CROSSLUCID  
Dwellers Between the Waters, 2023  
Virtual installation: HD video with audio, HD video directional audio, 3D sculptures  
Video narration and soundscape: Sayaka Botanic  
Sigil audio narration: Electric Lake 
Text / poetry: Oxi Pëng  
______________________________

across the star-flooded fields  
the sound is shining clear  
composed of glimmering lights  
it’s frothing the viscous air  
inhaling the copper promise  
in the frayed tint  
speckled with olfactory traps  
slithering away  
in the lustrous gardens  
through cushions of time  
dictating the direction of winds 
...  
                           — crosslucid (2023)

Dwellers Between the Waters (2023) is conjured by the interdisciplinary artist collective CROSSLUCID as a series of hybrid rituals that mediate the space in between physical presence, trauma, memory, healing and virtuality. Polyphonic in its artificially-intelligent framework, Dwellers Between the Waters could be experienced as a happening that is chanted by various elemental entities such as waters, winds, earth, air, algorithm... as well as poetry, history, magic, human and more-than-human creatures... This happening of digital rituals questions about the singularity of humanist perception on reality. Co-performing with artificial intelligence, it attempts to create alternative epistemologies and outlooks on the (so-called) reality through rendering multi-focal narratives and embedding the psycho-magical practice in forms of living ‘sigils’.

Combing artificial intelligence with the practice of magic and alchemy, Dwellers Between the Waters seeks possible solutions in response to the traumas of the contemporary anthropos, and examines how artificial intelligence, in terms of artistic practice, remains integral to our contemporary condition, that is, the ever-evolving climate crisis and the sixth extinction of species coupled with wars, inflation, capitalist exploitations...By evoking, cultivating and connecting various forms of consciousness in the virtual realms, Dwellers Between the Waters invites the ‘dwellers’ who inhabit in and among ‘realities’ to share their stories and experiences, which then feed back to the (so-called) reality as evolving strings materialising across both physical and virtual domains to (hopefully) bring novel perspectives for further changes. - Oxi Pëng  
______________________________

EPOCH presents, XENOSPACE, a ground-breaking and experimental virtual exhibition that features seven artists exploring the collaborative boundaries between AI and machine learning within their creative processes.

The title “XENOSPACE” alludes to an unusual or unfamiliar environment. EPOCH has processed 360 equirectangular panoramas through Stable Diffusion, generating the subsequent AI-assisted environments that serve as the backdrop for the artworks.

XENOSPACE responds to a significant moment in the field, as it reflects on the growing relationship between humans and machines and the impact of AI on creative expression. The exhibition serves as a benchmark, showcasing the expansive collaborative potential of AI and machine learning in contemporary art practices and exhibition building. – chatGPT

Dwellers Between the Waters #7/8

CATALYST (featuring Tanya Aguiñiga | Carla Gannis | Trulee Hall | Auriea Harvey | Bahareh Khoshooee | Caroline Sinders | Sammie Veeler)  
Virtual exhibition featuring artworks by participating artists (interactive HTML + 8K stand-alone app, Windows/Mac OS compatible file with hi-res audio, viewable on VR headsets)  
Interactive HTML (1.2GB) / 8K stand-alone app (2.8GB)  
Edition of 4 + 8 AP  
_____________________________

EPOCH is proud to present, CATALYST, a group exhibition in collaboration with Honor Fraser Gallery. EPOCH is partnering with Honor Fraser to mount our first hybrid physical/virtual installation. The exhibition features seven internationally celebrated artists who have developed artworks which are situated within a speculative 3D model of LACMA’s forthcoming building, designed by Peter Zumthor. Like chemicals in a laboratory or warm sunlight grazing photosensitive emulsion, the artists in CATALYST use their artwork to provoke and accelerate change, whether that be personal, social, or political.  

