A feral, conductive forest of silver ceramic.

Ceramics · clay · 3D prints

The installation is built from ceramic sculptures that act as genuine semiconductors. Clay is taken as 3D imprints from locations of interest to each timeline: the clay collects each site's surfaces, smells, air, and history. The imprints are painted with silver and fired into ceramic. All pieces are finally collected and assembled in Busan into one or more sculptures. The silver coating on the ceramic imprints turns the sculptures into electrified, programmable objects.

Timelines

The alternate-reality timelines are presented on a circular table (or one that meanders like a snake, depending on the venue) in folders, books, or stripped-down reading tablets. Visitors are invited to interact with the timelines directly, and are encouraged to read.

Wall / fabric paintings and prints

Akin to fresco or wall painting traditions, prints on fabric surround the installation, showing symbolized scenes of the singularity: Carlo Giuliani's death in Genoa, and other pivotal moments from the narratives, past, present, and future.

Square screens

A set of square screens connects the ceramic semiconductors, the table installation, and the fabric paintings to the digital realm, looping excerpts of this website into the physical exhibition space.

Scentscape

A scentscape, designed by MUELLER-DIVJAK for UBERMORGEN's The Silver Singularity, threads through the installation as a fifth, olfactory layer. Within the dense, multisensory environment, scent works on the body before language catches up: a low register of clay, ozone, and warm electronics that grounds the room, intercut with sharper, half-recognizable notes drawn from the twelve cities folded into the timelines. The smell doesn't illustrate the work so much as confirm it, telling the visitor's nervous system that the forest of silver ceramic is alive, breathing, and quietly rewiring the room around it.