Chronotopic Fractures is a time-based installation that narrates how climate disruption fractures our shared architectures of time. Its core reference, the leap second, a tiny correction aligning atomic time with Earth’s unstable rotation, exists in a liminal space and exposes tensions between profit-driven precision and planetary rhythms. Two rotating devices, synced to UTC and UT1, drift in and out of alignment. Research spans the Paris Observatory and the Swedish Arctic.
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Borders of Neutrality is an installation that produces movement within the appearance of motionlessness, as Italy and Switzerland redraw their Alpine border amid melting glaciers and landslides. Observing the moving image from a slate bench with chalk traces, the audience wonders on the fragility of land and neutrality. When the natural mountain fortress collapses, can neutrality remain?
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Immaterial Sublime traces sand’s metamorphosis from raw geology to technological abstraction. Quartz, composed of silicon and oxygen, is refined into polysilicon for electronic components. Ancient mineral formations become industrial commodities, geology transfigured into circuits. The work asks what remains of sand once its planetary history is purified into data.
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I Thought ASML Slept on Sundays is a sonic infiltration of ASML, mapping what leaks from a sealed chip-making empire that powers computation, surveillance, warfare and daily life. It assembles field-recorded peripheries, encrypted patents and speculative sonic blueprints into a three-layer installation: porous noise at the edge, extracted discourse inside, and reverse‑engineered machine imaginaries at the core. Where extreme precision seeks absolute silence, control hums on, even when unheard.
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Across A Flock’s Orbit unites the 2025 Geo-Design MA theses (Design Academy Eindhoven), with each project exploring shifting human, ecological, geopolitical, and technological systems driven by interrelated feedback loops. The publication showcases new understanding through collective composition. In Chronotopic Fractures, Aleksandra Nazarova’s work studies climate disruption’s impact on time, tracing the leap second’s fate and unravelling tensions between technological precision, planetary flux, and uncertainty.
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Topophilia is a two-channel sound installation using ceramic vessels with hidden speakers as intimate containers for a place that can no longer be reached. One vessel carries muffled traces of human voice, the other environmental recordings, both drawn from a personal archive of a Ukrainian coastal city under occupation. They hold a sonic bond to a geography that lives as memory.
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Bread as Vector materializes paradoxes of sustenance, memory, violence via substance and scent. Charcoal and flour form carbonised objects. The smell of fresh bread saturates the space. Wheat links regions through food systems. Charcoal, flour, olfaction, and rupture.
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Origin – Form unpacks the industrial logic of object production. Embedding iron ore materiality in the eating surface of cast ceramic spoons, the work materialises genesis of the everyday. Stainless steel, the fantasy of neutrality, erases origin and time. Serial casting with bronze glaze oxidation transforms each spoon into a weathered archive. The everyday object becomes resource, extraction, transformation and the trajectories that made it possible.
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