Blog (Shanghai, 2022) | #talk #fabricch #automated

Matter. Non-Matter. Anti-Matter @ZKM  Webinar on the digital museum | #fabricch

Atomized /Retrofitted Functioning by fabric | ch, at Biennale Architettura 2025 in Venice (10.05 23.11.2025) | #environmental #data #computational #worldbuilding #architecture #exhibition

Mnemosyne History and Research in Arts and Design / (Re)Viewing Paik | #paik #digitization #digitalexhibition

Beyond Matter Within Space, ZKM exhibition catalogue (eds. L. Nolasco-Rószás & M. Schädler), Hatje Cantz (Berlin, 2023) | #AI #AR #VR #XR #art #digital #exhibition #curation

Moviment exhibition at the Centre Pompidou fabric | ch during Chapter "Par-delà la matière" | #matter #non-matter #automated #exhibition #fabricch

Matter. Non-Matter. Anti-Matter @ZKM Webinar on the digital museum | #fabricch