Sebastian Errazuriz works across art, technology and design. His documented projects include public moving-image interventions, a satellite-image LED installation and a kinetic environment for an Art Basel collectors' lounge.
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Research notes for project planning
What the project record tells us
Times Square moving-image presentation, January 2015
A brief interruption in a dense media setting
A Pause in the City That Never Sleeps used a repeating black-and-white yawn within Times Square's animated advertising environment. The January 2015 presentation occupied the nightly interval from 11:57 p.m. to midnight; Times Square Arts also records a gathering linked to Performance Space 122's COIL Festival. For a comparable screen commission, the practical starting point is the exhibition slot and its surrounding visual competition. The precedent suggests testing whether a simple gesture remains legible across dispersed screens and passing audiences.
What screen schedule and viewing distances would let a brief gesture register?
Big Art Partners planning prompt
Ludlow Street launch and New Museum neighborhood display, 2019
An image stream becomes a site installation
blu Marble launched at 159 Ludlow Street in March 2019, with a separate one-night neighborhood display in cooperation with the New Museum. The studio describes a custom LED structure fed by software that interpolated still photographs obtained from a NASA satellite. Fontem Ventures supported the project through its blu campaign. This is useful precedent for a data-driven public artwork: the image pipeline, local display and sponsor context all shaped its delivery. A new brief should identify responsibility for content continuity and screen operation.
Who would maintain the image feed, playback software and local display?
Big Art Partners planning prompt
Audemars Piguet Art Basel collectors' lounge, 2018
Kinetic scenery within a hospitality commission
Foundations was the 2018 conclusion of Errazuriz's lounge-design trilogy for Audemars Piguet at Art Basel. His environment used suspended rock forms derived from the Vallée de Joux, while Davide Quayola supplied separate accompanying artworks. The studio describes scanned, printed and hand-moulded forms moving together. For a hospitality or brand commission, this precedent connects material storytelling to an inhabited interior. Planning should separate the artist's environmental design, other contributors' works and the practical requirements of coordinated movement above guests.
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