"In the end, none of them proved useful. Among the heady possibilities dangled by the press release was an environment that would feature video, sound, light, and dust; exist outside of space and time; and operate in a state of quantum flux where "every moment is a maybe." The release also said that Huyghe had enlisted the services of the physicist Tommaso Calarco and the philosopher Tobias Rees."
"He's known as a kind of technological monk, oscillating between prankster and doomsayer. Huyghe has directed a puppet opera, created a pirate television station, orchestrated a fireworks display, scanned the surface of an entire island, built an animatronic penguin, and worked with cancer cells, copper, bees, the sex pheromones of brown rats, and mud from Monet's garden. The medium he's returned to more than any other, though, is film."
Liminals occupies Halle am Berghain in Berlin and immerses visitors in an unsettling environment of video, sound, light, and drifting dust. The installation stages indeterminate temporality and quantum-like uncertainty, proposing that "every moment is a maybe," and brings together scientific and philosophical collaborators, including Tommaso Calarco and Tobias Rees. The work's placement within the building that houses Europe's most famous nightclub heightens its charged atmosphere. The piece produces a terrifying, overwhelming sensation by collapsing distinctions between human presence and the void. The practice associated with the installation frequently returns to film and experiments with biological, technological, and archival materials.
Read at The New Yorker
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