Intersecting Networks


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Intersecting Networks 2005

Intersecting Networks 2005

Generative and interactive virtual-reality installation

Site Odéon 5, Paris, France and KunstVerket Gallery, Oslo, Norway

Technical element:

1 PC, 1 vidéoprojector, 2 infrared sensors

Software: Emmanuel Mâa Berriet

A surprising dialogue is taking place between two forms of the real and the virtual. On one side, Rizomatic 2005, is a huge sculpture/installation suspended from the ceiling. A kind of chaotic giant penetrable of lines and luminous fluxes, created from an assembly and combinatorial process of 4,000 micro-structures of steel painted in fluorescent colour, it emerges from the darkness like a network of light. As light as it is airy, it seems to be free from all gravity.
But by a certain paradox, this sculpture, physically "real" and very new in Miguel Chevalier's work, is not without resembling the virtual and interactive installation La croisée des réseaux 2005 made of immatière and computer-programmed projections. It is a huge mapping of the Odeon 5 Gallery or the Kunstverket galleri, based on the names of their file, the crossing points of personalized worlds that revolve around their activity, and the 3D play of the paths, real superposed paths of a dynamic virtual structure that allows us to "enter" the gallery's network. In this life of flows, it is you who make and defeat the work. Referring to a database, programmed by Emmanuel Mâa Berriet's AAASeed software. This work allows you to gradually explore the entire file, and even zoom in on a particular path. Everywhere, the elements attract and repel each other, so that in this virtual/real spider's web, we are caught in the double temporal and spatial breathing of dilation and contraction. In permanent, ephemeral movement, the form simplifies and becomes infinitely complex like an immense cloud in suspense, where everything floats, branches, multiplies, reaches its zero point and reappears, always another by interweaving multiple lines and different paths.

Excerpt from the text by Christine Buci-Glucksmann