by Société Réaliste

One of the most important characteristics of “territories” is that they are perpetually in flux. One should be able to document them simultaneously, but that makes their perception problematic. It is not possible for us to take a step back far enough to perceive their entire width or grasp the profundity of their depth. If we do move far back enough, we end up creating an observation post, which is a distinct territory separate from the one being observed. Here are a few concrete examples.

Take the beltway around Paris, the “Périphérique“, for example. A 35 km long urban speedway, the official purpose of which is to avoid traffic congestion. It is the second of the four-belt bypass system around the city: within Paris, the Maréchaux boulevards. Some hundred meters further out, the Périphérique; some ten kilometers further, the A86 highway; another 20, the Francilienne. All are designed for the same purpose.

The Périphérique is commonly seen as a psychological frontier, even though many “Parisian” infrastructures spread across it. It is clear that the system aimed at managing the flow that includes the Périphérique has a purpose beyond traffic control and the prevention of traffic congestion. This road is a fortification. In addition to this, there is the “pourtour de Paris”, a peculiar type of territorial moat. It is a strip of land that stretches around the outside of the Périphérique. Yet, it is not a part of the suburbs according to the cadastre. A “tiny” belt, some of it constructed, some of it empty. It is a buffer zone, in the sense that it helps distinguish one place from another and acts as a dividing line. As is the case of other buffer zones, this type of territory, even if empty, has a tendency to turn into a de facto wall, the point where the “sub” and the “urban” part. This zone allows for a certain type of flow, like a border control checkpoint, appointed not by the administration but by the mapping out of the city itself. It is a variable integration territory (VIT), just like there are variable message displays (VMD) all along the Périphérique. The fact that this zone is strategically kept as a fallow gives it a differentiating character (it creates a differentiation as much as it is a difference in itself and of itself). A difference under control.

Then, there is that strange “city” called Pas de la Casa, whose territory belongs to the parish of Encamp, right at the frontier of the Principality of Andorra. It consists of buildings erected one meter behind the border control checkpoint. Why build a city there, in the middle of nowhere? There was nothing more than a shelter for shepherds in that area during the fifties because life in the middle of high mountains is not so easy. The Pas de la Casa was built in order to create a legal trench, a border city between France and the Principality of Andorra, a tax haven. There, poor people get duty-free cigarettes and rich people invest their money into special funds. Once the deadweight of the French and the Spanish laws was jettisoned over the Andorran mountains, it helped create the bricks that constructed the city walls. The territory is autonomous, but not entirely. It is a place where illegal trade becomes legal. But not just trade. It is also a land where smugglers operate under the benevolent eye of the officials in charge of public order, and where order organises and controls disorderly zones. Andorra, this tiny round country, functions as the legal blind spot of the French and Spanish periphery. It is an opaque mountain highway service area transformed into a state. A free trade zone, much like Hainan, used by two states that purportedly uphold the rule of law: France and Spain. This begs the question: if the rule of law does indeed have its place, does it not always need an area of lawlessness that is both peripheral and integrated, in order to exist? The more we look at Pas de la Casa, the more our perception of metropolitan suburbs changes. Controlled lawlessness.

There is also a country that nobody has heard of, which is nowhere near joining the EU, simply because nobody, apart from itself, recognises it. Well, not entirely – this country is called Transnistria and is recognised by Russia. It is a part of Moldova, which proclaimed itself an independent state in 1991; afraid it would become a Moldovan-Romanian province following the collapse of the Soviet empire. The territory is populated by 500 000 Transnistrians, financed and armed by the Russians, but not Russian. It is lawless area, recognised as such by the law. Yet another massive smugglers’ haven, another buffer zone, for sure. A territorial tool, but always under control.

What are these territories? “Fortifications”, if we understand this term by its Latin meaning “fortis facere”, or “to make strong”, “to strengthen” – something that happens to whoever controls them. Are they enclaves? Yes, but paradoxically, they are open. One finds them everywhere, at every level. At the state level, this depends on the point of view: there are five such “grey zones” according to the OECD and 43 according to ATTAC. But both organisations agree on the matter of Andorra. They also exist at the level of the road, at the building level, perhaps, and at the level of metaphoric territories.