CATALYST, EPOCH’s collaboration with Honor Fraser, is the third chapter in a triptych of virtual exhibitions each set within and around a digital representation of LACMA’s campus. The first two exhibitions in EPOCH’s LACMA Saga PHANTOM LIMB and ECHOES can be understood as architectural precursors to CATALYST. The exhibition’s environment in PHANTOM LIMB was inspired by and modeled after the demolition of LACMA’s Ahmanson building. The term “phantom limb” in context became a metaphorical framework to suggest a sense of loss and displaced feelings of pain and growth. The second exhibition in the series, ECHOES, developed in collaboration with LACMA’s Art + Technology Lab, was modeled after the physical excavation area of LACMA’s east campus, as well as neighboring locales around Wilshire Boulevard. The term “echo” refers to the reverberation of ideas, movements, or events that, like sound waves, collide and coalesce at sites of creative exchange.

Unlike the two exhibitions before it, CATALYST plays out in both physical and virtual environments. Building upon the themes of PHANTOM LIMB and ECHOES, CATALYST is set in a post-apocalyptic LA, drawing inspiration from LACMA’s forthcoming building. This digital environment is experienced using VR headsets placed within a physical installation at Honor Fraser. The interior of the digitally fabricated museum is clean and undisturbed — nearly tomb-like—where viewers can interact with artworks safe from the compounding disasters unfolding outside of the museum’s colossal glass windows. The architectural contours of the forthcoming museum are replicated outside of the headsets, transforming Honor Fraser white walls into undulating partitions of translucent fabric and warm LA light.

The curation and corresponding environments invite us to question the role and responsibilities of our cultural institutions, as well as who these spaces best represent and serve. In turn, CATALYST allows viewers to consider the utility of a single idea/vision/object/building to provoke change in two moments in time — virtually in the present and physically in the future.

______________________________

Links: [8k interactive stand-alone app](ipfs://bafybeidwkpqbl4s7wysn2rpu46bo74qgheqne62jt5koyijjpgcr7bdkfa) | [Artwork list catalog](ipfs://bafybeidmkei7ek4ohdcje7izgxxq7gsip7ngcflag2aq223hiqxzkhtdve) | [Collector's Agreement](ipfs://bafybeifirruukpoerfvsyg2ixn5vrthbnmoz4mpqd2mbxw57tfx4suaeb4)

CATALYST - AP #6/8

PURGATORIO (featuring Colectivo Los Ingrávidos | Lucia Grossberger Morales | Xandra Ibarra | Yazan Khalili | Rurru Mipanochia | Vick Quezada | Marton Robinson | Miguel Ángel Salazar & Carlos Iván Hernández | Curated by April Baca)

Virtual exhibition featuring artworks by participating artists (interactive HTML + 8K stand-alone app, Windows/Mac OS compatible file with hi-res audio, viewable online with VR headsets) Interactive HTML (865MB) / 8K stand-alone app (2.7GB) Edition of 3 + 10 AP

___

My country, O my land, my friends – Am I apart – here from you in a land  
Where all your gas-lights, faces, sputum gleam  
Like something left, forsaken? Here am I –  
And are these stars, the high plateau, the scents  
Of Eden, and the dangerous tree – are these  
The landscape of confession, and if confession,  
So absolution? Wake pines – but pines wake here.

I dream the too-keen cider, the too-soft snow.  
Where are the bayonets, that the scorpion may not grow?  
Here quakes of earth make houses fall,  
And all my countrymen I see rush toward one stall.

Exile is thus a purgatory—not such as Dante built,  
But rather like a blanket than a quilt,  
And I have no decision—is it green or brown  
That I prefer to country or to town?  
I am unraveled, umbilical anew,  
So ring the church bells here in Mexico  
(They ring too obdurately here to heed my call) –  
And what hours they forget to chime I’ll know,  
As one whose altitude, at one time, was not so.

– Hart Crane, Purgatorio (Unfinished)  
___

EPOCH proudly presents Purgatorio, a group exhibition organized with UCR ARTS as part of the institution’s Getty Pacific Standard Time Art (PST ART) 2024 Art & Science Collide initiative Digital Capture: Southern California and the Pixel-Based Image World. Exhibited as both a virtual exhibition and physical installation, Purgatorio features intergenerational and globally dispersed artists whose artworks have been expanded in a virtual remodeling of the Chet Holifield Federal Building in Laguna Nigel, CA. Designed as a ziggurat by modernist architect William L. Pereira in 1968-71, the building has supported several government agencies since its initial use as an aerospace firm during the Cold War. This has included the U.S. Treasury Department, Immigration and Customs Enforcement (ICE), and Citizenship and Immigration Services, a palatable contradiction given the legacies of the ziggurat as a sacred site intended to serve as a medium between heaven and earth.

