“Ghostbusters: Dimension” Hyper-Reality Experience (New York City)

Opens July 1, 2016

Madame Tussauds New York (Times Square)
234 W 42nd St.
New York, NY 10036

In advance of the July 15, 2016 release of Ghostbusters, one of the most highly anticipated films of the summer, Sony Pictures, Madame Tussauds New York, Ghost Corps and THE VOID have teamed up to bring Ghostbusters to life like never before. Included in the multi-sensory, all-immersive environment will be Ghostbusters: Dimension, a first-of-its-kind, virtual reality (VR) experience based on the studio’s new Ghostbusters movie.

Scheduled to open to the public on July 1, 2016, the VR experience will launch exclusively as part of the Ghostbusters Experience at Madame Tussauds New York in their legendary Times Square attraction. The construction of this multi-layered and sensory environment is already underway and is designed to fully immerse visitors into the fantastical and spirited world of the new film.

Visitors to Madame Tussauds New York will also be invited to engage with Ghostbusters like never before. The cinematic experience is brought to life with state-of-the-art technology, authentic props, costumes, a vehicle, gadgets and exclusive content designed to spook guests as they move through multiple scenes inspired by the film. After exploring the iconic Ghostbusters Headquarters, guests experience the epic finale, in which visitors take part in a ghost hunt of their own, saving New York City from a paranormal villain. This supernatural encounter will also include figures of the Ghostbusters crew from the new movie, all of whom are prepared to help visitors wage battle against nefarious paranormal activity.

In Ghostbusters: Dimension, developed by THE VOID in collaboration with Ivan Reitman, Paul Feig and Sony Pictures, audiences will experience what it is like to be a Ghostbuster, tracking and trapping a supernatural foe through a New York apartment complex in an environment that combines physical props and sets, real-time interactive effects, and virtual reality technology designed by THE VOID.


The Puff Up Club by Moniker (Online)

Collaborating online to physically blow up balloons in an exhibition.


The Puff Up Club was founded in the context of the exhibition “Alexander Calder & Fischli/Weiss” at Fondation Beyeler in Riehen/Basel, Switzerland.

The exhibition is devoted to the American artist Alexander Calder and Swiss artists Peter Fischli and David Weiss. It focuses on the fleeting, precarious and exhilarating moment of fragile balance as expressed through the works of Calder and Fischli/Weiss in the early- and late-twentieth century, respectively.

May 29 – September 4, 2016


The Digital Muddy Expanded Media Festival V2.0 (Online)

Digital Muddy Expanded Media Festival is designed to be an online platform that promotes interaction and cultural discussion with a focus on the terms related to expanded cinema; social media, and net based contemporary art practice.

Digital Muddy’s selected works represent a survey of various styles and practices that engage the expanding use of image and in specific screen based digital narrative. This year we are focusing on net-specific published works and browser-based works that are defined in the categories of new media, net art, interactive, digital and electronic imaging, user generated imagery, participatory, experimental, social engagement, sound, 3d and digital animation.

2016 Artists
Shane Csontos-Popko, Nicholas DiMichele, Ian Flitman, Mathew Galindo, Curry Gradecki, Belinda Haikes, Tatiana Istomiana, Patrick Lichty, Alex Randall, Carlo Zanni


WINDLICHT by Roosegaarde

WINDLICHT is the latest artwork by Roosegaarde which shows the beauty of green energy by connecting windmill blades with lines of light. Special software and tracking technology detect the windmill blades rotating at 280 kilometres per hour. Visitors can tune into radio canal WINDLICHT FM 105.3 FM to hear the stories behind the artwork. WINDLICHT creates the missing link between the Dutch and the beauty of our new landscape.


As of March 2016, it is located at Eneco windfarm at Sint Annaland in Zeeland, Netherlands. Please check the link above for future locations around the world.

Meow Wolf’s Art Complex and House of Eternal Return (Santa Fe, New Mexico)

Meow Wolf’s House of Eternal Return is a unique art experience featuring a wild new form of non-linear storytelling which unfolds through exploration, discovery and 21st century interactivity. The premise: Something has happened inside a mysterious Victorian house that has dissolved the nature of time and space. Venture through the house of The Selig Family, and discover secret passageways into fantastic dimensions!

