Step into virtually real works of art this January.
We’re starting 2017 with Virtually Real, a collaborative pop-up project between the virtual reality platform HTC Vive and our contemporary art school, the Royal Academy Schools. Graduates Adham Faramawy and Elliot Dodd, together with third-year student Jessy Jetpacks, have been selected to create works of art using HTC Vive. This virtual reality technology lets you experience hundreds of simulated worlds, where the normal rules of gravity don’t apply.
The artists will be using software like Kodon and Tilt Brush by Google, a palette that lets you paint in virtual 3D space to produce installations that you, the visitor, will be able to move through and interact with. You’ll also be able to see their creative processes from start to finish with HTC Vive’s playback technology. As a world-first, we’ll be 3D printing these artworks and exhibiting them, so you will have the chance to interact with them both virtually and in real life. You’ll also be able to try your hand at creating a virtual reality masterpiece of your own.
Adham, Elliot and Jessy all have a background in working with virtual technology, apps and multimedia, but this will allow both them and you to experiment in the relatively unchartered waters of virtually made art.
A festival of experimental sound, film and performance – co-curated by Goldsmiths and London College of Communication – takes place in Rotherhithe this December.
On Saturday 10 and Sunday 11 December, the dark and uncanny Brunel Tunnel Shaft space hosts a festival of experimental sound, film and performance, curated by Goldsmiths’ Embodied Audiovisual Interaction and LCC’s Creative Research into Sound Arts Practice groups.
Fuel your imagination and immerse yourself in a world of wonder at the newest and most spectacular interactive gallery in the world.
Spread across seven different zones, there’s loads of opportunity to get hands on with real scientific phenomena. Order live experiments at our Chemistry Bar, see lightning strike before your eyes, play with forces on giant slides or travel through space under a canopy of stars. You can also take part in explosive science demonstrations and shows, led by our talented team of Explainers.
With 50 mind-blowing marvels of science to enjoy, Wonderlab is an experience unlike any other.
Exhibition Road, South Kensington,
London, England SW7 2DD
Fear and Love: Reactions to a Complex World presents eleven new installations by some of the most innovative and thought-provoking designers and architects working today.
These newly commissioned works explore a spectrum of issues that define our time, including: networked sexuality, sentient robots, slow fashion and settled nomads.
The exhibition asserts that design is deeply connected not just to commerce and culture but to urgent underlying issues – issues that inspire fear and love. This is a bold, multidisciplinary and global exhibition that aims to capture the mood of the present and establish the Design Museum as the home of design debate.
‘Vespers’ is the latest addition to Stratasys’ ‘The New Ancient’ collection and will be unveiled at the ‘Fear and Love’ exhibition at London’s Design Museum (24 November 2016 – 23 April 2017)
VESPERS, Mask 5, Series 2, 2016. Designed by Neri Oxman and her team as part of “The New Ancient” Collection by STRATASYS and 3D Printed on a Stratasys Objet500 Connex3 Color Multi-material 3D Printer. Photo credit: Danielle van Zadelhoff
VESPERS, Mask 3, Series 2, 2016. Designed by Neri Oxman and her team as part of “The New Ancient” Collection by STRATASYS and 3D Printed on a Stratasys Objet500 Connex3 Color Multi-material 3D Printer. Photo credit: Yoram Reshef
– Stratasys (Nasdaq:SSYS), the 3D printing and additive manufacturing solutions company, today announces the official launch of ‘The New Ancient’ 3D printed art and design collection. The collection includes ‘Vespers’, a series of exploratory 3D printed death masks, designed by Neri Oxman and her team, which will be unveiled to the public at the grand reopening of London’s Design Museum next week. Oxman combines design and computation to produce the masks which, in a landmark breakthrough, emulate the resolution and complexity that is usually only found in nature.
Oxman, along with her team members – Christoph Bader, Dominik Kolb, Rachel Smith, and Sunanda Sharma of the Mediated Matter Group – led the creation of Vespers. Comprising 15 masks in three sub-series, Vespers portrays the past, present and future, and explores the themes of past worlds and future technologies. “Made of a single material, such as wax or plaster, the death mask has historically originated as a means of capturing a person’s visage, keeping the deceased ‘alive’ through memory,” explains Oxman. “Vespers’ death masks, however, are designed to reveal cultural heritage and speculate about the perpetuation of life, both cultural and biological.”
