LIQUID HORIZONS โ an immersive video installation (at Fixir Gallery, Veszprem) by Ivรณ Kovรกcs, reconstructed as a fully navigable 360ยฐ space.
In its physical form, the work encloses the visitor in a 4.2 ร 4.2 m room of four seamless projected walls โ a single, uninterrupted synthetic space with no doors, no paths, no horizon to hold on to. The viewer’s own body becomes the only fixed point of reference.
Six scenes unfold without narrative โ glitch corridor, brutalist labyrinth, biological vein networks, geometric core, spectral veils, liquid-architecture, synthetic horizons โ juxtaposing Trauma-Arbeit and utopia in a digital realm, somewhere between architectural critique and algorithmic aesthetics.
This 360ยฐ version was rebuilt in TouchDesigner and rendered in 8K from the exact center of the room โ on the one spot where visitor could stand.
๐ง Use headphones. ๐ฑ Drag the screen or move your phone to look around. ๐ฅฝ Best experienced in a VR headset in 8K.
Essay about the upcoming immersive video-installation at gallery f|x|r
Synthetic Horizons โ On the Ontology of Computed Space
Liquid Horizons investigates the ontology of computed space: the condition in which a digital environment is no longer a representation of physical reality but an autonomous, self-generating field. Its looped panoramic field โ built from six visual stations โ follows no narrative. The glitch-laden digital threshold, the brutalist concrete labyrinth, the AI-generated biological vascular network, the pure geometric order, the spectral veils and the synthetic horizon do not supersede one another: they coexist as equal aggregates, folding into a single continuous event.
At the centre of the work stands the question of the oneiric sublimation of trauma. The brutalist scenes of the projection โ mirrored concrete stairwells, unfinished stadium interiors, corridors that lead nowhere โ carry the architectural imprint of contemporary wartime destruction: an algorithmic monument to the suspended future. Not as documentation but as weightless data-flow โ the software does not depict the destruction; it dreams it. Through this digital Traumarbeit, raw concrete is transmuted into a pulsating network, then into pure geometric order, and finally sublimated into the light-saturated data-aesthetics of the computational sublime โ without the loop offering redemption. The cycle closes on itself.
In Vilรฉm Flusserโs terms of the technical image: the light here does not arrive from sunlight but from global illumination algorithms; the texture of the canvas is definitively replaced by the texture of shader code. Through Gilles Deleuzeโs Le Pli (The Fold): matter is not a static object but an infinitely modulable event โ brutalist enclosure and liquid freedom constitute a single topological unity. In Marcos Novakโs liquid architecture: digital space severs its relationship with gravity and function to become pure mathematics and sensation.
The workโs visual register is determined by three distinct image-making logics in simultaneous operation: real-time rendering (NotchVFX), AI-mediated style transfer (Stable Diffusion), and digitally processed built spaces. There is no sharp boundary between the three layers โ and this is itself the workโs argument: in the era of the computed image, the distinction between โmanualโ and โautomaticโ image-making ceases to hold.
After the model of Marc Augรฉโs non-places: the projected environment withholds every conventional marker of human orientation. There is no door, no path, no graspable surface. The visitorโs own body remains the sole subjective fixed point within this amorphous, post-anthropocentric data-landscape โ whose horizon does not separate sky from earth but unifies them as a data-plane.
360ยฐ immersive video installation โ 17สน 20สบ videoloop, โf|x|r galรฉria โ 05.08.2026 โ location: Vรกr u. 17., Veszprรฉm, Hungary, Europe
