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-PORTRAIT OF EDMOND DE BELAMY- IS A GROUNDBREAKING COMPUTER-GENERATED ARTWORK CREATED IN 2018 BY THE FRENCH ART COLLECTIVE OBVIOUS—COMPRISING HUGO CASELLES-DUPRÉ, PIERRE FAUTREL, AND GAUTHIER VERNIER—USING A MACHINE LEARNING ALGORITHM KNOWN AS A GENERATIVE ADVERSARIAL NETWORK (GAN). BY TRAINING THE AI ON A DATASET OF HISTORICAL PORTRAITS, THEY AIMED TO EXPLORE WHETHER A MACHINE COULD CREATE SOMETHING RESEMBLING TRADITIONAL ART, SPARKING DEEP QUESTIONS ABOUT AUTHORSHIP, ORIGINALITY, AND THE ROLE OF ARTIFICIAL INTELLIGENCE IN THE CREATIVE WORLD. THE RESULTING IMAGE FEATURES A BLURRY, SOFTLY COLORED FIGURE REMINISCENT OF CLASSICAL PORTRAITURE, BUT ITS LACK OF FINE DETAIL AND DIGITAL TEXTURE CLEARLY MARKS IT AS A PRODUCT OF AI RATHER THAN HUMAN HANDS. ALTHOUGH THE ARTWORK IS A STATIC IMAGE WITH NO INTERACTIVE FEATURES, IT INTELLECTUALLY ENGAGES VIEWERS BY CHALLENGING CONVENTIONAL NOTIONS OF CREATIVITY AND SPARKING WIDESPREAD DEBATE WHEN IT BECAME THE FIRST AI-GENERATED ARTWORK SOLD AT A MAJOR AUCTION. THIS DIALOGUE-DRIVEN INTERACTION PROMPTS CRITICAL THINKING ABOUT THE FUTURE OF ART, QUESTIONING WHETHER MACHINES CAN BE CONSIDERED ARTISTS AND HOW DIGITAL TOOLS ARE RESHAPING CREATIVE EXPRESSION. THE PORTRAIT MAINTAINS VISUAL BALANCE AND A TRADITIONAL COMPOSITION WHILE SUBVERTING EXPECTATIONS, AND IT APPEALS TO A DIVERSE AUDIENCE—FROM ART LOVERS AND DIGITAL INNOVATORS TO ANYONE INTRIGUED BY THE MERGING OF TECHNOLOGY AND ARTISTIC PRACTICE. ULTIMATELY, *PORTRAIT OF EDMOND DE BELAMY* RESONATES MOST WITH VIEWERS WHO ARE OPEN TO THOUGHT-PROVOKING, FORWARD-LOOKING DISCUSSIONS ABOUT THE EVOLVING RELATIONSHIP BETWEEN HUMANS, MACHINES, AND ART.