“Vespers’ designs are entirely data driven, digitally generated, 3D printed, and – at times – biologically augmented,” Oxman continues. “By pushing the boundaries of cusp technologies – such as high-resolution material modelling, full color multi-material 3D printing, and synthetic biology – they express the death mask’s deeper meanings and possible future use, thus bringing it back to life.”
Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms. Devoid of cultural expressions and nearly colorless, the final five masks ‘re-engineer’ life by guiding living microorganisms through minute spatial features of the artefacts.
“The Vespers masks were photographed by Belgian photographer, Danielle van Zadelhoff, whose particular photography style characteristic of Chiaroscuro is reminiscent of Caravaggio and Rembrandt – resonating with the theme of timelessness as portrayed throughout the series,” explains Kaempfer.
224-238 Kensington High Street
London, England W8 6AG
Welcome to Submerge, a brand-new weekend festival of pioneering electronic music, immersive audiovisual arts and live performance. Our first edition “Fathoms” is a metaphorical journey to the bottom of the ocean and back. It takes place in Bristol (UK) from 18th and 20th November 2016. Submerge Festival aims to offer audiences visceral and immersive art experiences across mixed bills of artists and artforms rarely presented together.
Heart of Glass is excited to announce The Invisible City, a new cinematic event coming to St Helens this Autumn.
On Saturday, November 12th we will present an outdoor cinema event, in collaboration with Abandon Normal Devices (AND) and Alexandra Park (St Helens) Management Limited, the former Pilkington Glass headquarters.
Featuring the granddaddy of surveillance films Alfred Hitchcock’s Rear Window and the world premiere of a new short film by artist Liam Young, this cinematic event will use the historical home of glass to explore contemporary responses to technology and transparency.
The main event will consist of a film programme, with a choice of viewing options including ‘drive-in’ and ‘viewing gallery’; and quasi-fictional tours of the Pilkington HQ, which will flatten distinctions between famous and forgotten, public and private spaces in the building. The glass fronted office complex will be the backdrop to ask questions related to transparency and invisibility in our society today.
Where the City Can’t See (Dir. Liam Young / 2016 /)
Commissioned by AND, Directed by Liam Young and written by sci-fi author Tim Maughan, the film is set in the not-too-distant future where Google maps, urban management systems and CCTV surveillance are not only mapping our cities, but ruling them.
6pm-10pm each night
In 2016, the festival invites you to explore and discover the city through the imagination of artists, using the medium of light in all its forms.
This year the festival will open up some of York’s most famous, most interesting and intriguing buildings by night, to experience them in a completely new way. Outdoors, buildings, spaces and places will also host installations using light and projection. Travel between these sites and spot our bunny lights in York’s shop windows along the way.
On Friday 7 October 2016, exactly fifty years after the legendary 9 Evenings: Theater and Engineering, Arts Catalyst revisits this hugely influential art event with a new performance commission by Robert Whitman, participating artist in the original 9 Evenings and co-founder of Experiments in Art and Technology (E.A.T) who produced it. An accompanying exhibition, talks and events programme will be held at Arts Catalyst Centre for Art, Science & Technology and other venues across the city, developed in collaboration with Afterall and students from Central Saint Martins, University of the Arts London and Goldsmiths, University of London.
The Turbine Hall is transformed into an immersive experience, challenging your perception of time and space
Prepare to have your senses activated and stimulated by a spectacular choreography of acoustics, sound lighting, flying objects and film, each connected to the other and playing their part in a far bigger score. Tate’s Turbine Hall becomes a universe of inter-related and connected events and parallel realities. Events will unfold anywhen.
Anywhen is a site-specific exhibition that changes throughout the day and that will evolve during the six-month period of the commission. The exhibition is conceived as an automaton which guides the public through a constantly changing play of moving elements, light configurations and sound environments. The artist states that ‘the exhibition is a construction of situations or sequences in a non-linear narrative’.
The commission responds to the Turbine Hall’s position at the centre of the museum, an open space connected to the city itself. The artist combines aspects of chance and control: the sequences of events are triggered by software which is informed by micro-organisms. These react to and activate elements of the commission through a bioreactor visible at the far end of the Turbine Hall.