We mentioned the Parisian “pourtour”, the Pas de la Casa and Transnistria, but we must also mention Tijuana and the Maquiladoras on the Mexico-United States border, the industrial parks by the Palestinian wall (which is considered to be a Security Fence, the “Jidar al-fasl al-‘unsuri”, the “wall of racial separation”), the two neighbourhoods in Karachi in North Nazimabad Town, called Buffer zone I and II, the square-kilometre-sized territory between Italy and Switzerland, Campione d’Italia, and the neighbourhoods in Havana where Westerners are allowed to partake in the “capitalism of the body”.

Within the complexity of the organisation of territories and the tangle of spheres, these are the areas of passage and separation. One must observe and inquire whether this is not indeed a checkpoint geostrategy. We can even provide it with a basic morphology: first area – checkpoint – zone – checkpoint – second area. Sufficient evidence must be provided in order to determine to which point the word “free” in the terms “free zone” and “free trade” pinpoints a central contemporary problem, repression through “freedom”.

We started off by saying that it is difficult to step back far enough in order to see the big picture, both in terms of width and depth. Société Réaliste’s project  »Ministère de l’Architecture« is barely interested in architecture, and even less in ministries. However, it strives to bring together territories that have been unfortunately separated by geographic infamy. »Ministère de l’Architecture« strives to produce aberrant perceptions, which are nonetheless necessary. It should be thought of as a transit lounge in an airport, where entities that do not know each other gather and are provided with an opportunity to kill time together. What common ground is there between a parking area for trucks in Tiraspol, the bottom of the lake in Lugano, a wasteland in Porte d’Aubervilliers, a slum in Karachi, a bar in Mexicali, a hotel in Havana, a supermarket in Andorra, or a factory in Tulkarem? It is an exchange, which – although it is often unfruitful – could allow the peculiarity of these elements to disappear in order to illuminate some connecting threads. And then other checkpoints, other beltways, other grey areas will enter the picture. Proposals will be made, some will complain about the hyperactive incompetence of the Ministère, say that its officials are aloof, abusive and Byelorussian; people may even question what purpose stirring up these reflections serves; and the logo of the Ministère, erected, insensitive and dominating, will forward the question to all the duly documented territories.

What purpose can these areas serve? Why are we prevented from putting them in the same place? Is there a Transnistrian future for the Porte de Pantin? We must establish an intellectual tool in order to remove the term “nearshoring” from the economic vocabulary alone, and understand its urban, political and cultural meaning. If someone else were to talk about “grey zones with undefined contours, which both separate and connect the camps of masters and slaves”, could »Ministère de l’Architecture« help better pinpoint this vague definition?

Société Réaliste, Paris, July 2006

by Petko Dourmana

2013, installation

exhibition posters, Android tablets with AR application, flat screen

Presented at: MSGSÜ Tophane-i Amire Kültür ve Merkezi, Istanbul
as part of T.R.I.B.E exhibition 1.10 – 10.10.2013

Ars longa, ratio brevis

Art is not about the audience anymore but about the art world that has successfully overtaken art itself. Art doesn’t need to address society with its actual problems since self-referencing and recasting existing cultural comments and interpretations has become the norm. Art suffers globalization even more than any other aspect of contemporary society and public life. Contemporary art is fully globalized and even a different representation of a particular local context is globally demanded.
Art, or rather the art world, has lost its influence on society and its avant-garde status.

On the other hand, technology is so rapidly developing and new media have changed so much and influenced society that even though the art world itself long resisted these processes, it is eventually undergoing a technological transformation imposed as a social necessity. The role of social media in channeling an interest in art already surpasses that of traditional mass media and of professional magazines. Artists ranking web platforms take over the job of art critics and even that of curators by showing to the audience directly the ‘score’ of an artist.

All this is not a surprise since the art world itself decided on this hierarchical model of ranking artists as a meta form of evaluation and organization of artists’ careers as a way of dealing with the growing number of artists and the enormous amount of art production. This process of automatization of curatorial work mirrors the global tendency of optimization of office work that has already taken place in the fields of corporate management and finance resulting in rapid shrinking of the wannabe middle-class office proletariat.