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ARTIST 2: PORTRAIT OF EDMOND DE BELAMY BY OBVIOUS

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ARTIST 2: PORTRAIT OF EDMOND DE BELAMY BY OBVIOUS

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MOUNTAIN PAINTING IS A DIGITAL ART SERIES BY AMERICAN ARTIST SARA LUDY THAT CREATIVELY BLENDS NATURE WITH TECHNOLOGY, USING SOFTWARE TO TRANSFORM LANDSCAPES—PARTICULARLY MOUNTAINS—INTO ABSTRACT, DREAMY VISUALS THAT EVOKE BOTH THE FAMILIAR AND THE SURREAL. CREATED BETWEEN 2014 AND 2016, THE SERIES DOESN’T AIM TO REPLICATE REAL-WORLD PLACES BUT INSTEAD CAPTURES THE EMOTIONAL ESSENCE OF BEING IN A NATURAL ENVIRONMENT THROUGH MISTY, FLUID, AND OTHERWORLDLY DIGITAL SCENES. LUDY, KNOWN FOR HER EXPLORATION OF VIRTUAL SPACES AND DIGITAL AESTHETICS, USES SOFT COLOR GRADIENTS, ABSTRACT SHAPES, AND LAYERED TEXTURES TO BUILD IMMERSIVE LANDSCAPES THAT FEEL SIMULTANEOUSLY REAL AND UNREAL. ALTHOUGH THE WORKS AREN’T INTERACTIVE IN THE TRADITIONAL SENSE, THEY ENGAGE VIEWERS THROUGH THEIR ATMOSPHERIC DEPTH AND CAN BE PRESENTED IN FORMATS LIKE ANIMATIONS OR VIRTUAL REALITY, DRAWING THE AUDIENCE INTO A CONTEMPLATIVE, EMOTIONAL EXPERIENCE. HER GOAL IS TO EXPLORE HOW PEOPLE MENTALLY AND EMOTIONALLY RESPOND TO DIGITAL ENVIRONMENTS, ENCOURAGING VIEWERS TO RECONSIDER HOW WE DEFINE LANDSCAPE ART AND HOW DIGITAL SPACES CAN EVOKE FEELINGS JUST AS POWERFULLY AS PHYSICAL ONES. THE ARTWORKS DEMONSTRATE HARMONY, BALANCE, AND GENTLE MOVEMENT, GUIDING THE VIEWER’S EYE ACROSS FLOWING FORMS AND SHIFTING TONES. MOUNTAIN PAINTING RESONATES WITH AUDIENCES INTERESTED IN DIGITAL ART, VIRTUAL REALITY, AND ABSTRACT VISUALS, ESPECIALLY THOSE OPEN TO REIMAGINING LANDSCAPES AND EXPLORING HOW TECHNOLOGY INTERSECTS WITH PERCEPTION AND EMOTION.

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ARTIST 1: MOUNTAIN PAINTING BY SARA LUDY (2014–2016)

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ARTIST 1: MOUNTAIN PAINTING BY SARA LUDY (2014–2016)

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Marina Zurkow explores deeply into the complex relationship between human activity and the natural world in Mesocosm (Wink, Texas) (2012), using digital animation as a medium to highlight the hidden, long-term effects of environmental change. Years of oil drilling and the dark development of sinkholes was the strong representations of the earth collapsing under the weight of human exploitation mark Wink, Texas, as the context for the work. Zurkow uses this environment to illustrate how industries extracted nature results in dangerous change to the landscape that are overlooked or accepted. The 146-hour continuous looping animation challenges the viewer's perception of time and promotes a slower, more reflective viewing style by capturing the daily and season rhythms of the region in real-time. 

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ARTWORK 2: MESOCOSM (WINK, TEXAS)” (2012) BY MARINA G. ZURKOW 

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ARTWORK 2: MESOCOSM (WINK, TEXAS)” (2012) BY MARINA G. ZURKOW 

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Red Hong Yi is a powerful example of this type of art. Red Hong Yi, who is renowned for her experimental approach to art and architecture, became popular throughout the world for her ability to create visually arresting structures with deep meaning through the use of rare materials. In celebration of the well-known actor and martial artist Jackie Chan's 60th birthday, the portrait was made. The artwork, which combines traditional Chinese elements with a modern installation art style, was created using 64,000 bamboo chopsticks. The picture examines cultural identity, material symbolism, and the fusion of crafts and current presenting techniques, going beyond just paying respect to a celebrity. The creative method of using chopsticks, a representation of Chinese culture and everyday life, as well as the way the entire process was recorded and distributed online, are what define this piece of art. 

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 ARTWORK 1: JACKIE CHAN POTRAIT (2014) BY RED HONG YI 

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 ARTWORK 1: JACKIE CHAN POTRAIT (2014) BY RED HONG YI 

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When people touch the characters that represent mountains, trees, birds, etc., that are projected on the wall, the world of the characters appears and a story is born. The objects that emerge from the symbols influence one another and are influenced by the actions of other people. For example, a bird lands on a tree, a sheep runs away from a dog, and a sheep dances as a child approaches it. Since ancient times, words have been seen as possessing a spiritual power, the spiritual power of language. However, as words disappear, this spiritual power of language could not reside in words. According to the theories of Chinese literary scholar Shizuka Shirakawa, characters were born so that the power that people invested in words could be sustained and made more effective by putting the words down as pictographs. Chinese characters are believed to have been created around 1200 BC, during the Shang Dynasty. Kings of that era communicated with the gods through fortunetelling. Fortunetelling was practiced in connection with rituals and weather, and with every major decision concerning the dynasty, including war, harvests, and hunting. Inscribing records of communications with gods (fortunetelling) on tortoise shells or animal bones in the form of pictographs was the beginning of oracle bone script – that is, Chinese characters.

