fabric | rblg

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).

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)

Note: Patrick Keller (fabric | ch) was in discussion with curator Sabine Himmelsbach, from Haus der elektronischen Künste in Basel (CH), about their new acquisition for the collection of the Museum: Satellite Daylight 47°33'N.

The piece will be displayed permanently in the public space of the HeK. At least until breakdown... But interestingly, it is also part of a whole program of digital conservation at HeK that should prevent its technological collapse, for which we had to follow a tight protocol of documentation and provide the source code pf the work.

-----

fabric | ch, Satellite Daylight, 47°33‘N, 2020, Vue de l'installation durant «Shaping the Invisible World», 2021, HeK. Photo.: P. Keller.

Shooting set in preparation ...

Followed by our discussion with Sabine Himmelsbach ... (with a lot of reverb in the staircase!)

-----

Via Haus der elektronischen Künste (blog)

Patrick Keller of fabric | ch, a studio for architecture, interaction and research in Lausanne, provides thrilling insight about the new work installed in the staircase of HeK.

Patrick Keller of fabric | ch, a studio for architecture, interaction and research in Lausanne, provides information about the new work in an interview. The installation  Satellite Daylight, 47°33’N, commissioned for the HeK collection, simulates the light registered by an imaginary meteorological satellite orbiting the earth at the latitude of Basel at a speed of 7541m/s.

Note: fabric | ch was part of the exhibition Shaping the Invisible World, in the middle of the world pandemic (03.03 - 23.05.21).

A new creation, Satellite Daylight 47°33'N was exhibited at this occasion (img. below), which was also acquiredby HeK and enters it's collection at the same time.

Among others, the exhibition displays works by Tega Brain, Bengt Sjölén & Julian Oliver, Bureau d'études, James Bridle, Trevor Paglen, Quadrature, etc. and was curated by Boris Magrini and Christine Schranz.

-----

Via Haus der eletronischen Künste

The exhibition «Shaping the Invisible World – Digital Cartography as an Instrument of Knowledge» examines, through cartography, the representational forms of the map as a tool between knowledge and technology. The works of the artists on view negotiate the meaning of the map as a gauge of our digital, technological and global society.

(Photo.: fabric | ch)

(Photo.: T. Marti)

fabric | ch, Satellite Daylight 47°33'N (2021) at the Haus der elektronischen Künste (photo.: fabric | ch).

Cartography – the science of surveying and representing the world – developed in antiquity and provided the springboard for communication and economic exchange between people and cultures around the globe. At the same time, maps are undeniably never neutral, since their creation inherently involves interpretation and imagination. Today, it is IT companies that drive progress in the field and drastically influence our views of the world and how we communicate, navigate and consume globally. While map production has become more democratic, digital maps are nevertheless increasingly used for political and economic manipulation. Questions of privacy, authorship, economic interests and big data management are more poignant than ever before and closely intertwined with contemporary cartographic practices.
Today’s maps not only depict, but also document, negotiate and visualize subjective views of the world. But are these maps more democratic? Who benefits from self-determined productions and what consequences do they lead to?

The strategies in digital mapping and cartography employed by the artists presented in Shaping the Invisible World  – Digital Cartography as an Instrument of Knowledge are subversive. Their spectacular panoramas and virtual scenarios reveal how the digital technologies culturally affect our understanding of the world.

Navigating between subversive cartography and digital mapping, the exhibition puts the spotlight on the fascination of maps in relation to the democratization of knowledge and appropriation. By uncovering hidden realities, scarcely visible developments and possible new social relationships within a territory, the artists delineate the evolution of invisible worlds.

-

Artists: Studio Above&Below, Tega Brain & Julian Oliver & Bengt Sjölén, James Bridle, Persijn Broersen & Margit Lukács, Bureau d'études/ Collectif Planète Laboratoire, fabric | ch, Fei Jun, Total Refusal (Robin Klengel & Leonhard Müllner), Trevor Paglen, Esther Polak & Ivar Van Bekkum, Quadrature, Jakob Kudsk Steensen

Curators: Boris Magrini and Christine Schranz

     (View the pictures of the exhibition directly on HeK's website).

