Blog - Lumlux Art

2 Sep 2026 Chasing Storms Through Screens

Chasing Storms Through Screens

Shuang Li’s Alliance begins with storm chasing, the deliberate pursuit of tornadoes, hurricanes and other extreme weather.

At Kunsthalle Basel, where the exhibition runs until 13 September 2026, that pursuit expands into an immersive environment of video, sound and architecture. Roads, weather forecasts and meteorological imagery appear within a visual world that connects physical storms to the less visible systems shaping contemporary digital life.

The comparison works because both kinds of systems are difficult to see as a whole.

A storm can be tracked on a screen, measured and predicted, yet standing inside one is completely different from reading its data.

Digital infrastructures behave similarly. Algorithms, networks and platforms surround daily life while most of their operations remain invisible.

What I like here is that weather is not reduced to a metaphor pasted onto technology. Both involve prediction, control and a point where prediction fails.

The storm chaser moves toward instability in order to observe it.

Most technology is designed to do the opposite. It promises to remove uncertainty.

Li seems interested in the moment when that promise begins to break down.

https://kunsthallebasel.ch/de/exhibitions/shuang-li

#ShuangLi #VideoInstallation #DigitalCulture #ContemporaryArt

Chasing Storms Through Screens Kunsthalle Basel Alliance · Kunsthalle Basel Seit 1872 zeigt die Kunsthalle Basel nicht nur Kunst – sie hat sie immer wieder neu definiert. Mit unerschütterlichem Engagement für aufstrebende Künstler:innen rückt sie deren bahnbrechendes Schaffen ins Rampenlicht – oft lange bevor diese international bekannt werden.

1 Sep 2026 Cinema Escaping Into the

Cinema Escaping Into the Museum

Isaac Julien rarely asks us to watch a film on one screen.

His installations distribute moving images across several screens so that editing begins to happen spatially as well as temporally. A character may disappear from one image and appear somewhere else in the room. Two events can run simultaneously. The viewer has to decide where to look.

Museum Dreams, currently at gres art 671 in Bergamo until 4 October 2026, brings together five large-scale installations spanning more than two decades of Julien’s work, including Once Again… (Statues Never Die) and Lina Bo Bardi: A Marvellous Entanglement.

What changes for me in multi-screen cinema is the loss of the perfect edit.

In an ordinary film the director controls exactly which image follows another.

In an installation, the spectator can look away.

Another screen can become more interesting.

Two sequences can accidentally combine because of where you happen to be standing.

That sounds like a loss of control, but it creates another kind of authorship.

The filmmaker composes possibilities rather than one compulsory sequence.

It has something in common with electronic performance.

A set of carefully prepared elements exists, but their relationship becomes partly dependent on space, timing and attention.

Cinema stops being only something projected in front of us.

It becomes architecture we move through.

https://gresart671.org/en/2026/04/10/isaac-julien-museum-dreams/

#IsaacJulien #VideoInstallation #MovingImage #ExpandedCinema

Cinema Escaping Into the Museum gres art 671 ISAAC JULIEN gres art 671 Isaac Julien rarely asks us to watch a film on one screen. His installations distribute moving images across several screens so that editing begins to happ…

1 Sep 2026 Building Ecology Inside

Building Ecology Inside a Game Engine

Jakob Kudsk Steensen begins many of his digital worlds far away from the computer.

His fieldwork has taken him to environments including a collapsed Swiss ice cave, experimental forests in Minnesota, volcanic seafloors around the Azores, Bora Bora and abandoned tourist landscapes.

Those places are recorded using techniques including photogrammetry, environmental data gathering, sound recording and collaboration with scientists. The material then becomes the basis for virtual environments, spatial sound and immersive moving-image installations.

Otherworlds, at PHI in Montréal until 13 September 2026, brings together six of these worlds from roughly a decade of work. It includes the North American premiere of Psychosphere, where video from geothermal and deep-sea environments meets spatial sound, interactive light and sculptural forms.

What interests me is the direction of travel.

Digital world-building is often associated with inventing environments that never existed.

Steensen does something more complicated.

He begins with places that exist intensely enough to be measured, photographed and scientifically observed, then reconstructs them digitally until documentation turns into speculation.

The resulting world is neither nature nor simulation.

It contains traces of both.

That makes the computer less like an escape from the physical environment and more like a strange ecological memory device.

A forest can become data.

Data can become an imaginary forest.

And the imaginary forest may make us notice what was disappearing from the real one.

https://phi.ca/en/events/jakob-kudsk-steensen-otherworlds/

#JakobKudskSteensen #DigitalArt #VideoInstallation #VirtualWorlds

Building Ecology Inside a Game Engine phi.ca One moment, please... Jakob Kudsk Steensen begins many of his digital worlds far away from the computer. His fieldwork has taken him to environments including a...

26 Aug 2026 Expanded Cinema

When Film Invades the Room

Ho Tzu Nyen’s The Cloud of Unknowing begins as moving image but refuses to remain simply a film on a wall. Created for the Singapore Pavilion at the 2011 Venice Biennale, it was filmed inside a public housing block shortly before demolition. Eight characters encounter different manifestations of a mysterious cloud, with references ranging across Eastern and Western art history.

But the installation extends beyond the image.

Multiple screens, multichannel audio, theatrical lighting and smoke transform the viewing space itself. The cloud can effectively leave the projected world and appear to enter the room occupied by the audience.

That interests me from a VJ and expanded-cinema perspective.

Projection normally creates a clear border: reality here, image there.

Smoke destroys that certainty because projected light suddenly has volume. A beam that was invisible in the air becomes a physical-looking object.

The simplest atmospheric effect can therefore change the grammar of cinema.

The image stops being something we look at.

For a moment, we are standing inside it.

https://www.chanel.com/us/chanel-next-prize/ho-tzu-nyen/

#HoTzuNyen #ExperimentalFilm #VideoInstallation #ExpandedCinema

When Film Invades the Room chanel.com Ho Tzu Nyen’s The Cloud of Unknowing begins as moving image but refuses to remain simply a film on a wall. Created for the Singapore Pavilion at...