news – Klara and the Sun – exhibition

If you are interested in new-media art – visit ‘Klara and the Sun’ exhibition next to Lake Balaton, Hungary, it is open during summertime, recommendation in hungarian:
https://www.artmagazin.hu/articles/ajanljuk/kiallitas_es_programsorozat_a_kali_medenceben

It is at Pegazus restaurant (what a coincidence, but with a letter Z:)

SEARCHLIGHT -VR edition

“SEARCHLIGHT | Keresőfény” VR 360 HOME video edition

use your mouse or device to navigate in space

SEARCHLIGHT is a site specific light installation –
this is a VR 360 mono shortened version of the original 8 minutes long video-loop.
Installation: KOVÁCS Ivó
Creative Management: Let it Be! art agency
Organizers: Déri Museum, dr. István PUSKÁS
Co-organizers: Csokonai Theater, Cívis House
Sponsor: National Cultural Fund
Special thanks: Tamás Herzceg, Glowing Bulbs
March 5th – 28th, 2021 at the Lighthouse x Gallery, 67. Piac Street, Debrecen, Hungary

SEARCHLIGHT VR 360 video edition

Due to “COVID times”, we are releasing an abbreviated video version of the three-projector light installation in a VR360 video format. The exhibition version is also COVID-proof, as the public cannot enter the Lighthouse x gallery. The exhibition reflects this situation. The three walls of the gallery are projected around by the projectors as panoramas so that the perspective of the 3D animation can be understood from the street front window. The perspective view automatically selects the viewer’s position. Since the Renaissance, Leon Battista Alberti the space of a painting has become and act like a “window” in the European tradition. Originally, the reconciliation of the perspective point of view was used to bring/drag the viewer into the space of the image, but now the window of the image is blocked by the physical glass of the gallery, which is a metaphor for the objective cause – the epidemic situation. Perspective simultaneously eliminates the distance between the viewer and the image, but also arbitrarily selects the viewer’s position and point of interpretation. This separation is physically edited and enforced by the windowpane. Rotating mirrors illuminate the space round and round, much like the way of a spectator’s gaze scans the gallery space as passing along the street. In the projected and endless 8-minute video-loop, we pass through a cold library-like space reminiscent of a repetitive maze. At an inaccessible distance we see the reflection of trees, but there is no connection between the natural and the artificial world. As the rotating spotlight illuminates every new corner of the maze – the light expresses our desire for a scientific cure that will eventually find a solution to the COVID epidemic situation. The infinitely repetitive video cycle reflects the usual human scenario where humanity first conquers nature and then casts its faith in science to ward off the effects of the previously destroyed circumstances of (human) life. Somehow we should stop this endlessly recurring circle of death and sorrow.

karma-sign-inverted

in Hungarian:

A „COVID-idők” miatt kiadjuk a három projektoros fényinstallációnak a rövidített VR360 video változatát. A kiállítási változat szintén COVID-biztos, mivel a közönség nem léphet be a Lighthouse x galériába. A kiállítás ezt a helyzetet tükrözi.
A galéria három falát panorámaként vetítik körbe a projektorok, hogy a 3D-s animáció perspektívája az utcafronti ablakból válik érthetővé. A perspektivikus nézet automatikusan kiválasztja a néző pozícióját. A reneszánsz Leon Battista Alberti óta egy festmény tere “ablak” lett az európai festészeti hagyományban. Eredetileg a perspektívikus nézőpont egyeztetése a néző képtérbe vonását szolgálta, de jelenleg a kép ablakát a galéria fizikai üvege blokkolja, ami az objektív ok – a járványos helyzet – metaforája. A perspektíva egyszerre kiküszöböli a néző és a kép közötti távolságot, de önkényesen kiválasztja a néző helyzetét és értelmezési pontját is. Ezt a szétválasztást fizikailag szerkeszti és kényszeríti ki az ablaküveg. A forgó tükrök körbe-körbe világítják be a teret, ahhoz hasonlatosan, ahogy az utcán elhaladó nézők a galéria térét páztázzák. A vetített és végtelenített 8 perces videóban egy hideg könyvtárszerű téren haladunk át, amely egy ismétlődő labirintusra emlékeztet. Elérhetetlen távolságban fák tükröződését látjuk, de a természeti és a mesterséges világ között nincs kapcsolat. Ahogy a forgó reflektor megvilágítja a labirintus minden újabb sarkát – a fény kifejezik a kívánságunkat a tudományos gyógymód iránti, amely végül majd megoldást talál a Covid-járvány helyzetre. A végtelenül megismétlődő videociklus a szokásos emberi forgatókönyvet tükrözi, amikor az emberiség először meghódítja a természetet, majd a tudományba veti hitét, hogy kivédje az (emberi) élet korábban elpusztított körülményeiből fakadó hatásokat.
Valahogy le kellene állítanunk ezt a végtelenül ismétlődő halálos kört.

