Robert Lippok & Lucas Gutierrez^DE+AR

Robert Lippok is a renowned German electronic musician and visual artist. He is well-known for his work with the influential band To Rococo Rot, which blends post-rock with electronic music. Lippok's solo work explores ambient and experimental music, often incorporating intricate sound design and innovative use of technology. Lucas Gutierrez is an Argentinian visual artist and industrial designer whose work spans video art, CG/3D design and real-time visualizations specializing in spatial audiovisual installations and dynamic media, digital & physical. His visuals are known for their abstract, futuristic aesthetics and their ability to create deeply immersive environments.

Gutierrez is a longtime visual collaborator for Lippok’s release and live performances. A by the book dynamic duo, they are constantly expanding the ways in wich their artistic lenguajes converge and contrasts. Their audiovisual imprint is proven powerful: we still remember their amazing live A/V for MUTEK MX Edition 15 and now their back for another anniversary edition, ready to reinvent what collaboration an co-creation means nowadays. Are we ready? Totally.

Lucas Gutierrez & Robert Lippok — Non-Face

For their first joint Fulldome-piece, sound artist Robert Lippok and digital artist Lucas Gutierrez analyze impossible objects – items that may look realistic, but can in fact not exist in the physical world.

Non-manifold geometries describe “fake-objects” – items that may look realistic, but can in fact not exist in the physical world. They develop their sensual plausibility in the digital world. One famous example is the Penrose-triangle: Its three beams appear to be positioned at right angles to each other, and yet they are connected to form a triangle. In 3D-animation, such objects regularly surface through so-called mesh-mistakes. For their first joint Fulldome-piece, sound artist Robert Lippok and digital artist Lucas Gutierrez have identified these frequently occurring mistakes in their own artistic practice and develop data structures to explore these fantastic objects. Their work produces different dimensionalities and creates new topological relations. This might not determine the inside or the outside of these impossible objects, but it will render the sonic and visual boundaries of a three-dimensional space tangible. To this end, the composition uses simulated reflections in physical and virtual spaces. Various methods of traditional instrument building are used to transcribe the virtual geometries into musical patterns which, in turn, weave sequences of notes and real-time emulations of different sound sources into multi-layered textures.