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Artwork 2: “Story of the Time When Gods Were Everywhere” by Sisyu + teamLab

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Artwork 2: “Story of the Time When Gods Were Everywhere” by Sisyu + teamLab

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In an ever-evolving world of art and technology, Abdul Shakir (also known as Grasshopper) has pushed boundaries by blending the digital with the traditional to create a profound reflection of Malaysia’s core values. His latest installation, Atma Kirana, now on display at the National Art Gallery, offers visitors a thought-provoking journey into the heart of the nation’s guiding principles, known as the Rukun Negara.The title Atma Kirana translates to “Beautiful Soul” in ancient Malay and Sanskrit, and it encapsulates the essence of Malaysia’s five National Principles: Faith (Percaya), Loyalty (Setia), Good Governance (Luhur), Rule of Law (Adil), and Kindness (Baik). These principles, integral to Malaysia’s unity and peace, are now brought to life in an immersive digital experience, fusing vibrant LED technology with traditional motifs that resonate deeply with the Malaysian identity.A Journey of Self-Discovery and Cultural ExplorationFor Shakir, Atma Kirana is more than just a visual display; it is a deeply personal journey that stems from his exploration of self and heritage. “I wanted to connect with the roots of my culture, and during a period of self-reflection, I discovered the power of the Rukun Negara,” Shakir shared. “Through my work, I aim to create a space where people can reflect on these values and their significance in our lives.”In his quest to express the core values of the Rukun Negara, Shakir created five distinct digital visual pieces, each representing one of the principles. Each visual is a unique interpretation of a flower that embodies the spirit of the principle it represents. These flowers were chosen not only for their aesthetic appeal but also for their rich symbolism across various cultures. Percaya (Faith) is symbolized by the Lotus flower, reflecting belief and spirituality.Setia (Loyalty) takes shape in the regal Luffa flower, which represents dedication and unwavering allegiance.Luhur (Good Governance) is captured in the intertwining beauty of the Sweet Potato flower, signifying harmony and integrity in leadership.Adil (Justice) is portrayed through the Tumeric flower, symbolizing fairness and balance.Baik (Kindness) finds its visual in the Orchid, representing grace and humanity.Shakir’s meticulous research into the iconography of these flowers adds depth to the installation, imbuing each piece with meaning beyond its visual form. Visitors are invited to connect with these symbols, exploring how the five principles come together to shape Malaysia’s diverse and harmonious society.

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Artwork 1: "ATMA KIRANA" by Abdul Shakir

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Artwork 1: "ATMA KIRANA" by Abdul Shakir

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ARTIST 1: JUN ONG "STAR/BUTTERWOTH" (2015)

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ARTIST 1: JUN ONG "STAR/BUTTERWOTH" (2015)

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Jun Ong - Kuala Lumpur-based light artist.

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“Baroque Bodies (Sway)” is an interactive audio-visual installation that uses visitors’ movements to influence 3D animation, AI-generated imagery, and data-driven sound. The multisensory encounter explores entanglements between molecular bodies and the built environment by connecting research from epigenetics and computational biology with seemingly familiar landscapes and intuitive movement. Signifiers of both micro and macro worlds invite embodied explorations of the "natural" world that are situated in a liminal space that is at once biological and technological, autonomous and interconnected. “Baroque Bodies (Sway)” engages audiences with concepts of complexity and predictability through sensory experiences that are seemingly simple and accessible. As visitors are compelled to inspect landscapes reflected on 3D protein surfaces, their movements throughout the installation manipulate the camera's perspective on molecular models. Each entry into the space triggers an additional sound element that is added to an accumulating ethereal soundscape. The work positions emerging epigenetics research as creative, technological, and scientific underpinnings through which to explore our posthuman relationship to the natural world while repurposing the technologies with which we imagine it.