‘Neo-baroque I.’ projection, full documentation in VR mono/4K

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vimeo version

‘Neo-baroque I.’ was a 8 minutes two-channel video-projection on the ceiling of the Csokonai Theater’s staircase.
The projection was made for especially this location, and it was a part of the Lighthouse ‘ON’ sight specific group exhibition. (The exhibition ‘ON’ presents works by artists of Lighthouse light-art society at an unusual location by utilizing the special atmosphere of Csokonai Theater in Debrecen, Hungary and turning it into an impromptu art gallery: https://lighthouse.art/)

This is the full-length documentation, rendered in VR/360 mono format.

Time-stamps:

00:00 – 01:58
Some fractal based space-filling algorithms fills the space equally and symmetrically in every direction – the ‘journey’ starts from ‘realism’. Synchro-act’ issues. (this part made with mandelbulb3d)
00:02 – 04:48
– ‘Traveling without moving’ – the time factor has arrived, but the motions are illusory since there no place to go. We were left in the origin, only the world travels around us. Positive-negative spaces crossing each other, while some lights scanning/examining them. (Signed distance fields algorithm, made with Notch)
04:50 – 05:27
– ‘Di-vision’ or you could say – the limited, separated views caused this. The space is melting and then separated into two in a repeated way, day by day, like everyday.
05:28 – 06:21
– The space plays itself – ‘Game of Life’ like algorithms – Space – self-checking, some reflects in a Cartesian space.
06:22 – 07:28
– ‘Conceptual heaven’ – eternity is just a mental construction – the inner turbulence fields became so complex that it seams like an ancient baroque space-filler. In order to emphasize the effect some cloud-like turbulence were added behind, and the sky color is the ‘video-empty’ technical blue color (R:0,G:0,B:255). Conceptually empty, but rich in appearance. (‘There are nothing but appears as everything’)
07:29 – 08:02
– ‘Dissolve’ scene – a kind of a classic ending – everything dissolves back to space (in a clockwise direction – should be in counterclockwise), there were nothing, but through the conditions it appeared as everything.

The creative process was almost a seemingly unconscious process, which is dangerous because then subconscious patterns can take control and the end result will be cliché-like.
Thus, this work is also a summary of the experience (clichés) of the last ten years in the field of video mapping.
I hope that with the fact that abstract video has got a classic story arch, it also reflects today’s post-Baroque (post-truth, post-internet) era.

the primordial mirror | projection-mapping installation

‘speculum primordialis’ – the primordial mirror | projection-mapping installation
12’30” video-loop
music by Maks&Axentriq

projection-mapping art-installation
11th January – 9th February, 2017
@ Group Exhibition – Latarka gallery ‘INSTINCT – ANCESTOR’
(Platan Gallery/Latarka © Institute Polski Budapest)

short VR (4K) documentation on vimeo:

link: http://polinst.hu/en/node/11082

some VR images from the projection (>)