The exhibition visualizes the Holifield’s architectural and political contradictions as an incubator for political violence and communal displacement, particularly along the U.S./Mexico border, in an increasingly technologically mediated police state. Purgatorio takes its title from an unfinished poem by the American poet Hart Crane, a writer whose work mirrors the modernist fetishization of Mexico and border landscapes. Disillusioned with the burgeoning technological determinism prolific throughout the early 20th century, Crane conceived of exile from the United States into the borderlands as a type of purgatory – a romanticized (and seemingly uninhabited) space free from the reaches of technology.

Purgatorio borrows and problematizes Crane’s idealization of purgatory by underscoring the ziggurat and the borderlands’ shared, albeit contradictory, position as a seemingly liminal yet transitory space and geopolitical site of containment. Nuancing otherwise polarizing sentiments surrounding the U.S./Mexico border as a space of death or possibility, the exhibition features work by artists who contend with the violence of the U.S. military-industrial complex, necropolitical surveillance, immigration, and the mutation of culture, identity, and life across borders.

Link: [8k interactive stand-alone app](https://ipfs.filebase.io/ipfs/Qmb2wu2H6Z1B7GdkvXRfR4DAy7dvef5x63NyFr5wi6CY3N?filename=EPOCH_Purgatorio_2024.zip)

PURGATORIO #1/3

ECHOES (featuring American Artist | Lukas Avendaño, EYIBRA (Abraham Brody), NNUX (Ana Lopez), and Oswaldo Erreve | Jacqueline Kiyomi Gork and Rhett LaRue | Lawrence Lek | Jen Liu | Ronald Rael and Virginia San Fratello | Sarah Rara)

Virtual exhibition featuring artworks by participating artists (interactive HTML + 8K stand-alone app, Windows/Mac OS compatible file with hi-res audio, viewable online with VR headsets) Interactive HTML (790MB) / 8K stand-alone app (4GB) 
Edition of 5 + 8 AP

___

ECHOES is an experimental collaboration between EPOCH and LACMA’s Art + Technology Lab featuring past and present Art + Technology Lab grant recipients and organized by artist and EPOCH creator Peter Wu+. The exhibition’s virtual landscape is modeled after the physical excavation area of LACMA’s east campus, where the forthcoming building for the permanent collection is slated to debut, as well as neighboring locales around Wilshire Boulevard in Los Angeles.

Links: [8k interactive stand-alone app](https://ipfs.filebase.io/ipfs/Qmb2wu2H6Z1B7GdkvXRfR4DAy7dvef5x63NyFr5wi6CY3N?filename=EPOCH_Purgatorio_2024.zip) | [Certificate Document](https://ipfs.io/ipfs/QmbrgY1Kcwag2EN8jRH8qprxx4rsLPcGWs2SxzY8fH1FfS) | [Expanded Metadata](https://ipfs.io/ipfs/QmacvwofN2XtSVeaHkFwY1h4m5SAavVbTgJJ8EbobzwtgU)

ECHOES #5/5

A RADIANT FUTURE (featuring Claudia Brăileanu | Ceren Su Çelik | Chris Coleman | Harriet Davey | Sophie Kahn | Parag K. Mital | nouseskou | Yoshi Sodeoka)

Virtual exhibition featuring artworks by participating artists (interactive HTML + 8K stand-alone app, Windows/Mac OS compatible file with hi-res audio, viewable online with VR headsets) Interactive HTML (1.2GB) / 8K stand-alone app (2.25GB) Edition of 3 + 9 AP

A RADIANT FUTURE brings together eight internationally acclaimed artists who envision a new promise for tomorrow. The exhibition unfolds within a speculative 3D simulation of Three Mile Island, the site of the worst commercial nuclear disaster in U.S. history in 1979. No longer a relic of catastrophe, the island is reimagined in 2028 as both an energy hub and an art destination, reflecting a future where history, industry, and creativity converge. This vision positions the site as a semi-operational power supplier under contract with Microsoft, feeding the tech giant’s ever-expanding cloud computing and artificial intelligence infrastructure. What was once a symbol of crisis is now a node in the machinery of technological progress—proof that even disaster has a half-life when there’s data to process.