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A walking trail through a forest of light and sound that became a tourist destination.

Wanting to showcase its charms, Parc de la Gorge de Coaticook commissioned Moment Factory to create Foresta Lumina, an illuminated night walk through the forest.

After nightfall in summer, visitors are invited to discover an enchanted trail winding 2 km through the woods. As they walk through the mysterious forest, visitors meet characters inspired by the area’s myths and legends, who draw them into an immersive adventure.

The scenography, combining projections and lighting, is accompanied by an ethereal soundtrack. The result is an unparalleled sensory experience. The Moment Factory team custom-made the entire experience, including perforated metal panels resembling ancient manuscripts, lighting units designed to look like fairies, video mapping on natural elements and more. The multimedia installations are seamlessly integrated into the surroundings, creating an all-encompassing sense of magic.

Following 2014’s success, counting over 70 000 visitors – nearly ten times more than the initial estimated foot traffic – Foresta Lumina, has once again surpassed its set objectives with more than 145 000 visitors for its second consecutive year. This installation has allowed for an 1800% traffic increase in the region of Coaticook.

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The Harvesters, painted in 1565 by Pieter Bruegel the Elder, is a masterpiece of Northern Renaissance art that vividly portrays rural life in 16th-century Europe. The painting is part of a larger series depicting the months of the year and represents the late summer or harvest season, likely around August or early September. Set in a golden wheat field, the scene captures peasants at work—cutting crops, gathering bundles, and resting under the shade of a tree. In the background, more figures are seen playing, eating, and continuing their daily tasks, reflecting the cycle of labor and leisure in agricultural life. Bruegel’s attention to detail and ability to convey human activity with such realism is remarkable; each figure appears individual and animated, contributing to the overall liveliness of the composition. The use of warm colors, natural light, and expansive landscape creates a harmonious and balanced atmosphere. The Harvesters is not just a record of peasant life, but a celebration of nature, community, and the connection between humans and their environment. It stands as one of the earliest examples of landscape painting being treated as a subject in its own right, rather than just a backdrop.

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Artwork 2 :The harvester by Pieter Bruegel the Elder

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Artwork 2 :The harvester by Pieter Bruegel the Elder

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The Mona Lisa, painted by Leonardo da Vinci between 1503 and 1506, is one of the most renowned and iconic portraits in the history of art. The painting is believed to depict Lisa Gherardini, the wife of a wealthy Florentine merchant, which is why it is also known as La Gioconda. What makes the artwork particularly captivating is the subject’s subtle, enigmatic smile and the way her eyes seem to follow the viewer from any angle. Leonardo employed a technique called sfumato, which involves the delicate blending of colors and tones without harsh outlines, creating a soft, lifelike quality. The use of chiaroscuro (light and shadow) adds depth to her face and hands, while the atmospheric perspective in the hazy, dreamlike background landscape gives the painting a sense of infinite space. The Mona Lisa's composition, calm demeanor, and mysterious expression have fascinated viewers for centuries, making it a masterpiece of the Renaissance and a symbol of artistic genius. Now housed in the Louvre Museum in Paris, the Mona Lisa continues to draw millions of visitors each year and remains a subject of endless analysis, interpretation, and cultural reference.

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Artwork 1:Mona Lisa by Leonardo da Vinci

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Artwork 1:Mona Lisa by Leonardo da Vinci

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Nagai Botanical Garden is an outdoor botanical garden in Osaka that opened in 1974. It is located inside Nagai Park that opened in 1944 as an urban park that includes facilities such as a baseball stadium. Nagai Botanical Garden stretches over an area of 240,000-sqm with a large lake in the center, and its flora change with the seasons throughout the year.50 years since its opening, the garden is now home to many wild birds, such as Northern goshawks and owls, which are placed at the top of the food chain and thus dependent on a healthy ecosystem to exist. In the middle of the city, this man-made botanical park and its lake sustain the ecosystem together with humans, as a man-made ecosystem within the city that includes human beings.bjects like stones and man-made creations maintain a stable structure on their own. A stone can continue to exist in a closed box, sealed off from the outside world, but life cannot sustain its existence in such a box because it does not maintain an independent structure.

