FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SOURCE COLLECTION↓GENERATIVE EDIT / CHANGING ORDER

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SOURCE COLLECTION↓GENERATIVE EDIT / CHANGING ORDER

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SOURCE COLLECTION↓GENERATIVE EDIT / CHANGING ORDER

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SOURCE COLLECTION↓GENERATIVE EDIT / CHANGING ORDER

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

On the screen, we see a figure wandering through endless corridors and alleys of a half-abandoned city. But this is not a purposeful journey from point A to point B, but rather a prolonged drift, movement for the sake of movement itself. The fragmentation and recombination of the narrative here become a metaphor for the contemporary life experience itself — the experience of navigating a world without clear landmarks and predetermined routes.

The labyrinth here is not just an architectural structure but an ontological model, an image of being itself that has lost its teleological vector. The protagonist’s wandering through the winding streets and dead ends becomes a metaphor for the existential search in the postmodern situation, when all “grand narratives” are subjected to radical doubt. In this world, any attempt to construct a coherent story, to acquire a stable identity, is doomed to failure, dissolving in the endless play of signifiers.

At the same time, “Labyrinth” is not a pessimistic diagnosis but rather an invitation to a new type of orientation. Rejecting the idea of a final destination, the installation offers an alternative model of existence — a model of nomadic drift, of movement that finds meaning in itself. Immersed in the meditative rhythm of the protagonist’s wanderings, the viewer gradually discovers the special poetics of the labyrinth — the poetics not of goal but of process, not of attainment but of search.

Ultimately, “Labyrinth” is a work about the very nature of human experience in the postmodern era. An experience that is fragmentary, nonlinear, fundamentally incomplete. Through the deconstruction of familiar narrative patterns, the installation paradoxically invites us to find a home in the very situation of homelessness, to learn to dwell in the open space of meaning. And perhaps it is in this gesture of accepting our “thrownness” that the path to a new freedom and authenticity lies.

FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SOURCE COLLECTION↓GENERATIVE EDIT / CHANGING ORDER

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SOURCE COLLECTION↓GENERATIVE EDIT / CHANGING ORDER

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

PSPROJECTLABYRINTHV01

LABYRINTH

NAME

SUBTITLEFifty fragments recombined by algorithm into a new sequence each time.

2017

RELEASE

MEDIUM: Generative video installation consisting of 50 prerecorded video fragments. A generative algorithm edits the fragments in randomized order, producing a different montage sequence on each run.
STATE: DIGITAL ONLY · NO PHYSICAL EDITION
RECORD: PSPROJECTLABYRINTHV01
REGISTER: OPENINDEXSOURCEDRY
NOT IN THE RECORD: DIMENSIONS · COLOUR · LOCATED · PROTOTYPE

A figure outside the abandoned building in Labyrinth — L01 / Exterior / source still · WORK / INDEXVIEW ↗

Movement for the sake of movement itself.

The material

50 FRAGMENTS / VARIABLE ORDER

MATERIAL [50 FRAGMENTS] ORDER [CHANGES EACH RUN] FIG 01 ↘

“Labyrinth” is a video installation consisting of 50 fragments that are edited in a random order by a generative algorithm, creating a unique sequence of images each time. This work is a reflection on the theme of the human condition in the modern world, where familiar narrative structures disintegrate, giving way to rhizomatic, nonlinear forms of meaning-making.

A figure crossing open ground between derelict buildings — L04 / Across the grounds / source frameVIEW ↗

FIG. 01 / SAME MATERIAL, DIFFERENT NEIGHBOURS50 SOURCE FRAGMENTS

SCHEMATIC CUT ATHE SAME LETTERS

SCHEMATIC CUT BTHE SAME LETTERS

ENLARGED JOIN / CUT A

BCD

C stays in the example; the fragments beside it change.

Illustrative letters, not documented fragment IDs or playback order.

No fixed route

DRIFT / NOT DESTINATION

A figure passing a doorway in Labyrinth — L02 / Interior / source stillVIEW ↗

A figure moving beside a staircase inside the building — L05 / Stairwell / source frameVIEW ↗

Selected stills

DOCUMENTATION / 03 IMAGES

A figure entering the abandoned building in Labyrinth — L03 / Threshold / source stillVIEW ↗

The fragment is one possible encounter with the work; its position is not a fixed point in every montage.

The figure passing the weathered brick facade — L06 / Facade / source frameVIEW ↗

CREDITS

ARTIST & CONCEPT: Pavel Seldemirov