Julius Schmiedel

These are seven selected works, different fields i expand into.

Installations, projection, a hologram. Different media, one aim: perception.

Please take note of the available video documentation.

  • Einstein Rosen Brücke

    Installation with Michael Schmitt, at Kunstraum Anakoluth, Köln

    Video also available in german, featuring the audio guide from the exhibiton, which then was provided by a phone number.

    A model train disappears into a tunnel in the left-hand window of a closed gallery. Instantly—without delay—it emerges from a second tunnel in the window to the right, gliding into view as if the distance between them had collapsed completely. Between the two windows lies a transparent glass door, revealing that no physical connection exists. And yet, the train seems to jump.

    Einstein Rosen Bridge is a quietly delightful intervention into both everyday space and the physics of illusion. Named after the theoretical “bridge” or wormhole that connects two points in spacetime (first described by Einstein and physicist Nathan Rosen in 1935), the piece evokes a familiar trope from science fiction: the impossible portal that makes the fantastic plausible. A phone number posted near the work offered callers a brief explanation of the Einstein-Rosen bridge, but offered no clues about the mechanics of the train itself.

    Technically, the trick is achieved through a carefully timed choreography between two identical Märklin H0 model trains, sensors, and a custom microcontroller hidden from view. But the artists deliberately leave the technology in the background. What matters is the feeling—a moment of magic in the middle of a quiet street, where something as ordinary as a model train becomes a vehicle for surprise, wonder, and maybe a little bit of sci-fi awe.

    Born from a playful back-and-forth between two longtime collaborators, the piece also touches—gently—on ideas of childhood nostalgia, the suspension of disbelief, and the serious possibilities of “adult toys.” Installed during the gallery’s summer closure, Einstein Rosen Bridge turned the shopfront itself into a kind of time-space experiment: a speculative fiction you could stumble upon while walking by.

  • Simple Sample

    Sound-reactive Light Installation at „Zero Abend Film und Musik“, Akademie der Künste Berlin, 2015

    Simple Sample is a roughly one-square-meter light object: a diffusive panel lit by RGB-LEDs, driven by a self-designed circuit and software. Rather than running on fixed timing, the system listens. In random intervals, it samples incoming sound—translating its characteristics into rapid flickers of color, updating about 1000 times per second.

    The result is a visual echo of sound, shaped by the chaos and rhythm of the source itself. The software is intentionally raw, unpredictable, and simple—just like the name suggests. But this simplicity holds space for complex, often surprising interactions between sound and vision. Music doesn’t just trigger light—it shapes its behavior. A jazz track will create a different mood than pulsing electronics, and each moment feels unique.

    For its debut, Simple Sample was paired with the sound of Düsseldorf artist Pyrolator, creating a one-night-only synesthetic experience. The panel doesn’t strive for accurate representation—it’s not a “sample” in the traditional, technical sense. Instead, it explores what happens when feedback, randomness, and audiovisual perception meet.

    Flickering, unpredictable, sometimes hypnotic—it’s a piece you don’t watch so much as you feel. Cameras won’t capture it properly; it lives in your eyes and ears. You don’t need to understand the tech. Just take it in.

  • a blink

    shown 17th – 22nd of July 2014, at GOLD+BETON, Cologne

    This exhibition explores the complexities of human perception, particularly how it contrasts with the way a camera captures light and color. It guides visitors from the spontaneous bursts of color in the front gallery to a meticulously choreographed light experience in the back, evoking an almost psychedelic vision. The aim is to encourage reflection on individual perception within unique settings, inviting viewers to engage with the interplay of light and the intricacies of visual experience.

    RGBlaster (2008-2014)

    This installation consists of three strobe lights filtered in red, green, and blue, operating at the slowest flash rate. Due to slight manufacturing variations, the lights occasionally synchronize, resulting in a dynamic display of colored and white light. This work highlights the randomness of color perception and its impact on the viewer’s experience.

    RGBlaster 2 (2014)

    Utilizing RGB LEDs and translucent white foil, this piece presents the three primary colors in a sequential manner. As the speed of the transitions varies, the colors merge into white light, creating optical illusions and patterns that engage human perception. This installation invites contemplation on the fluidity of color and visual interpretation.