Life is like a vortex created in the ocean. If a vortex is taken out of the ocean and placed in a closed box, the vortex will disappear. The vortex cannot maintain a stable structure on its own; rather, it is created and sustained by water that continuously flows inwards and outwards. The vortex is an existence within the flow, and the contour of its existence is ambiguous.

The same is true of life. It consumes external matter and energy as food and discharges it, sustaining its ordered structure as the energy dissipates. Life does not exist by itself; rather, it is the environment that is continuous with it that maintains the structure of life. In other words, the contour of life’s existence is not a physical, bodily boundary, but an ambiguous one that includes the continuity with its environment. Life is not defined by physical borders. Life is continuous with its environment, an existence whose boundaries are ambiguous.

teamLab’s art project Digitized Nature explores how nature can become art. The concept of the project is that non-material digital technology can turn nature into art without harming it.

As the artworks in this exhibition are influenced by the trees and birds that live in the garden, if the wildlife disappear, the artworks will also disappear. The trees and birds cannot be separated from the ecosystem such as the garden’s forest or lake, so if the environment is not sustained, the trees and birds will cease to exist, and as a consequence, the artworks as well. The artworks’ existence is not defined by their physical surface boundaries, but is continuous and ambiguous with its surrounding environment.

The artworks transform interactively, influenced by wind, rain, as well as by the behavior of the people in it, making the environment and the people a part of the works. The people and the artworks, the trees, the forest and the lake, the ecosystem and the environment, all form a continuity without boundaries.

teamLab aims to explore an environment where human perception expands from the artwork itself to the environment.

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ARTIST 2 : Botanical Garden Osaka by teamLab

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ARTIST 2 : Botanical Garden Osaka by teamLab

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Creative artist, Janet Echelman, the founder of Studio Echelman, in collaboration with artist Aaron Koblin, the Creative Director of the Data Arts Team in Google’s Creative Lab, have worked together to create what they call unnumbered sparks. This project is the most interactive sculpture installation to date at the TED Conference’s 30th anniversary, March 2014, in the sky of downtown Vancouver, Canada. It is a  sculpture that is a ghostly net that shimmers with vibrant colors that glow with a span of 745 feet. Digital characteristics that are vibrant are rooted within the aerial fabric that defines the relationship between the public and the sculpture. This is truly an interactive piece of art that allows viewers to interact with the floating net via smart phones or tablets. With a smart phone or table a viewer is able to animate beams of light transversely on the sculpture at a large scale. Small movements made on the device create drawings of light that are hundreds of feet long on the surface. The creative team at google explains, “When you look at the sculpture, you’re looking at a web browser” the add that “the light on the sculpture is actually a single full screen google chrome window over 10 million pixels in size”. The public then acts as the choreographers in real time through their multimedia devices.

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ARTIST 1 : Unnumbered Sparks by Janet Echelman and Aaron Koblin

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ARTIST 1 : Unnumbered Sparks by Janet Echelman and Aaron Koblin

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The chosen artwork 2 is a piece made by Ai Weiwei called "Forever Bicycles". Ai Weiwei's installation "Forever Bicycles" consists of hundreds or thousands of interconnected bicycle frames organized in recurring patterns. A popular bicycle manufacturer in China, "Forever" is referenced in the artwork as a symbol of mass production, urban life, and mobility. Ai Weiwei encourages spectators to consider issues of industrialization, individualism, and societal structure by turning bicycles into abstract forms by removing essential components like seats and handlebars.