The Ranking Project is an app for smart phones and tablets that shows in front of the gallery (and also in front of a big poster or billboard promoting the show) the rating of the participating artists through big colorful spheres. The sizes of the spheres represent the rank of each artist. These spheres are the aura of the artist, sized not by the hermetic specialist knowledge of a single curator or critic, but by a machine algorithm calculating their gross value in the economy of attention by factoring participations in biennials and exhibitions.

by Petko Dourmana

Presented at ARTos Foundation, Nicosia (cy); 11-12 October 2013

The original setup for this installation consists of a military tent from WWI, a toy Edison-style cup phonograph kit, recording on plastic cups, a monitor, a DVD player, loudspeakers, and a microphone.
Size of tent: 2.20 m x 2.20 m x 4.40 m

We don’t want to fight but by Jingo if we do …
We’ve got the ships, we’ve got the men, we’ve got the money too!
(Macdermott’s War Song lyrics)

It was 1878 when in the United States Edison patented the phonograph that was later developed into the gramophone and remained the most common device for playing recorded sound until the 1980s.

In the same year, across the ocean the music-hall singer G. H. Macdermott (aka “the Great Macdermott”) introduced his War Song in the London Pavilion.

This is one of the very first examples of modern propaganda. Macdermott was commissioned to make the song with the aim to influence public opinion in Britain in the middle of the political crisis between the British Empire and Russia, after the war with Turkey in the Balkans and Caucasus. The crisis ended with a diplomatic triumph of Britain’s Prime Minister Benjamin Disraeli and after the song a politician from the opposition Labour Party invented the term jingoism that is now used for describing ‘extreme chauvinism or nationalism marked especially by a belligerent foreign policy.’

It is amazing how political life changed forever since audiovisual mass media and propaganda charged pop culture were invented and eventually became an intrinsic part of public life. In 2008, exactly one hundred and thirty years after these events, we could celebrate an anniversary of audiovisual industry and jingoism – with Russia becoming again the world’s Evil, with the US presidential campaign in which a remote war that can be seen as a perfect example of jingoism was described as “God’s Plan” and with the Blue Ray (probably the last hard copy media) slowly becoming world standard.

To remind us of all these events, Petko Dourmana invited in his Chain Reaction Pavilion everybody who wanted to sing Macdermott’s war song Jingo with a karaoke set that uses a toy Edison-style cup phonograph. In the plastic cups, used as recording media, visitors earned a free beer after singing.

by Ohira + Bonilha

In 1925, Oscar D’Argonell publishes in Rio de Janeiro his book “Vozes do Além Pelo Telephone” (Voices From Beyond Through the Telephone) that describes a detailed case of strange phone calls at his own home and another building during the late 1910s and early 1920s. In the book, there is a skeptical employee of a local government department that concludes, after many serious tests, that what occurred was a real phenomenon of communication between different dimensions. After some decades, in 1959, Friedrich Jürgenson starts capturing very unusual voices while recording birds with his audio recorder. This pioneer multimedia artist spent almost ten years researching the origin of those voices and invited several scientists and technicians to help him before publishing “Sprechfunk mit Verstorbenen” (Radio With The Dead). Some say he also sent similar messages right after his death in 1987. Many other researchers have taken this path and some are still treading it. In 1985, Klaus Schreiber was the first one to receive images from beyond using a very simple set with one television and a video camera producing a video feedback. After him, there was some information about people intercepting data with a computer even when it was powered off and disconnected from any web.

But in Ljubljana, during our residency, we tried to mix these experiments and set them onto a different path of which we thought during our time in Japan. Shinto has about 800 deities – not gods – which is something that deals more with immanence than transcendence because it focuses on nature’s forces/energies that make us consider a fourth dimension inside the third dimension we know as space. This is why we decided to build galena radios and a minimalistic sculpture with the magnets as well; by doing so, those minerals show their invisible forces in such a clear way that they become almost visible and material. The circuits, the video and the workshop are intended to encourage discussions about the perspective we have about the deceased ones and other dimensions; this group of works is opposed and also complementary to the previous ones because it shows no direct effect that those devices have, but is capable to create new universes from the way we understand them. As we said, we are not looking for a proof saying that these things are truth or not, but rather for doubt as a strong alternative, something different from certainty and its normative consequences. From another perspective, we are having a look at the past and at another kind of future to at least for a while think and feel our times differently.

