BASEMENT XR · A–E
Five translations of the same vaulted cellar. Each series takes the BASEMENT – the real scan of 29.12.2020, the archive of 272 images, the sound of the XR SPACE – and sends it through another process: gravity, measurement, light, flow, foam. Each has its own film, model, experience and game, and its own form.
ABASEMENT · I · 16.10.2026Hybrid Work SPACE – Black HoleThe vaulted cellar from its own real scan · real-time gravitational lensFilm 3:40 · lab · game EVENT HORIZON · GLB
BBASEMENT · II · 16.10.2026Space-Time Capsule 1998–2026The empty room as a precise twin · box and lid · 25 works on the spiralFilm 3:10 · experience · lab · game · 3D print 1:50
CBASEMENT · III · 23.10.2026LichtpauseA world model learns the cellar · cyanotype × diffusionLong version 5:36 · trailer · 3D film · experience · game
DBASEMENT · IV · 23.10.2026Quellen · SourcesThe cellar foams · archive turns to flow, flow turns to bodyLong version 5:36 · trailer · 3D film · experience · game SCHAUMKÖRPER
EBASEMENT · IV · 25.10.2026Treibdruck · Blowing PressureRigid polyurethane foam in the vault · process, not imageLong version 5:36 · trailer · 3D film · experience · game SCHAUMKÖRPER
REAL · Neulerchenfelder Straße 11 · 1160 Vienna · part of STUDIOS · VIENNA · → XR AI Studio Ganglbauergasse · 820 m
Hybrid Work SPACE – Black Hole
The BASEMENT Studio Neulerchenfeld is not a studio in the classical sense. It is workspace, storage organ, experimental set-up and image machine at once: an underground production body in which material, media and time do not appear one after another but permeate each other.
What emerges here has no final state of aggregation. Sculpture can become photography, photography a scan, the scan a data space, the data space a model, and the model once again a walk-in image. Every state is work and pre-work, document and mutation, found object and starting material for a further translation.
The term Black Hole names this productive compression. It does not mean emptiness but an overcrowded gravitational field: it attracts bodies, devices, surfaces, flaws, memories and digital artefacts. A piece of PU foam becomes a landscape, a cable a spatial drawing, a studio wall a stage, a point cloud a porous architecture.
Through photography, scanning, glitch, 3D printing and XR this material population is not simply reproduced. It is sent through changing technical regimes of perception. Holes become portals, shadows volumes, measurement errors ornaments, data losses productive cracks. The machine misreads the basement – and precisely from this exact misreading other realities arise.
Analogue and virtual are no longer opposites but feedback loops. The real cellar is digitally unbounded; the virtual space returns as a printed diorama or as an altered view of the studio. The work is not a single object but the movement between its states.
The series resembles an archive in permanent self-rewriting. Earlier forms remain active as sediments in later images; new technologies retroactively open other readings of what already exists. The basement produces its own pre- and post-history at once: laboratory and fossil, store of the present and ruin of the future.
One enters a space that keeps building itself while being seen. The BASEMENT Studio Neulerchenfeld XR is less the depiction of a place than a procedure of spatial invention: a hybrid body of work that turns matter into data and data back into experience.
MARKUS WINTERSBERGER · medienwerkstatt006 · 1998–2026 · work in progress
BASEMENT Studio Neulerchenfeld XR · 3D Collection
The Sketchfab collection extends the photographic body of work into navigable space. 69 models connect point cloud, scan, hyperobject and XR space into a walkable digital archive. Select a model and examine it directly in the 3D viewer.
Full collection on Sketchfab ↗Misreader · state machine
“The machine misreads the basement — and precisely from this exact misreading other realities arise.” This apparatus does exactly that. It takes an image from the archive and reads its brightness as depth: the surface becomes a point cloud that you turn with the mouse. What is bright comes towards you; what is dark falls back. The photo was never meant that way — that is the point.
On top lie the perception regimes of the series, each as a slider: Measurement error deletes points until flaws become ornament. Crack shifts bands against each other, like data loss in a scan. Quantise presses depth into layers — the white diorama of the 3D print. And the black hole is not an image but a gravitational field: it pulls the points in, winds them into a disc and swallows whatever comes too close. Drag it elsewhere with the right mouse button.
The brightness of each pixel is read as height above the surface — the same misreading by which a scanner turns light into geometry. The black hole calculates with 1/r²: whatever lies within the horizon disappears. The number beside it says how much of the image has already been swallowed. The live camera stays on this device; no images are transmitted or stored.
Stage panorama · PU foam ensemble
The studio opens up as a frontal experimental stage. PU foam bodies, found objects, figures and technical relics appear not individually but as a spatial collective. Between backdrop and laboratory a tableau without a protagonist emerges: each form holds the other in suspension.
Studio bodies · material and process
Here the making remains visible. Hanging, swelling and propped-up bodies show their seams, injuries, auxiliary structures and temporary alliances. The studio appears as a metabolic organism that takes in material, transforms it and expels it again. Not the finished object stands at the centre but the intelligence of the unfinished: form as activity.
Night bodies · coloured light and staging
In coloured darkness the work detaches itself from its documentary legibility. Contours glow, surfaces become light traps, bodies emerge from the black as apparitions. The studio tips into a nocturnal theatre machine in which colour does not illuminate but models anew.
Point cloud · scan room
The scan breaks the solid world down into a flickering field of measuring points. Bodies and architecture exist only as probability, as a porous presence between capture and disappearance. The point cloud is at once precise and ghostly: technical protocol of a surface and poetic dissolution of space.
3D print · white diorama
From the immaterial scan the space returns as a white, crystalline model. Scale and materiality are shifted: the basement becomes portable, the body a topography, the disturbance a relief. The diorama is not a reduced copy but a condensed spatial hypothesis.
Glitch · multiple exposure
The images refuse an unambiguous perspective. Views overlap, colours tip into the negative, fragments fall out of step in time and space. The glitch is not a defect to be eliminated but an opening in the image system.
Avatar · hybrid figure
The figure steps out of the ensemble and becomes an avatar: half sculpture, half proxy, half data body – a deliberately impossible anatomy. Fibre, pattern, colour and technoid attachments combine into an identity without a fixed original.
XR Space Poem · Immersion
The space begins to flow. Chromatic tunnels, golden horizons and perspectival pull turn the basement into a walk-in poem. Architecture is no longer looked at but experienced as movement. XR is not a place of escape but the radical continuation of the studio by other means.
AI / REAL / SPACE
The filmic compression extends BASEMENT Studio Neulerchenfeld XR with multichannel images, glitch, feedback and artificially generated spatial fragments. The real workspace becomes an unstable data space – and returns as altered perception.