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The chosen artwork 1 is an immersive installation called "Rain Room". It was made by the London-based art collective "Random International". Visitors may stroll through a mock rainstorm without getting wet thanks to this piece of art. The project creates a surreal experience where people may control the rain by using sophisticated motion sensors to detect human movement and halt the rain in the visitors near area.

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Artwork 1: Rain Room by Random International 

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Artwork 1: Rain Room by Random International 

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ARTIST 2: TEAMLAB  "Floating In The Falling Of Universe"

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ARTIST 2: TEAMLAB  "Floating In The Falling Of Universe"

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 “Rhythm of the Rainforest” (2015) by Awang Fadilah Ali Hussein visually narrates a celebration of music, culture, and harmony within the rainforest environment. The painting combines elements of traditional Bornean culture with vivid colors and symbolic imagery to create a joyful, lively scene. In a vibrant rainforest village, three Indigenous musicians play traditional instruments, a bamboo flute, sape (a traditional lute), and a nose flute spreading music that brings people and nature together. While they play, the background shows both natural elements (like animals and plants) and modern influences (cars, planes, and buildings), blending the past and present. The artwork tells a story of how culture and music remain strong and joyful, even as the world around changes. It celebrates the spirit of unity, heritage, and connection to nature found in the heart of the rainforest.

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ARTIST 2 : AWANG FADILAH ALI HUSSEIN "Rhythm of the Rainforest" (2015) 

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ARTIST 2 : AWANG FADILAH ALI HUSSEIN "Rhythm of the Rainforest" (2015) 

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This artwork tells the story of a young child living in a small wooden house by a river, deep in the forest. One night, under the bright moon, the child looks out and sees magical creatures flying in the sky, a white bird nearby, and a cat walking across a log. The forest comes alive, filled with wonder and mystery. It shows a magical moment where nature and imagination come together, suggesting the child is part of a special, enchanted world full of stories and dreams.

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ARTIST 1 : JAINAL AMAMBING "My Longhouse Story" (2013)

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ARTIST 1 : JAINAL AMAMBING "My Longhouse Story" (2013)

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"Jungle of Nusa" by Suzy Sulaiman is an interactive sound installation that invites collective participation. It was exhibited at Media Ambition Tokyo 2020 and won the YouFab Global Creative Award in 2019. The artwork uses UPVC pipes and a repurposed guitar pedal to create a playful environment where participants can interact with sound. By speaking into the installation, their voices travel through the structure, connecting different parts of the artwork. The piece encourages analogue communication and rediscovery of voice, fostering meaningful interactions among participants.

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Artist 2:"Jungle of Nusa" by Suzy Sulaiman

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Artist 2:"Jungle of Nusa" by Suzy Sulaiman

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**"Deep Dream" by Google AI (2015)** is a computer vision program developed by Google engineer Alexander Mordvintsev. It uses a convolutional neural network to identify and enhance patterns in images, creating surreal, dream-like visuals. By running the network in reverse, the program amplifies certain features, resulting in psychedelic and abstract imagery. Originally designed to understand how neural networks process visual data, "Deep Dream" has since become a creative tool for generating unique and artistic images. It highlights the intersection of artificial intelligence and art, showcasing the potential of machine creativity.

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Vince Low came to public attention through his portraits of famous personalities who are dyslexic, rendered with his signature scribble style. To date his “scribble” art has been featured in The Daily Mail and Huffington Post and exhibited in Singapore. The unique style aside, Vince Low strives to fully capture the spirit behind the faces of his “scribbles” be it famous figures or animal portraitures. He graduated from the One Academy and has worked in various agencies as graphic designer and creative director. He has produced award winning artwork for campaigns such as Fluff and Stuff Cookies. Vince believes that spectacular art can be created digitally and society should take digital art more seriously.

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Submergence (2013) by Squidsoup is an immersive light installation that transforms physical space into a fully interactive digital environment. The work consists of thousands of individual points of suspended LED lights, arranged in a 3D grid that fills an entire room. As viewers move through the space, they are “submerged” in a sea of light and sound that responds to their presence, creating a fluid, dreamlike atmosphere.

