Mushrooms on Tour / Studer van den Berg Derived from an ever developing Internet and public art project titled “A Band of Floating Mushrooms” started in 2011, the artwork “Mushrooms on Tour” is a derivative work consisting of a series of polygonal models of mushrooms. These models consist of groups of diverse mushroom forms which pop up at unexpected locations. They stand as a metaphor of the change of balance between private and public spaces, which are undergoing a metamorphoses in both their physical and digital manifestations. The music that accompanies each of the groups, or “bands” of mushrooms consists of collected sound clips assembled and streamed to the viewer in real-time. The version of this work created for the Virtuale Switzerland, introduces several new groups of mushrooms, which will be performing a recorded stream from their last gigs from the here and there of the Internet world.
Like children, butterflies are deep and powerful representations of life. Drawing a parallel in an artwork between butterflies and children comes naturally and by uniquely combining them in an artwork increases a feeling for life. Viewing the work brings the viewers into joyful and carefree mood and lets them reminisce with positive thoughts on life filled with hope and faith. The Augmented Reality project “We AR Butterflies” is not only an artwork for children, it is one that is made by children, because the artwork seen is the results of a hands on workshop for children of any ages, which teaches them how to transform themselves using a process of creative metamorphosis into colourful butterflies with using post-its, a mobile phone and some computer magic.
Title: Ecce Homo
Artist: Ingo Lie (DEU)
Team, Ingo Lie (Artwork), Sebastian Kozek (Content Design)
Placement: Am Markte, Hannover, Germany
Placement: Agedienkirche, Hannover, Germany
Direct phone link: layar://ammarktossd
Everything that is, has been, and nothing will be the way it was.Everything that was, will shine for a long time, and appearance becomes the new being. It is as if we wanted to encounter reality with a concept of reality. Man is a human being is a human is a human. If it were that simple, man would be trapped within themself and no longer be subject to any further thought. But how can man recognize being as if already another at the next coming moment? Man is an animal, a tree, a god. He is a place in the place, a fleeting apparition claiming eternal memory. Or he is nothing but an idea, a part of the imagination that dissolves into the incomprehensible. Just a vision of himself. An apparition that takes form, wrestling with the dignity of the unique, to evaporate gradually in the imaginary.
Has man not already become the product of his imagination with the intention of recognizing and realizing less of himself and more from fantasy? Ecce Simulatio!
Title: The Coming of the Tralfamadorians*
Artist: The Curiously Minded (INT)
Content Design: Sebastian Kozek
Placement: Platz der Weltausstellung, Hannover, Germany
Direct phone link: layar://newdimensionzad8
If everything that ever existed in a specific place became stuck in time, we would be able to see all points in time in a single glance. Applied to the creation of an artwork which could depict or offer a sense of timelessness to the viewer, the process of creating in would demand that the media and methods used would be that all dimensions in time be depicted simultaneously and that the only singular cohesive principle in the work would have to be the experience of infinity. This sense of endlessness is created by using the powers immersion and engagement of Augmented Reality. “The Coming of the Fourth Dimension ” is in its essence a installation that creates a virtual setting that is in the viewer’s experience unstuck in time and in which the viewer can transgress and experience a sense of place that is meshed into the present and simultaneously witness a multitude of possible futures as flying objects reminiscent of unearthly visitors come and go through an infinite loop of day and night, modulating between far and near and made viewable by the looking glass of the 21st century – the smart phone.
The work is in the form of a sculptural bust of a unknown. The approach to creating it is best described as something that is the result of having a bit of fun with AR and CG medium. This bust was originally modeled in a tradiontal manner using clay and then using photogrammetry techniques to capture and convert it into the non-tactile world of the digital. In the process of conversion, the object became broken, bringing about in many cases something that is more interesting and has its own life and history in both the real and the virtual world. This type of art is in part the artist signiature and reflects his interest in translating ‘found art’ into the medium of digital sculpture, where the object is reinterpreted digitally by recombining the forms using voxel and polygonal based sculpting tools.
The augmentation is inspired by the crystal coffin displayed in Mausoleum of Mao Zedong on Tiananmen Square since 1977, a year after Mao’s death. In the twenty first century, while China has been transforming itself into a modern society in many ways and gaining more influences economically and politically around the globe, Mao’s crystal coffin, the immortal-looking shell, remains exist as a symbol of authoritarian ruling system. During spring 2011, a crackdown on dissent – including detaining many intellectuals and members of religious group – followed by distinct signs of revival of Maoist policies, has left people baffled about the future direction of China. We therefore use Crystal Coffin of Mao as main body of the virtual China Pavilion topped with a tower and roof with ancient Chinese looking, as regulated by Ministry of Construction of China: architectural ‘designs must reflect traditional Chinese building styles’.