This exhibition considers the shifting nature of industry, energy, and historical narrative. If the meltdown of 1979 represented the dangers of unchecked ambition, this version of the island suggests a different kind of high-stakes wager—one where the past is repurposed to serve the needs of an insatiable digital economy. The artists examine not only humanity’s place within this accelerating transformation but also the ways in which nature is rewritten, reengineered, and redefined. The landscape of Three Mile Island, once shaped by nuclear disaster, now serves as a testament to how technology subsumes the natural world, integrating it into a vast and abstracted system of energy, data, and infrastructure.

With a wry nod to the way historical sites are repackaged for modern utility, A RADIANT FUTURE presents a world where data is the new uranium, AI the omnipotent reactor, and corporate visionaries the new stewards of our collective past. In this near-future, progress is not just about power generation—it is about narrative control. History doesn’t merely repeat itself; it is reformatted, optimized, and uploaded to the cloud.



A RADIANT FUTURE - AP #7/9

XENOSPACE (featuring Connie Bakshi | Ana Maria Caballero | CROSSLUCID | Libby Heaney | Harvey Moon | Eddie Wong | Ziyang Wu & Mark Ramos)  
Virtual exhibition featuring artworks by participating artists (interactive HTML + 8K stand-alone app, Windows/Mac OS compatible file with hi-res audio, viewable on VR headsets)  
Interactive HTML (858MB) / 8K stand-alone app (1.5GB)  
Edition of 4 + 8 AP  
_____________________________

EPOCH presents, XENOSPACE, a ground-breaking and experimental virtual exhibition that features seven artists exploring the collaborative boundaries of artificial intelligence and machine learning in their creative processes.

The title “XENOSPACE” alludes to an unusual or unfamiliar environment. Upon entering the exhibition, visitors are transported to the virtual “non-space” of a server room. This 360-degree panorama serves as the “initial image” that is processed through Stable Diffusion, generating the subsequent AI-assisted environments that serve as the  backdrop for the artworks. As viewers navigate the installations, they will experience a disorienting and uncanny repetition that challenges their familiar frame of reference.

XENOSPACE responds to a significant moment in the field, as it reflects on the growing relationship between humans and machines and the impact of AI on creative expression. The exhibition serves as a benchmark, showcasing the expansive collaborative potential of AI and machine learning in contemporary art practices and exhibition building. – chatGPT  
______________________________

Links: [8k interactive stand-alone app](ipfs://bafybeic25fayspnzlexjcj2z6dtxopqrzzkdqhoqbwo7a7s5zrlz3fjqmq) | [Artwork list catalog](ipfs://bafybeiee2qgnznkuzee53c3hc236fw6bus5lan6mpjwlftl3na5ltdux4u) | [Collector's Agreement](ipfs://bafybeih5tujqrbxnfwu7nujdub62wry3gobenwvhaeyo64zx6qw3nqfrgm)

XENOSPACE #1/4

CROSSLUCID  
Dwellers Between the Waters, 2023  
Virtual installation: HD video with audio, HD video directional audio, 3D sculptures  
Video narration and soundscape: Sayaka Botanic  
Text / poetry: Oxi Pëng  
______________________________

across the star-flooded fields  
the sound is shining clear  
composed of glimmering lights  
it’s frothing the viscous air  
inhaling the copper promise  
in the frayed tint  
speckled with olfactory traps  
slithering away  
in the lustrous gardens  
through cushions of time  
dictating the direction of winds 
...  
                           — crosslucid (2023)

Dwellers Between the Waters (2023) is conjured by the interdisciplinary artist collective CROSSLUCID as a series of hybrid rituals that mediate the space in between physical presence, trauma, memory, healing and virtuality. Polyphonic in its artificially-intelligent framework, Dwellers Between the Waters could be experienced as a happening that is chanted by various elemental entities such as waters, winds, earth, air, algorithm... as well as poetry, history, magic, human and more-than-human creatures... This happening of digital rituals questions about the singularity of humanist perception on reality. Co-performing with artificial intelligence, it attempts to create alternative epistemologies and outlooks on the (so-called) reality through rendering multi-focal narratives and embedding the psycho-magical practice in forms of living ‘sigils’.

