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LUX | 180 the Strand

OCTOBER 11, 2021 - FEBRUARY 20, 2022: 180 STUDIOS, 180 THE STRAND

Virtual Exhibition

Second in an ongoing series of LG OLED ART | SELF-LIT GALLERY, LUX: New Wave of Contemporary Art brings together twelve international artists who are masters of digital tools and expert shapers of light. They challenge our categories between the natural and the artificial, the arts and sciences, the physical and the digital, and between humanity and technology. And they seek to open the door to new ways of perceiving our place in the world. The thirteen experiential installations that comprise LUX have been forged using the latest audiovisual technologies to expand the boundaries of interactive, immersive art. In doing so, they offer the potential to unlock unprecedented directions to the way we live and act.

a'strict

Cao Yuxi

Shan Shui Paintings By AI

Shan Shui Paintings by AI new media art series uses the artificial intelligence style deep network algorithm to learn tens of thousands of pixel data from different types of oriental freehand ink painting created by all mankind on the Internet. Then, it uses the trained big data model to carry out the unlimited generation of landscape paintings, which is equivalent to creating an AI robot that can automatically draw landscape paintings without restrictions. At the same time, the content of the screen uses 3D software physical algorithms to simulate the dynamic effects of particles, and the “water” screen in the blank part of the landscape painting is made into liquid particles. Then, the collision, flow, and change in the screen with deep space are simulated, showing the “naked eye 3D” interesting visual effects.

Carsten Nicolai

unicolor

unicolor is a sequel of works displaying a collection of visualizations. Its predecessors include the works univrs/uniscope (2010) and unidisplay (2012). The installation unidisplay offers an examination of laws of perception of the semiotics of signs. The work operates with a number of modules, creating different visual effects to interfere with the viewer’s perception.

Cecilia Bengolea

Es Devlin

BLUESKYWHITE 2021

Commissioned by 180 Studios, BLUESKYWHITE is formed of two parts: In Part I, text from Byron's 1816 poem Darkness underscores the viewer's passage through a 24m long red-lit tunnel. The poem was written during the aftermath of the eruption of Mount Tambora, Indonesia on 5th April 1815, which released more than 100,000,000 tonnes of gas and fine particles into the atmosphere, resulting in a perceptible dimming of the sun, and a reduction of the earth's temperature of around 3 degrees celsius in what became known as the 'year without summer'. J.M.W. Turner and Caspar David Friedrich documented skies glowing intensely red at sunset. Part I I draws from contemporary solar geo-engineering models documented by Elizabeth Kolbert and others which suggest that a haze of suspended particles might reduce global temperature to pre-industrial levels and might also turn the blue sky white.

Hito Steyerl

This is the Future 2019

Co-commissioned by 180 Studios, this is the Future is a video installation, conceived for the 58th Venice Biennale. The film’s narrative follows a woman, who sets out to find a garden that she had to hide in the future in order to protect it. The installation also includes Power Plants: a multi- channel installation—initially conceived for Steyerl’s 2019 project at the Serpentine Galleries. The work features digital flowers generated by neural networks: computer systems modelled on the human brain and nervous system, which are programmed to predict the future by calculating the next frame in the video. The artist has used this Artificial Intelligence to create a series of ‘predicted’ plants that are located precisely 0,04 seconds in the future. The installation is inspired by the idea of a ruderal garden: an ensemble of plants that grow out of waste ground, perhaps in the wake of human disruption or destruction.

iart studio

Flower Meadow

iart studio presents a new sculptural media work commissioned by LG, created using flexible OLED displays. The material and digital realms both comprise particles: the material tangible and volatile, the digital disembodied and magical— as Vilém Flusser would put it. We would never mistake the sensuality of a lush meadow in all its beauty, for anything but an encounter with pure transient nature. Conversely, digital figures and objects, which fill our screens, do not decay as plants do in nature. It is only through the never-ending cycle of growth and decay that we experience the overwhelming multitude of various flowers, blossoms, and petals: Nature selects, while lucky accidents provide randomness for the DNA— nature’s ever-evolving codebase, written and rewritten with each new generation. This multitude is the base of these non-fungible flowers, created with artificial intelligence and constantly arrayed in new sets. Perpetually changing, not to be sold, but to be experienced.

Je Baak

Universe 2019

Universe is a developed virtual piece of Je Baak’s previous major work, the structure of. It employs a surreal expressiveness to depict human emotions that are subjected to algorithms and produced in physical forms.

Julianknxx

Black Corporeal (Breathe) 2021

Commissioned by 180 Studios, Black Corporeal (Breathe) is a critical examination of the relationship between materiality, and the black psyche. Exploring the idea that our ability to breathe—an act that is continuously challenged by everything from air pollution, stress, and anxiety, and societal prejudice—is more than our lung’s ability to take in air, but a reﬂection of the way we live individually and together. Black Corporeal engages with both the physical and metaphysical aspects of breathing and asks if we can reposition ourselves through the extrinsic, the creation of black structures and realities that allow us to breathe, freely. Concentrating on the choir’s continuous refrain ‘breathe’ the ﬁlm explores the cyclical nature of breathing and the potential of ﬁnding both peace and epiphany through this process. Black Corporeal challenges us to see this simple act as one of meditation and release, a physical act that is both personal and political, reﬂexive and intentional. It reminds us that the revelation is in your chest.

Random International

Algorithmic Swarm Study (Triptych)/I

Since 2007, Random International’s Swarm Study series has experimented with the expressive power of collective behaviour and our overwhelming instincts to emotionally engage with possibly sentient, artificial entities. In Algorithmic Swarm Study (Triptych), a large, autonomous swarm lives across an even larger habitat. Three separate screens act as a synchronized looking glass into the world of this life form, which is spatially aware of the physical boundaries of its digital habitat. The abstract de-facto cohabitation of humans with ubiquitous algorithmic processes suddenly becomes amplified and more concrete in this interaction. As with most of our other algorithmic swarm studies, this family shows behavioural traits which change both over time, and in response to the viewer. Biases are present in the tracking software and hardware that Random International use. The studio utilises machine learning and computer vision algorithms with internet-trained models and thus internet-scale biases relating to gender, race, age, and other categories of bias. Random International aim to develop a thorough understanding of the API’s biases and their potential harm, challenging and improving the studio’s tools and processes in order to minimise them.

Refik Anadol

Renaissance Generative Dreams

Renaissance Generative Dreams emerged from Refik Anadol Studio’s most recent, groundbreaking experiments with turning visual and textual datasets of Renaissance painting, sculpture, architecture, and literature into multidimensional art pieces.

Universal Everything

Transfiguration 2020

A giant walking figure sets off on a journey with no ultimate destination. As he travels, he undergoes metamorphic change—from water to fire, to lava, before cooling to solidify into rock. The further he walks, the more he evolves, his footsteps echoing metal, liquid, wood. Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke. Transfiguration (2020) is held in the collection of Sifang Art Museum, Nanjing, Jiangsu, China. At the same time, the content of the screen uses 3D software physical algorithms to simulate the dynamic effects of particles, and the “water” screen in the blank part of the landscape painting is made into liquid particles. Then, the collision, flow, and change in the screen with deep space are simulated, showing the “naked eye 3D” interesting visual effects.

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