Each visitor will be invited to choose their own path through the 20,000 sq. ft exhibition, walking, climbing, and crawling through an imaginative multiverse of unexpected environments. The experience will be appropriate for people of all ages, supplying children with a fantastic world to play within and giving adults a sophisticated artistic experience with narrative depth.


1352 Rufina Circle
Santa Fe, New Mexico 87507

MOMEM – Museum of Modern Electronic Music (Frankfurt, Germany)

Opening 2017 – Date TBD

Keep an eye on this interesting project which is scheduled to be completed in 2017.

Alex Azary : The initial impulse for MOMEM was the consideration that electronic music and club culture has inspired and influenced much more creative fields, artists and developments of almost all aspects of life in the past three decades than most people tend to realize. The fact that this hasn’t been documented, selected and presented in a focussed and curated conspectus yet, was the basis to conceptualize a contemporary site which accounts these aspirations as well as the cultural and social setting this scene emerged from in the first place.

A museum which is more than a retrospective place, an art and cultural center which is more than another venue, a club that might take club life beyond drink, dance and party.

The designs show that the museum space will be conceptually organized into several sections: Instruments and Technology, History Influences, etc. Is this approach manifested in the architecture? How do you see the experience of movement through architecture and museum spaces?

Stefan Weil: I like the term of “experience the movement”, because this is exactly what MOMEM will be. Entering a programmed platform that unfolds during the visit: kinetic moving objects, the use of media, transforming spaces, organic shapes, soft materials, OLED Technology, configurating furniture systems. MOMEM will appear like a modern shaped system that reacts to the visitor. Reactive Environment, the visitor could easy transform sound and light.



‘War of The Worlds’ Interactive Art Experience 2016-2017 (Philadelphia, Pennsylvania)

Fall 2016 – proof-of-concept performance
Mid-2017 – pilot version performed

Drexel University’s Frank Lee, PhD, the founder of Drexel’s Entrepreneurial Game Studio who is known for bringing grand visions to reality, most recently on the Cira Centre office building, and Adrienne Mackey, director of Swim Pony Performing Arts, and an adjunct professor in Drexel’s Antoinette Westphal College of Media Arts & Design, are planning the spectacle, called “War of the Worlds: Philadelphia,” with support from the William Penn Foundation.

The project mixes game play with site-specific live performances around a narrative that the city must prepare for an impending alien attack. Over the course of several months, Philadelphians will have to work together to decipher clues and perform tasks that will protect areas of the city that are deemed vulnerable to alien attack.

Participants will interact with the game online and in-person, requiring players at home and on the streets to solve puzzles, perform, and interact with elements of the game that will be visible throughout the city. In doing so, the players will unite around a shared experience while exploring and connecting with new regions of the city.

Just as Wells’s first-person narrative gave readers a front seat to the invasion, and Orson Welles’s 1938 radio rendition sent listeners into a frenzy, Lee and Mackey’s interpretation is meant to elicit a visceral reaction that mobilizes a broad group of participants. It merges play and theater on a massive scale representing a unique theatrical experiment in which game players become performers and have the opportunity to change the outcome of the game.


HOSHI by Nonotak at Sugar Mountain Festival 2016 (Melbourne, Australia)

If you plan to attend the Sugar Mountain Festival on January 23, 2016 in Melbourne, Australia, be sure to check out these installations!


Last year Nonotak delighted crowds at Sugar Mountain with their onsite installation DAYDREAM V.4. The Paris-based design duo are making their return to this year’s edition of Sugar Mountain with the world premiere of two new installations, presented in collaboration with The Creators Project.

In this video we give you an exclusive first look at the larger feature installation, HOSHI. Commissioned by Sugar Mountain director Pete Keen, HOSHI uses large-scale mirrors and light to create an ‘infinite box’ that viewers can enter and walk around in to experience the artwork in 360-degrees.