A project by Markus Jeschaunig

Concept
Atatürk is the most prominent political figure in the younger Turkish history. As the founder of the Turkish Republic in 1923, the person of Mustafa Kemal Atatürk enjoys an important status with often a strong personal devotion even long after his death in 1938. Over more than seven decades, artists and sculptors from Turkey and abroad did numerous sculptures, busts and monuments representing “Atatürk” – “Father of the Turks” – as a leader. As an artwork of an artist, all representations of one single person differ slightly from each other, in the use of material, technique and aesthetics.

The “Atatürk-interface” project explores ten of the oldest and most important Atatürk monuments in Turkey in a new way. The focus should be on the face of each single sculpture, the characteristic and emblematic element that became a symbol of the modern Turkish nation. The aim of the project is to capture all faces three-dimensionally (with a quadcopter drone camera) and create a new physical model out of them – the “interface” – with all faces merged together in one form. By using 3D software and CNC production (3D print), the digital model will be transferred into a physical model. In the final exhibition, as an essence of all faces, the interface will generate a new perspective on the political leader and its representation in public space.

Austria, Turkey & sculpture
In the 1920s, Atatürk himself invited foreign artists to commission political monuments all around Turkey to bring new political ideologies into the public space. The very first and art historically most important Atatürk monuments in Turkey were created by Heinrich Krippel, a well-known Austrian sculptor. In 1926, Krippel created the very first work, the “Sarayburnu Atatürk Monument” in Istanbul. Other Austrian artists were Anton Hanak and Josef Thorak, who worked in Ankara in 1934 and 1935.
The “Atatürk-interface” project can be read as a research of the large Austrian oeuvre of monuments in Turkey during the 1920s and 1930s in a form of a “digital archeology”.

Route map
The selection of the sculptures was made with Aylin Tekiner, researcher and author of the book “Atatürk Heykerleri”, 2010. The choice was based on historical aspects and particular sites in the life of Mustafa Kemal Atatürk and the artistic importance of each sculpture. The current political landscape in Anatolia was also important to fulfill the selection.

Sculptures
1. Sarayburnu Monument, Heinrich Krippel, 1926, Istanbul
2. Konya Ataturk Monument, Heinrich Krippel, 1926, Konya
3. Atatürk Monument/ Ethnography Museum of Ankara, Pietro Canonica, 1927, Ankara
4. Zafer Meydanı (Victory Square Monument), Pietro Canonica, 1927, Ankara
5. Ulus Victory/Yenigün Monument, 1927, Ankara
6. Republic Monument, Pietro Canonica, 1928, Taksim/Istanbul
7. 19 Mayıs Monument, Heinrich Krippel, 1932, Samsun
8. Atlı Atatürk Monument, Pietro Canonica, 1932, İzmir
9. Güvenlik (Zabıta) Monument, Anton Hanak, Josef Thorak, 1934-1935, Ankara
10. Anit (Independency Monument), Ali Hadi Bara, 1935, Adana
Two additional monuments in the cities Diyarbakir and Trabzon.

by Karina Smigla-Bobinski

Similiar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s, it is sufficient to be an unwearily struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA” by Karina Smigla-Bobinski is a post-industrial “creature”, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid such as the one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures.
“ADA” is much larger, esthetically much more complex, an interactive art-making machine. Filled up with helium, floating freely in the room, a transparent, membrane-like globe, spiked with charcoals that leave marks on the walls, ceilings and floors. Marks which “ADA” produces quite autonomously, although moved by a visitor. The globe obtains an aura of liveliness and its black coal traces produce the appearance of a drawing. The globe, when put in action, fabricates a composition of lines and points that remain incalculable in their intensity, expression or form, however hard the visitor tries to control “ADA”, to drive her, to domesticate her. Whatever they try out, they notice very soon that “ADA” is an independent performer, studding the originally white walls with drawings and signs. More and more complicated fabric structures arise. This is a movement experienced visually, which, like a computer, makes an unforeseeable output after entering a command. It is not by chance that “ADA” reminds of Ada Lovelace, who in the 19th century, together with Charles Babbage, developed the very first prototype of a computer. Babbage provided the preliminary computing machine, while Lovelace provided the first software. A symbiosis of mathematics with the romantic legacy of her father Lord Byron emerged there. Ada Lovelace intended to create a machine that would be able to create works of art, such as poetry, music or pictures, like an artist does. “ADA” by Karina Smigla-Bobinski follows this very tradition, as well as the one of Vannevar Bush, who built a Memex Machine (Memory Index) in 1930 (“We wanted the memex to behave like the intricate web of trails carried by the cells of the brain”), or the Jacquard’s loom that needed a punch card in order to weave flowers and leaves; or the “analytic machine” of Babbage which extracted algorithmic patterns.
“ADA” uprose in a contemporary spirit of biotechnology. She is a vital performance-machine, and her patterns of lines and points get more and more complex as the number of the audience playing increases. Leaving traces that cannot be deciphered by neither the artist nor the visitors, let alone by “ADA” herself. And still, “ADA”’s work is unmistakably potentially humane because the only available decoding method for these signs and drawings is the association to which our brain corresponds especially when it sleeps: the truculent jazziness of our dreams.

