IOANA VREME MOSER: ‘Fluidna anatomija’

Razstava // 21. maj do 3. julij 2026
@Galerija Kapelica, Likozarjeva 1 (4. nad.)

*Galerija Kapelica je odprta vsak ponedeljek, sredo & petek med 10h – 17h ter vsak torek & četrtek med 12h – 19h.

Projekt ‘Fluidna anatomija‘ je analogna zvočna instalacija, ki temelji na komponentah in tokokrogih fluidne mehanike. Fluidika, znana tudi kot fluidna logika, je tehnologija, ki se je uveljavila v 50-ih letih prejšnjega stoletja, in uporablja fizikalne lastnosti tekočin in plinov za izvajanje logičnih operacij, podobnih tistim, ki jih omogoča elektronika. Sistem fluidike, ki uporablja pojav dinamike tekočin za zaznavanje, kontroliranje, podajanje informacij, obdelavo in pogonske funkcije, brez uporabe gibljivih mehanskih delov, glede hitrosti ni konkurenčen elektronskim sistemom, se pa zaradi svoje stabilnosti in odpornosti na sevanje in okoljsko propadanje uporablja predvsem v vesoljski in letalski industriji, v medicini in biotehnologiji (mikrofluidika), v proizvodni industriji in avtomatiziranih procesih idr..

S poudarkom na fluidiki kot alternativi elektroniki avtorica razkriva pozabljeno vzporedno zgodovino, da bi izpostavila odpornost fluidnih računalnikov. Instalacija vključuje več oblik tokokrogov, preoblikovanih iz starih patentov najdenih v arhivih v organske forme, ki so daleč od rigidne geometrije tiskanih vezij, in medseboj s cevmi povezanih v fluidni sistem. Tok potuje po razvejanem sistemu cevi in ob vstopu v organske geometrije njegova pot odstopa zaradi Coandinega učinka, fizikalnega pojava, pri katerem ima curek tekočine (ali plina) tendenco, da ostane pritrjen na konveksno površino, ob kateri se giblje. Vsak akrilni element instalacije ima izvotljen del v skrbno oblikovanih konturah, ki zaradi krivin preusmerjajo pot toka z ene strani na drugo. Vhodni senzorji zaznavajo prisotnost in odsotnost vode ter zraka, velik oscilator z dolgimi povratnimi potmi določa ritem sistema, tokokrog za oblikovanje impulzov pa ustvarja vibracije. Curki se štejejo (v binarnem števcu), shranjujejo (v pomikalnem registru), primerjajo (v primerjalniku), zmanjšujejo (v tokokrogu za odštevanje) in združujejo v končnem seštevalniku. Vzporedne zračne poti nadzorujejo različne oscilatorje, ki zvenijo v plastenju žvižgajočih oz. pulzirajočih frekvenc.

Avtorica v projektu raziskuje osupljive morfologije v tem “živem” vezju, ki temelji na povratni zanki kontinuiranega kroženja. Ko se vzorci ritmično spreminjajo, se obiskovalci lahko sprehajajo med fluidnimi telesi ter poslušajo subtilne zvoke, ki jih ustvarjata voda in zrak.

V letu 2025 je umetnica za projekt ‘Fluidna anatomija‘ prejela častno omembo Prix Ars Electronica v kategoriji Umetno življenje in inteligenca.

*Projekt je bil razstavljen v sklopu skupinske razstave ZEMLJA BREZ LJUDI: ‘Uporniška komputacija’.

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Produkcija & kuriranje: singuhr projekte | Tehnična podpora: Dorian Largen | Produkcijska podpora: Jan Rohmer, FabLab.ro | Znanstveni svetovalec: Dr. Benjamin Bühling | Finančna podpora: Musikfonds e.V. (DE); Bezirksamt Pankow, Berlin (DE) | Raziskovalno delo opravljeno v: Tangible Music Lab & hosted through Atelierhaus Salzamt, Linz
Razstava v Galeriji Kapelica // Producenta: Sandra Sajovic, Miha Satler | Tehnična podpora v Galeriji Kapelica: Jure Sajovic, Boris Britovšek | Razstavo sofinancirata: Ministrstvo za kulturo RS, MOL – Oddelek za kulturo

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Exhibition // May 21 to July 3, 2026
@Kapelica Gallery, Likozarjeva 1 (4th floor)

*Kapelica Gallery is open every Monday, Wednesday, and Friday from 10 a.m. to 5 p.m., and every Tuesday and Thursday from 12 p.m. to 7 p.m.

‘Fluid Anatomy’ is a purely analogue system powered only through water and air, based on components and circuits from fluid mechanics. The installation implements a fluidic model in which water and air carry information. This fluidic computer fills the entire space with its swirls, pulsating fluids and vibrations.

Fluidics, also known as fluid logic, is a research field established in the 1950s that uses fluid jets to perform operations similar to those achieved through electronics. In fluidics, form follows function, curved intricate cavities become switches that can resist radiation and environmental decay. Such shapes were sent into space, powered automation machines (Soviet Volga Jet System) and heart valves. 1964 saw the first fluid digital computer FLODAC released by Univac. These circuits were still slow compared to their electronic counterparts and in a time where speed became key, fluidics lost itself in history.

Focusing on fluidics as an alternative to electronics, ‘Fluid Anatomy’ unravels a forgotten parallel history to highlight the beauty and resilience of computers that become fluid. The installation exposes more than 20 shapes restored and transformed from old patents and archives. These lost and found circuits reanimate a technology that does not want to become faster but rather attuned to water and air movements. It appears as if their humanesque form defies the rectangularity of electronic circuit boards.

The stream makes its way, pumped throughout a branching system of tubes. As it enters the geometries, its path is deflected by the Coanda effect. This physical phenomenon notes that jets tend to attach to convex surfaces, curves attract and therefore can deviate a stream. Each shape forms a cavity comprised of attentively placed contours that move the path from side to side. Input sensors trace the presence and absence of water and air. A large Oscillator with long feedback paths clocks the system. A pulse shaper circuit creates vibration. Jets are Counted (in a Binary Counter), memorised (in a Shift Register), compared (in a Comparator), reduced (in a Subtraction circuit) and joined in a final Summer. Parallel air paths control diverse oscillators which resound in cascaded whistled frequencies.

The installation pursues these riveting morphologies in a large circuitry that rests in a state of feedback as everything recirculates. All calculations are made transparent through plates of acrylic glass and tubes. As the installation passes from one rhythmic pattern to another, the public is invited to walk amongst fluidic bodies and listen to the subtle sounds that water and air produce.

In 2025, the artist received an Honorary Mention at the Prix Ars Electronica for the project ‘Fluid Anatomy’ in the Artificial Life &Intelligence category.

*The project was featured as part of the group exhibition EARTH WITHOUT HUMANS: ‘Rebellious computing’.

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Project ‘Fluid Anatomy’ // Produced & curated by: singuhr projekte | Technical support: Dorian Largen | Production support: Jan Rohmer, FabLab.ro | Scientific Advisor: Dr. Benjamin Bühling | With support from: Musikfonds e.V. (DE); Bezirksamt Pankow, Berlin (DE) | Research Conducted at: Tangible Music Lab & hosted through Atelierhaus Salzamt, Linz
Exhibition at Kapelica Gallery // Producers: Sandra Sajovic, Miha Satler | Technical support & light design: Jure Sajovic, Boris Britovšek | The exhibition is co-financed by: Ministry of Culture of the Republic of Slovenia, City of Ljubljana – Department for Culture