    A Blink (2014)

    Discreetly located in the restroom, this installation features modified fluorescent lights controlled by a microprocessor that generates random delays mimicking the human blink rate. The lights flicker off for a brief moment (1/50 of a second), resulting in an ephemeral experience that may go unnoticed by some. This piece serves as a reminder of the fleeting moments that influence perception.

  • Randomly Flipped Switches

    Light Installation for “Interference:Coexistence”, a show by the Center for Holographics Arts, NYC

    In the bustling plaza, where a cacophony of lights competes for attention amidst the chaos of urban life, my light installation emerges as a beacon of minimalism and intrigue. Suspended vertically in the windows above the entrance, fluorescent tubes flicker in a rhythmic dance, inviting passersby to pause and ponder their presence.

    At the heart of this installation lies a custom-built microcontroller, programmed with self-written software that transforms static noise into a source of randomness. An analog input, connected to a makeshift antenna, captures the ambient static, generating truly random numbers that dictate the behavior of the lights. This simple yet effective logic inverts the state of the tubes, creating a mesmerizing interplay of illumination and darkness.

    As viewers navigate the plaza—many of whom are commuters emerging from the elevated subway train—this installation serves as a cryptic enigma. It stands apart from the surrounding chaos, prompting questions and curiosity: “What is this?” The work acts as a teaser for the venue, hinting at the deeper themes explored within the exhibition while remaining distinct in its execution.

    This piece is part of a broader exploration of light controlled by random signals, reflecting my fascination with the intersection of technology and art. The experience of creating this installation was immensely rewarding, as it allowed me to distill complex ideas into a simple yet thought-provoking visual statement. Through this work, I invite viewers to contemplate the nature of randomness and the beauty of minimalism in a world often overwhelmed by noise.

  • RGBlaster at “Reflexionen”

    RGBlaster made another appearance at “Kobe Biennale 2011”, at the japan-based Hyogo Prefectural Museum of Art. It is part of an exhibition making a connection between the japanese group of “Gutai” and the german “Zero”, both showing the original artists of those groups, and two positions of younger artist in one show. The exhibition was on view from first of october until the 23rd of november 2011.

     

    zero-plakat

     

    Foto 26.09.11 17 25 55

     

    Interview JS kobe 2011 (in german)

  • Little Peeper

    In collaboration with the artist Meng-Hsuan Wu, at that time also a resident at Flux Factory, an interactive video installation was presented at the Chashama Film Festival in New York City. This engaging installation was on display from October 22nd to 26th, operating nightly from 6 PM to 11 PM.

    The installation features a representation of a pair of eyes crafted from rice paper, animated through rear projection technology. The eyes, which mimic the curious gaze of an individual exploring the streets of New York City for the first time, wander playfully, capturing the essence of wonder and discovery. Their movements are dynamically controlled by a computer connected to a camera, utilizing computer vision tracking software to follow the movements of pedestrians on the sidewalk.

    The intention behind this work was to evoke a sense of humor and joy, inviting viewers to engage with the artwork in a lighthearted manner. Audience reactions were overwhelmingly positive, with many expressing delight and laughter as they interacted with the installation. This playful exchange between the artwork and its viewers created a memorable experience, highlighting the humorous side of urban exploration.

  • 200 Frames

    200 Frames is a holographic work that explores the interplay between space, time, and perception. Composed of 200 images embedded into a stereogram hologram, the piece unfolds as the viewer moves along the horizontal axis. A golden picture frame—literal, yet anchoring—remains a constant, shifting naturally with the viewer’s perspective. Behind it, bursts of fireworks bloom and dissolve in unexpected rhythms.

    The fireworks, vivid against a black void, behave in ways that defy linear time—sometimes moving forward, sometimes reversing—creating a visual logic all their own. This manipulation of time, layered with shifting space, transforms a simple act of viewing into something more physical and performative. As one friend described it, engaging with the work becomes a kind of dance: “the holo shuffle.”

    The piece was born out of a desire to embrace holography not just as a medium, but as a language—to let it speak in ways only it can. In 200 Frames, space and time are not just represented, they are experienced, entangled in a single act of looking. The result is something between memory and moment, presence and illusion—a quiet invitation to move, to watch, and to wonder.

    The Hologram is now part of the Jonathan Ross Collection.