Artist: Will Pappenheimer (USA)
Placement: Kroepke Square, Hannover, Germany
Direct phone link: layar://ascensionofcpcg3
In its early days Salem Merchant trade specialized in the export of cod fish to bring home molasses, oranges, iron, salt and wines. Massachusetts Bay cod, the Atlantic Cod or Gadus morhua, were so plentiful that they became the hallmark of New England fisheries and trade. Up until recently. A 2014 NOAA scientific survey revealed that up to 80% of the cod have been either fished or suffered from the effects of warming oceans. A recent Discovery Channel film, “Sacred Cod,” documents the struggle between the cod fisherman’s livelihood and science behind the fisheries’ regulation. “Ascension of Cod,” premiering for this exhibition, suggests the shared hallowed role that the species plays in these two perspectives. This work augmented reality work creates a school of virtual cod swimming upwards in a column around and above as if in an ascension to the heavens. It is in some sense both a reverence and farewell vision of the species that has fed us so well.
Title: Where the Rain Comes In (Installation)
Concept: Virtuale Switzerland (CHE)
Dance: Vasco Ventura, Dance; Pablo Ventura, Choreo)
Musik: Arthur Clay
Placement: Kroepke Square, Hannover, Germany
Direct phone link:
Where the Rain Comes In is an dance work exploits new technologies like an Augmented Reality and Photogrammetry and uses it to explore the relationship between what is human in technology. he work is a depiction of 21st century existence. At the core of the work is an aesthetic that reveals character of the lives we live as we twitter between the on and the offline of the past, present and future of me. Replacing live dancers, 3D objects of dancers are used in an AR setting. The music that is coupled with each of the dancer-objects and which drives the choreography, celebrates classical heritage in the arts and in music, but at the same time attempts to twist the concept by transporting the ideologies of classicism into the present day, order to present a contemporary commentary on a previous epoch that formed the basis of European society but at the same time offers a new perspective on today’s society of precarity and impermanence. Algorithmic movement of the objects offers the choreographer a powerful palette of movements that allow the dancers to float in mid air and travel with speed beyond and below that of human ability. The dancers are objects frozen in time and incomplete, meaning that digital artifacts have created negative spaces in their bodies through which the world can be seen, or as the concept of the work would describes it “where the rain comes in”.
Title: ARt Critic Face Matrix
Artist: Tamiko Thiel (DEU)
Placement: Kaestner Gesellschaft, Hannover, Germany
Direct phone link:
The self-referential “ARt Critic Face Matrix” surrounds you with animated art critic faces, ranging from skeptical to outrage. It was originally created for “We AR in MoMA,” the path-breaking AR intervention at the Museum of Modern Art in New York, 2010. In 2011 it was updated with animated faces as the “ARt Critic Face Matrix (reloaded).” It is permanently installed in fine art museums the world over, such as MoMA NY, ICA Boston, MoCA Los Angeles, Tate Liverpool, Hayward Gallery London, Stedelijk Museum Amsterdam.
As a result of the constant stream of abbreviated information it fires at us, some are claiming that the Internet is destroying our ability to process long-form data like novels and opera. If so, it deserves to be classified as a disease, but one, like latent toxoplasmosis, which may actually have positive side effects in certain cases (eg increased immediate connection with the knowledge and worlds of others). But if it is a disease, what is its vector of transmission? Is there an organism responsible; incubated perhaps in the faeces of LOLcats? The Information Virus is an augmented reality work based around a re-purposed commercial 3D model of an adenovirus. Sequences of public domain images randomly sourced from Wikimedia Commons flash across its surfaces, giving it “life”. Onlookers can approach and interact with the work (by taping on the virus’s label then pressing the “Listen” button) and are rewarded with a brief random public domain audio dispatch from the past sourced diverse and appropriate channels. Warning: All necessary precautions were taken when manifesting the Information Virus. Risks of new forms of infection resulting from close virtual contact should thus be considered minimal.)
The work is a portrait of an artist in his complexity and diversity. It shows the artists interest in extending boundaries to search for new potentials in the realms of creating the arts. The work here not only uses icons of for the exploration of new dimensions, but it also references the artists beginnings in geology but also quotes in subtle manner previous work. The work combines genres and brings them into new dimensions through the coupling of the real with the virtuale with Augmented Reality technology. Objects of Harro Schmidt (DEU) captured and animated into 3D.
This lantern is a symbol of the soul of Butoh dancers. Butoh dance, born in Japan, does not jump high or rotate in the air like the classical ballet or modern dance. Butoh dance is not only to move the body; Dance, silence, and stillness are also part of its expression. Therefore, the state of the heart of the dancer is a dance expression. This lantern is fleshed with advertisement of Butoh Dancers and as the lanterns fly away, their soul flies from point of departure out into the world. The lanterns are a homage to the deceased Butoh dancers soul. The work was realised with Arthur Clay using graphic designs by Saegusa.