In general, creating a black hole indoors isn’t exactly safe, but it seems that artist Rodrigo Carvalho likes to live dangerously. His group Visiophone’s new installation, Into the Void, opens up a shadowy triangular mass surrounded by algorithmically-generated patterns of blinding white light. The darkness in the center of the light show draws the gaze, much like Ad Reinhardt’s eerie Abstract Painting, which was meticulously crafted to leave no texture—not even a brushstroke—on its alien surface. In the same way, the blackness central to Into the Void is even more mesmerizing than the flashy patterns that frame it.
While the eyes are occupied by Carvalho’s shadows, the ears are set on edge by André Sousa’s atonal soundtrack. His audio designs barely seem to correspond to the randomness of the LED-powered visuals, creating a rift between sight and sound just as real as the titular void made of shadow.
Carvhalho has experimented with incorporating dance into his installations, and excising humanity from them entirely, but Into the Void is a balanced mix of human psychology and machine-generated chaos that goes beyond his previous work. Watch the installation in action in the video below.
The monumental facade of the InterContinental Miami hotel has been turned into a huge canvas by the Brussels-based French new media artist Joanie Lemercier, well-known for his next level projection Video Mapping Animationskills, alongside a handful of talented visual artists such as László Zsolt Bordos with whom Lemercier shares a taste for minimal aesthetics and patterned structures.
“In parallel to my installation works, I’ve been working on new, smaller formats and artworks, presented in galleries and fairs, and I learn a lot from confronting my work to the art world,” Lemercier tells The Creators Project. “So when Michelle and Bryan Dodson invited me to be part of their Form and Substance program, a series of experimental film screenings on the facade of the InterContinental hotel in Miami, I was thrilled by the opportunity of presenting my work on such scale. The building is 350 feet high and can be seen from several miles away.”
Photo: Joanie Lemercier
Presented during Art Basel Miami Beach week, the scale of the work in this second edition of the projection, lighting, and mapping-focused exhibition, Form and Substance, was tricky in terms of parameters regarding the quality of projection resolution. “The scale of the projection is rather extreme, so the AV partner DWP Live had to use nine projectors stacked in threes, controlled via D3 servers to provide enough pixels and brightness to the artists,” he explains of the technical part of the project, while Artefact, an exploration of the corruption of 3D structures, and Motif, a new series of silent pieces exploring linear patterns and geometric tilings, embrace the hotel’s north facade. The works overlook Biscayne Bay Tower from nightfall during the art week’s festivities.
Photo: Joanie Lemercier
Highlighting cutting-edge practices in terms of mapping and light art, the multi-format show takes advantage of the unique architecture provided by the space, providing viewers with not only large-scale projections, but also a breathtaking series of single-channel videos displayed on monitors, a mapped projection on Henry Moore’s lobby-located Spindle sculpture, and a bunch of scattered light installations that further enhance the space.
Plus, if you want to enjoy more, Lemercier’s artworks by daytime, a few of his recent works—alongside works by Treasure Frey, Yongjae Kim, Lab[au], Numen / For Use, and Keun Young Park—are being showcased with the NYC-based Muriel Guepin gallery booth situated in H-8 at the Miami Project Fair.
If you’re around, the projection runs until Sunday. If you can’t make it, check out images of the massive mapping project below:
Joanie Lemercier, courtesy Form and Substance
László Zsolt Bordos, courtesy Form and Substance
Henry Moore’s lobby-located “Spindle” sculpture gets mapped by László Zsolt Bordos, courtesy Form and Substance
Photo: Joanie Lemercier
Joanie Lemercier’s piece on view at Muriel Guepin gallery booth. Photo: Joanie Lemercier
Curators/Organizational Team: Bryan Dodson, Michelle Penland Dodson, Brian Blessinger, John Ensor Parker, Joel Fitzpatrick
Producers: Integrated Visions Productions Danny Whetstone (DWP Live)
“Drawing Operations” is an ongoing collaboration between New York-based artist Sougwen Chung and a robotic arm called Drawing Operations Unit: Generation 1, (D.O.U.G._1). Together the two draw in synchronized performance, with D.O.U.G. mimicking Chung’s movements in real time using a ceiling-mounted camera and computer vision. The arm was designed in collaboration with developer Yotam Mann.
Artist Raven Kwok delivers another algo-rhythmic music video, what Kwok calls a “code-based generative lyrics video” for the track “Stickup” by Karma Fields & MORTEN, featuring Juliette Lewis shouting and swearing. Kwok, who directed and programmed the vid, used software art platform Processing to create it.
It’s a stunning way to visualize lyrics, as the words come in and out of rhythmic focus surrounded by explosions of contours, disintegrating forms, and intricate lineations, all in time with the twisting beats. “The system for generating the visuals is partially derived from the one previously used in ‘Build the Cities.'” explains Kwok on his website. “Lyrics are parsed, making each layer of quadtree structure subdivide itself to a corresponding pattern.”
“Build the Cities” was the first time Kwok worked with Karma Fields and this is his third music video outing with them, forming a sort of trilogy. In “Build the Cities,” Kwok used a cubic cell-based animation structure that subdivided to drive the visuals forward. “Stickup” similarly divides and breaks apart to pull the narrative onwards, but the visuals are less formal and, at times, it has the sensation of being underwater swaying to and fro.
You can check out some stills below. All are taken from Kwok’s website where you can find more.