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Waves (2006) by Daniel Palacios is a captivating kinetic sound installation that merges art and science to visualize the invisible forces of sound. The artwork consists of a long, flexible rope suspended in the air, which is constantly set in motion by motors at both ends. As the rope moves, it generates wave-like patterns that resemble physical representations of sound frequencies and vibrations. This dynamic motion is enhanced by audio output that corresponds to the movement, allowing viewers to see and hear the “waves” in real-time.

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Charis studied illustration at Rhode Island School of Design and has a Bachelor degree in Biochemistry and Molecular Biology from Brown University. Her approach to digital art is versatile but grounded in the priority of the subject matter. She enjoys taking on a wide range of projects, adapting her visual language and style to fit each subject and to create images that tell stories. However, for this specific piece there wasn't much information about it nor where is the book now, the only thing about it is that the art was made for a book cover but it can be seen that 'Gila' portrays bunch of thoughts in a person

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In this mesmerizing digital waterfall installation, teamLab projects animated light particles that cascade around and past visitors, simulating the natural flow of water. The piece uses real-time interaction, responding to the position and movement of the audience to alter the flow. Unlike traditional paintings or sculptures, this work is never the same twice its form and rhythm are shaped by the people within it. The swirling lines and flowing energy evoke ideas of constant change, interconnectedness, and the unseen forces that shape our universe. The immersive space blends science, art, and philosophy, offering viewers a meditative experience that blurs the boundary between the digital and natural worlds.

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Artist 2: teamLab, “Universe of Water Particles on a Rock where People Gather” (2018)

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Artist 2: teamLab, “Universe of Water Particles on a Rock where People Gather” (2018)

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This captivating installation by Japanese art collective teamLab is a dynamic projection work that explores the ephemeral beauty of nature. Visitors are surrounded by walls and floors covered in constantly changing digital flowers, which bloom, wither, and fade in real time depending on the season and audience interaction. The vibrant display immerses the viewer in a dreamlike, ever evolving environment that reflects the cycles of life and nature’s transient beauty. teamLab uses advanced digital technology not to isolate, but to reconnect people with nature and each other through shared experience. The artwork’s motion sensitivity turns each person into a co-creator, reminding us of the delicate interdependence between humans and the environment.

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Artist 1: teamLab, “Flowers and People – A Whole Year per Hour” (2018)

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Artist 1: teamLab, “Flowers and People – A Whole Year per Hour” (2018)

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Rozendaal’s Into Time work, in its original form, is to be experienced via Internet : intotime.com . The artwork fills the browser viewport with pulsing gradients. It is collaborative in the sense that the visitor’s participation is essential to the work’s completion. Visitors create their own compositions by clicking on the art, making it really interactive. Rozendaal believes that his work may be adapted to a variety of media and circumstances. He incorporated time.com into real installations, such as this one in Brazil.

The work should also be adaptable to a variety of technical environments. Rather than simply recreating the work’s original setting, Rozendaal wants to make it possible for it to be moved to other formats as they become alive.

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Famous American media artist Marina G. Zurkow is well-known for her multidisciplinary pieces that examine the connections between culture, nature, and climate change. In order to address difficult problems related to the environment, her art frequently combines animation, performance, video, and participatory components. The generative, software-driven animation Mesocosm (Wink, TX) (2012) by Marina Zurkow carefully examines the relationship between human industrial activity and ecological systems. This work is a component of Zurkow's larger Mesocosm series, which explores artificial ecosystems to consider social and environmental processes.

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ARTIST 2: Mesocosm (Wink, TX) – 2012 by Marina G. Zurkow 

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ARTIST 2: Mesocosm (Wink, TX) – 2012 by Marina G. Zurkow 

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Camille Utterback’s Text Rain is an interactive digital installation created in collaboration with Romy Achituv in 1999. It allows participants to engage with falling letters on a screen using their bodies, creating a playful yet thought-provoking experience. The installation explores the relationship between language and the body, making reading a physical as well as cerebral experience.

It challenges traditional notions of text and interaction, transforming language into a tangible, immersive medium.

