Audire Fluctus

Audire Fluctus is a transmedial sculpture at the intersection of a light object and an interactive data-totem. Its essence lies in the connection between the physical world and the invisible electromagnetic fields that surround and continuously affect us. The work monitors the technological activity of its environment and visualizes electromagnetic radiation generated by electrical grids, communication devices, and systems operating on electrical current. Electromagnetic fields, which we usually cannot perceive directly, are translated into light and color patterns through Audire Fluctus. The sculpture thus raises the question of how we perceive and interpret a reality that is partially invisible yet profoundly present.

The key element of the work is a medium called Spektraflux, a liquid with an anisotropic structure that can change the refractive index of light depending on electromagnetic activity. Its behavior produces unique color textures that reflect the intensity and dynamics of invisible fields, shifting to black and white marble patterns when at rest and changing to shades of the rainbow spectrum when mechanically moved. This shifting visual effect highlights the nature of constant movement and change inherent in both the electromagnetic waves themselves and the technological infrastructure that generates them.

The work functions not only as a visual object but as an active element that adapts to its surroundings. Situated in the piazzetta of the National Theatre, it responds to the presence of numerous electromagnetic devices in the area, becoming a sensor that makes visible the presence of invisible forces. However, this phenomenon is not confined to the physical world alone – it manifests the continuous exchange of data, signals, and energy that defines our environment.

Here, the concept of the piece intertwines with the philosophy of Karen Michelle Barad, particularly her theory of agential realism, where objects, phenomena, and observers are not separate but co-create each other within a continuous process of interaction. In the context of Audire Fluctus, it is not merely a depiction of invisible technology but an encounter in which the sculpture, the viewer, and the electromagnetic field enter into a dynamic process of mutual influence. Perception here is not confined to passive observation but becomes an active co-creator of the phenomenon – every step the viewer takes, every shift in the electromagnetic field is a co-creative act, in which reality is continually reshaped.

Thus, Audire Fluctus does not merely reveal a hidden layer of our technological environment but redefines the very concept of interaction between the world, the viewer, and the object into a dynamic act where the boundary between subject and object is not pre-determined but is continuously born and dissolved depending on the act of observation and participation.

…dquele que é (des)objeto II

“…dquele que é (des)objeto II,” held at the Fundação Leal Rios in Lisbon (September 27, 2024 – February 22, 2025), offers an in-depth exploration of the concept of the object in contemporary art. Under the curatorial direction of Miguel Leal Rios, visitors are invited to engage with works by 21 artists, each examining the boundaries and essence of objects through deconstructed and transformed forms.

The central theme of the exhibition is the relationship between an object, its form, and its meaning. Inspired by Jacques Derrida's theories of deconstruction and Michael Fried's ideas on objecthood, the pieces challenge conventional understandings of objects, highlighting their ambivalence between weight and lightness, two- and three-dimensionality, and tactile human interaction. The exhibition focuses on objects that encourage reflection on their inner life and the new identities revealed through artistic transformation.

Otevřený Horizont

The exhibition explores visual art’s updated relationship to space and the landscape. It works with three subsets of a conceptual whole. Two of these, founded on the contemporary painting and image, look at multiple approaches to the landscape and the diversity of interpretational strategies ranging from traditional plein-air painting and the construction of space to landscapes of memory and fictional, imaginary, or urban landscapes. The third subset consists of audiovisual installations focused on the inner movement of landscape structures, on an exploration of their processual tectonics, and on a performative presence “within a place” at a “specific time.”
OPEN HORIZON looks at the sustainability
of the relationship to a genre that is undergoing radical change – landscape painting in the broader sense of the word. In a broader sense, meaning from the perspective of formal approaches and stylistic means, but also in terms of inner engagement and physical, technical, and technical involvement in the situation of a place, time, and space.

Mutatio Superstratum

Mutatio Superstratum Mutatio Superstratum is a transmedial sculpture that, through continuous monitoring of electromagnetic fields, reveals invisible flows connecting virtual infrastructure with human perception. The work is not merely a visualization of data; it is a fluid, organic experience where virtual forces and human senses form a new hybrid space. Electromagnetic waves generated by nearby technologies are captured and transformed through the sculpture, materializing what would otherwise remain beyond ordinary perception. Mutatio Superstratum thus explores the liminal boundaries between the visible and the latent, between reality and its virtual extensions.

The fundamental medium of the work is Spektraflux, a substance whose anisotropic structure responds to electromagnetic impulses by altering the refractive index of light and the color patterns of the sculpture. This process of color transformation is not just a visual phenomenon but an expression of metamorphosis, where virtual flows shape the physical presence of the piece. The dynamics of the captured signals generate ever-changing visual patterns that provoke questions about the nature of space as we perceive it: is space a stable entity, or is it continuously reshaped by unseen virtual forces?

This performative aspect of the work invites deeper questions about subjectivity and ontology within the dissolving boundary between the physical and virtual worlds. The viewer becomes part of this process—their own technological devices, which generate electromagnetic waves, interact with the piece and influence its transformation. The interaction between the viewer, the sculpture, and the environment thus reveals more than just an aesthetic experience; it exposes the complex network of relationships and mutual influences between the body, technology, and space, where every movement, every signal, is also a participation in the creation of virtual reality.

The philosophical depth of Mutatio Superstratum touches upon concepts from experimental thought, as developed by Reza Negarestani, whose philosophical speculations on cybernetic systems and virtual structures offer a new way of thinking about the relationship between technology and ontology. Negarestani views technological systems not merely as tools but as active, autonomous forces reshaping the very foundations of reality and subjectivity. In this spirit, Mutatio Superstratum is not just a reflection on the technological environment but an experiment that suggests reality is not fixed, but continuously renegotiated through interactions between virtual and physical layers.

The installation at the Regional Gallery in Liberec, therefore, does not function as a closed aesthetic object, but as a process where the boundaries between the viewer, technology, and space are constantly shifting. Mutatio Superstratum forces us to question whether we are mere passive receivers of virtual signals or whether we are becoming part of a broader network that transcends traditional understandings of subject and object. The sculpture not only makes the invisible visible but disrupts our conception of a stable reality—the world we live in is an endless series of mutations and constant rewriting, where virtual layers define both our everyday experiences and the very ontological foundations of existence.