In the summer of 2020, the artists’ collective Westring22 will turned the building Westring 22 in Bochum into an experiential, multimedia, interactive, audio-visual, changing installation: TRANSFORMATION.
Max Schweder: Concept, Project Management, Reacitve Visuals
Tobias Hartmann: Reactive Binaural Soundart, Realtime Audio Streaming
Mario Simon: Mapped Visuals
Natalja Hipke: Installation
Aline Wyrwich: Technical Realisation
TRANSFORMATION underscores and thematizes the transition of the Westring 22 building from one phase of its existence to the next. Like the city of Bochum, the building itself is in transition. This change, however, is not meant to go unnoticed, but to be illuminated and clarified. The interactive, audio-visual installation TRANSFORMATION allows visitors to become part of this transformation.
The focus of the installation is on the basement. Visitors will be able to see from a distance that the building is not empty, but is undergoing a transformation. Illuminated sculptures can be seen in the interior. Spun webs of canvas, illuminated with colored light. These webs look like technologized cocoons and illustrate the pupation of the building. It is in metamorphosis and getting ready for a new age.
As the visitor steps closer, he realizes that the lights are in motion. The cocoons are pulsating. On them are vivid images of change. The animations show abstract and concrete images representing time and transience, demolition and construction, upheaval and new beginnings. Transitions from the analog to the digital age are thematized in general, but also Bochum itself and its change in particular.
If the visitor walks along the building to the main entrance, she or he can become part of the installation by stepping in front of the entrance door to be captured by a 3D camera. His virtual and animated reflection is then integrated into the audio-visual installation at the main entrance. His virtual image becomes part of the installation.
The sculpture behind the window appears like a broken, surreal mirror. The visitor sees himself in it, for example as a three-dimensional point cloud, as a giant above a virtual Bochum. This virtual mirror image of the visitor can touch and move the virtual points of the animation.
The visitor’s gaze falls on indications at the entrance that he or she can use a smartphone with headphones to also hear the change from Westring 22. Using the smartphone, the visitor opens a website that plays the binaural sounds of the audio-visual installation. The visitor quickly notices that these sounds are in rhythm with the pulsation of the light and animations. The light, animation and sound respond in real time to the visitor’s interaction with the audio-visual installation. The visitor himself has connected and networked with the building. He no longer lingers in front of a vacant property, but interacts with an audio-visual work.
The installation itself changes over the period of its existence. The artist collective Westring22 actively manages their installation. They will respond to local and global daily events. They relate the current changes in the world to the building on Westring and address them through the images in their visualizations. The artists work with the space and the building. Everything comes into motion and change.
The illuminated cocoons and the virtual mirror will change their shapes and colors over time. But the goal remains: to artistically accompany the building’s transition from one phase to the next and to allow visitors to participate in this process: TRANSFORMATION.