Combing artificial intelligence with the practice of magic and alchemy, Dwellers Between the Waters seeks possible solutions in response to the traumas of the contemporary anthropos, and examines how artificial intelligence, in terms of artistic practice, remains integral to our contemporary condition, that is, the ever-evolving climate crisis and the sixth extinction of species coupled with wars, inflation, capitalist exploitations...By evoking, cultivating and connecting various forms of consciousness in the virtual realms, Dwellers Between the Waters invites the ‘dwellers’ who inhabit in and among ‘realities’ to share their stories and experiences, which then feed back to the (so-called) reality as evolving strings materialising across both physical and virtual domains to (hopefully) bring novel perspectives for further changes. - Oxi Pëng  
______________________________

EPOCH presents, XENOSPACE, a ground-breaking and experimental virtual exhibition that features seven artists exploring the collaborative boundaries between AI and machine learning within their creative processes.

The title “XENOSPACE” alludes to an unusual or unfamiliar environment. EPOCH has processed 360 equirectangular panoramas through Stable Diffusion, generating the subsequent AI-assisted environments that serve as the backdrop for the artworks.

XENOSPACE responds to a significant moment in the field, as it reflects on the growing relationship between humans and machines and the impact of AI on creative expression. The exhibition serves as a benchmark, showcasing the expansive collaborative potential of AI and machine learning in contemporary art practices and exhibition building. – chatGPT

Dwellers Between the Waters #9/15

EPOCH is proud to present, XENOSPACE, a ground-breaking and experimental virtual exhibition that features seven artists exploring the collaborative boundaries of artificial intelligence and machine learning in their creative processes.



XENOSPACE

CATALYST - AP #4/8

EPOCH is proud to present, CATALYST, a group exhibition in collaboration with Honor Fraser Gallery. EPOCH is partnering with Honor Fraser to mount our first hybrid physical/virtual installation. The exhibition features seven internationally celebrated artists who have developed artworks which are situated within a speculative 3D model of LACMA’s forthcoming building, designed by Peter Zumthor. Like chemicals in a laboratory or warm sunlight grazing photosensitive emulsion, the artists in CATALYST use their artwork to provoke and accelerate change, whether that be personal, social, or political. 

CATALYST

PURGATORIO - AP #10/10

EPOCH proudly presents PURGATORIO, a group exhibition organized with UCR ARTS as part of the institution’s Getty Pacific Standard Time Art (PST ART) 2024 Art & Science Collide initiative "Digital Capture: Southern California and the Pixel-Based Image World." Exhibited as both a virtual exhibition and physical installation, Purgatorio features intergenerational and globally dispersed artists whose artworks have been expanded in a virtual remodeling of the Chet Holifield Federal Building in Laguna Nigel, CA. Designed as a ziggurat by modernist architect William L. Pereira in 1968-71, the building has supported several government agencies since its initial use as an aerospace firm during the Cold War. This has included the U.S. Treasury Department, Immigration and Customs Enforcement (ICE), and Citizenship and Immigration Services, a palatable contradiction given the legacies of the ziggurat as a sacred site intended to serve as a medium between heaven and earth.

PURGATORIO

ECHOES is an experimental collaboration between EPOCH and LACMA’s Art + Technology Lab featuring past and present Art + Technology Lab grant recipients and organized by artist and EPOCH creator Peter Wu+. The exhibition’s virtual landscape is modeled after the physical excavation area of LACMA’s east campus, where the forthcoming building for the permanent collection is slated to debut, as well as neighboring locales around Wilshire Boulevard in Los Angeles.


epoch-bw9kr4

epoch-bw9kr4

Featured (0)

All Works (0)