© ADA – analog interactive installation by Karina Smigla-Bobinski written by Arnd Wesemann

Most of Jan Vormann’s works share one special feature: they have a surreal character; each of them questions the limits of the possible. He finds artistic motivation for many of his pieces by observing and researching a new experience and by seeking answers to questions related to the imaginary capacity of objects.

Dispatchwork is an on-going project that started in 2006, and was created under this paradigm. As the title suggests, it is about patching the holes of city walls with colourful Lego bricks or other small plastic construction pieces. The basic idea consists of regular elements that are taken out of context, redefined and transformed into a new oneiric and playful world.
In his work, Vormann deals with everyday issues, offering an ironic and complex perspective of the reality that surrounds us. Dispatchwork seeks to solve concrete matters concerning today’s society, such as the way we approach public spaces. Important issues that Dispatchwork considers consciously and critically include a major-scale inclusion of people who interact with Vormann’s work and the idea of going away from the white cube towards the people. The appropriation of common elements like Lego (or other small plastic construction pieces) is a feature that makes the global culture visible.
So far, the interventions have taken place in different public spaces, on walls and streets, in almost one hundred cities from all over the world. One of the central aspects of the project is to transform structural accidents of public spaces, highlighting them by turning them into colour, shapes and visual illusion. Through the transformation of regular bricks into plastic construction toys and by converting the rigidity of the cement structure into the lightness of a transitory building, the artist creates a new city landscape and evidences the creative possibility of intervening in the design of our own realities.
The role of the spectator is a very important feature of this project, not only because they can actually help the artist with the patching process, but also because one of Dispatchwork’s main goal is to surprise the bystander by bringing about the unexpected. In order to achieve an empathic relationship with the spectator, the artist creates a dialogue strategy that consists in showing an image that fascinates by its surreal character. This magical scene is the bridge between the viewer and the artists’ position facing a real context.
This is an ephemeral project, noticing the transitory aspects of matter itself: Vormann highlights the urban vulnerability or the destruction of the city through its temporary repair. The coloured plastic construction pieces of Dispatchwork appear along the cities anonymously and ephemerally, like an act of magic. In this way, he proposes another kind of transcendence for public spaces, turning them into an instance of urban, historical and artistic discussion.

Daniela Hermosilla Z.

“))))) repetition at my distance”. I would like to develop the same mechanics and techniques
but with different materials and uses.
As a result of the findings of my previous work, I got inspired by the phenomenon of swarm behaviour. This mysterious behaviour occurs in a collective group of animals and
appears in many living species such as birds, fish, insects, bacteria or a herd of land animals. It consists of simple rules that are followed by individuals. From one moment to the next, they transform into a super organism where any control from a central conductor
seems to be absent.

By taking the flocking behaviour as a starting point, I would like to explore the way a group
can transcend the behaviour of the individual and the way it takes effect in space and time.
What does the audience experience? Do new meanings arise?

This behaviour doesn’t only occur in nature, but also in the virtual worlds of movies and video games. By means of these paths, I would like to make this tangible in a kinetic-light-sound installation that plays directly to our experience and imagination.