Note: A new work by fabric | ch has been commissionned and aquired by the Haus der elektronischen Künste (HeK) in Basel for the museum's collection, part of the Satellite Daylight serie of "environmental devices".

It is the second work of fabric | ch that enters the collection, after a serie of four videos related to Satellite Daylight and entitled Satellite Daylight Pavilion. We are glad to join artists in the collection like Jodi, mediengruppe!Bitnick, Etoy, ... and also former students or colleagues at ECAL/University of Art and Design Lausanne (Juerg Lehni, Gisin & Vanetti, FragmentIn)!

This new artwork is entitled Satellite Daylight 47°33'N, and circles in fictious and continous way around the 47°33'N latitude -- while acquiring live environmental data about daylight, light intensity, nebulosity and cloud cover that drive the luminous display. --

This continuous circonvolution, at the speed of a real Earth Satellite and that triggers 16 nights and days per regular day on Earth, produces a new combined daylight at the point of installation, both local and internationally mediated.

Satellite Daylight's is an open serie of unique artworks, each located on a different latitude.

Via fabric | ch

----- 

 (Photo.: P. Keller)

Note: during the first museum's lockdown in Russia (2020), The Pushkin State Museum of Fine Art in Moscow invited curators to participate in the "media quanrantine" by reacting to the theme "100 Ways to Live a Minute".

Sabine Himmelsbach, director and curator from HeK picked fabric | ch's work Satellite Daylight 46°28N (2007). Below is her presentation.

-----

Via The Pushkin Museum

Note: during the long shutdown of the museums in Switzerland last Spring, fabric | ch has nevertheless the chance to see Public Platform of Future Past (pdf), one of its latest architectural investigations, integrated into the permanent collection of the Haus der elektronischen Künste (HeK), in Basel.

We are pleased that our work is recognized by innovative and risk taking curators (Sabine Himmelsbach, Boris Magrini), and become part of the museum's collection, along several others works (by Jodi, !Mediengruppe Bitnik, Olia Lialina, Christina Kubisch, Zimoun, etc.)

It is also the first of our work whose certificate of authenticity has been issued by a blockchain! (datadroppers)

A second work - currently in production - will enter the collection in the spring of 2021, which will be documented at that time.

-----

Via Haus der elektronischen Künste 

By Sabine Himmelsbach

HeK Sammlung - Sabine Himmelsbach über fabric | ch from HeK on Vimeo.

---

The video work is composed of four distinct videos, each showing a distinct but static view into a timelapse of the pavilion and its evolving light.

All four video must be displayed simultaneously by following minimal instructions.

Note: some early optic art from 1802? 

The visual optics plates were realized by scientist Thomas Young at that time, when he was studying light (wave theory of light). It took another 100 (and fifty) years to truly access the art world... 

My question would be: what kind of "plates" are getting drawn today? (and this drives us to Leonardo, to art-sciences programs of different sorts, etc.)

Via Wikipedia

-----

"(...). Nevertheless, in the early-19th century Young put forth a number of theoretical reasons supporting the wave theory of light, and he developed two enduring demonstrations to support this viewpoint.

With the ripple tank he demonstrated the idea of interference in the context of water waves. With the Young's interference experiment, or double-slit experiment, he demonstrated interference in the context of light as a wave. (...)"

Note: I would definitely like to do the same (or a bit differently with I-Weather --we almost did back in 2012 during 01SJ in San Francisco in fact, but we were missing a bit of light strength compared to the space--)!

Via Fubiz

-----

The artist Liz West continues inventing original and psychedelic installations, this time as part of the Bristol Biennal. Her project Our Colour is composed of filters that allow the lights to change and is a good way to study the reactions of the human brain when confronted to certain luminous atmospheres. After travelling through all the shades, each person usually ends up enjoying his or her favorite one.

Related Links:

-----

For our own documentation, published a year ago in the context of the exhibition Sensing Place at the Haus für elektronische Künste in Basel, the video is a short presentation of Satellite Daylight, 46°28'N.