Introduction research
Since I’ve always approached my work from a subjective point of view, I’m curious about the way
existing rules can influence my work. By taking ideas from the cybernetics, algorithmic
composition or processes in nature, I would like to discover other ways to construct light,
sound and movement. I’m not very familiar yet with these subjects, but they became
inevitable after making “))))) repetition at my distance”. It has awoken my curiosity about
harmony and disharmony between the machine, human, animal and nature. This
installation revealed strong parallels with these still unfamiliar subjects that are becoming
more and more important for the artistic development of my work.

Development research
When I start on a new project, I never know how the end result will turn out to be. However, it always starts
with an undefined, yet clear image. This can be a colour, a sound or a form.
The first image I had for this new project was a white swarm made of small particles in a dark
space. Exploring their surroundings as a haze, they form all sorts of geometrical and
organic forms. However, these are forms that could never be made by a normal swarm in
reality.
This image served as a starting point to develop entities in constructions and scale models that can
make this feeling tangible.
During my residency at MoTA, I continued developing the entities that I was working on. I made three prototypes that not only control a set of groups differently, but also explore different approaches of light, sound and movement in techniques and material.
For example:
Sound:
– Generated by the physical mechanism itself or recorded material that resembles swarms? This can be a combination of field recordings and synthetic sound.
– Creating spatiality through, for example, the Doppler effect: the rotation of a sound source
makes us believe that the sound is far away and close by at the same time.

Light:
– Exploring various ways of control that influence what we see (PWM, DA-­conversion, frequency).
– Various light sources of white light: what can I do with the after effects and different colours that are created through the mix of flickering light and the perception of the eye?

Motors and physical material (constructions):
– What sculptural space can I create with light and sound? What does it evoke?

After exploring the possibilities of these prototypes, I want to choose one of them for further development, make multiple of these, and make short compositions for them.

Since the making process of the units takes a lot of time, I’m also working on simulations that can serve as a graphic notation. They are expressed with drawings or simulations in
Software and are an abstract guidance for the development in time and space.

To document the process, I started a blog. It contains the documentation of the work, references
to texts and other works of artists that are within the context of my research. I will
continue to update this during and after the residency.

www.rillsnorthdeepthrum.tumblr.com

Rods and Coils is an improvised installation that treats building as a form of drawing, emerging as an erratic extension of both the space and the electricity from a singular wall outlet. Produced during a 2.5-week residency, the project is a result of a series of experiments with hand-wound electromagnets, simple alternating current circuits, and ad hoc architecture. The resulting installation is a large network of metal rods interconnected by strong rare earth magnets. Metal elements found in the gallery, such as water pipes, light fixtures, nails hidden under layers of paint, and window frames, are used as anchor points for the structure, and in one case as an armature for one of the several copper wire coils. These coils draw electricity from a single wall outlet, harnessing the alternating current in order to oscillate the assembly. The Rods and Coils installation playfully imagines the idea of electromagnetic activity as physical lines in space, embodied in a temporary structure that can be entered and experienced.

Two of the most important guidelines for the work of Flemming and Swintak seem to be intuition and site specificity. Coming from the original project plan entitled Public Metal, their work was tranformed into, under site specific circumstances, an interior Road and Coils installation. What is left from the inital idea of Public Metal here, is, as Peter Flemming said during the installation opening, only the metal part. The main idea of the initial project was to change the existing metal objects in public spaces (such as sculptures, lampposts, etc.) by giving them a new purpose; for example, turning them into unusual antennas or low-fi radio transceivers. Guided by the idea of metal only, they decided to, instead, transform the interior space of the Mediatheque. Using the metal elements found in the gallery, such as water pipes, light fixtures, nails hidden under layers of paint, and window frames, as anchor points, they created a structure made entirely of rods and coils. They interconnected them by strong rare earth magnets and, using the method of trial and error, created a seemingly fragile and reticular entity. The installation is possible to be entered, and thus be seen from a closer perspective.

Another part of the installation consists of vibration and sound. The entire structure is under electromagnetic activity. By turning the installation on, we can hear the sounds coming from different object artists have found at the gallery. The objects like boxes or plactic glasses are attacthed to the rods and produce different sounds, depending on the movement of the visitor. The coils, on the other hand, draw electricity from a single wall outlet, harnessing the alternating current in order to oscilitate the assembly. The whole structure vibrates and makes the electromagnetic activity visible in clear, physical lines.

The structure of rods and coils invokes the use of audiovisual senses and makes us enjoy the possibilities this specific space can offer.