The poem used in the installation is Talk, You by Evan Zimroth, reinforcing themes of communication and embodiment.

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Artist 2- Text Rain (1999) by- Camille Utterback

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Artist 2- Text Rain (1999) by- Camille Utterback

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Malaysian-born architect and artist Red Hong Yi is well known for her experimental style, frequently using commonplace materials to create her works. Red, who was born in Kota Kinabalu, Sabah, Malaysia, studied at the University of Melbourne and graduated with a Master of Architecture.  She is known as "the artist who paints without a paintbrush" because of the unique mediums she uses in her work, which challenges conventional ideas of painting. For Jackie Chan's 60th birthday in 2014, his team hired Red Hong Yi to paint a picture of the martial arts icon. The finished piece of art portrays Chan's face made out of 64,000 bamboo chopsticks that have been carefully packed and placed inside a steel frame. In addition to expressing respect to Chan's background, this installation showed Red's talent for turning commonplace items into powerful works of art.

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ARTIST 1: Jackie Chan Chopsticks Portrait (2014) by RED HONG YI                                                                      

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ARTIST 1: Jackie Chan Chopsticks Portrait (2014) by RED HONG YI                                                                      

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Refik Anadol (born 1985 in Istanbul, Turkey) is a media artist, director, and pioneer in the aesthetics of machine intelligence.  His corpus of work situates creation at the confluence of people and machines. Anadol paints with a thinking brush, using the data that flows around us as his primary material and the neural network of a computerized mind as his collaborator. This allows him to offer us radical visualizations of our digitized memories while also expanding the possibilities of architecture, narrative, and motion. Anadol's site-specific parametric data sculptures, live audio/visual performances, and immersive installations take several forms, all of which offer a radical reconsideration of the physical world, our relationship to time and place, and machines' creative potential. Anadol is also a lecturer and researcher at UCLA's Department of Design Media Arts, where he earned his Master of Fine Arts.

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Artist 2 : Machine Hallucination by Refik Anadol (2019)

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Artist 2 : Machine Hallucination by Refik Anadol (2019)

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Imagine and Experience.  Awaken A multidimensional media art gallery. Immersify KL, which spans an astonishing 30,000 square feet, offers an awakened immersive experience unlike any other in Malaysia.  With 11 uniquely designed zones, we invite you to embark on an unforgettable trip that frees the mind, promotes study, and sparks imagination in people from all walks of life. From spatial 360° noises and 12-meter-high walls to spectacular larger-than-life exhibits, we provide distinctively made experiences brought to life by fascinating content created in South Korea and tailored specifically for Malaysia.  Our existence is dedicated to empowering your stories, which elicit a wide range of emotions.

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Artist 1 :  Immersify Kuala Lumpur (2025) – Malaysia’s First 360° Digital Art Experience

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Artist 1 :  Immersify Kuala Lumpur (2025) – Malaysia’s First 360° Digital Art Experience

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Aw Boon Xin’s Zoomorphism is an augmented reality (AR) activation that explores the relationship between humans and animals through digital interaction. It was part of the larger project Symbiosis: Realising Our Kinship With All Beings, which examines speculative ecology and post-human studies. In Zoomorphism, viewers could “hold” and “touch” digital creatures, such as crabs, fishes, chickens, and nagas, as a way to foster a sense of care and connection. The experience was designed to encourage careful and considered gestures, reinforcing the idea that kinship extends beyond human relationships. The creatures were presented in the form of traditional Wayang Kulit (shadow puppetry), blending cultural heritage with modern technology.The project was showcased at exhibitions like fffluid apparatus: At The Intersection Of The Human, The Natural, And The Machine, where Aw and Koh Kai Ting explored themes of intelligence and interconnectedness. The artists drew inspiration from Donna Haraway’s post-human studies, which suggest that kinship is not limited to blood ties but can be developed through gestures of care.

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The piece intertwines myth, nature, and data to reflect on the consequences of an imbalanced digital ecosystem. It challenges viewers to consider whether technological advancements can truly address planetary issues while emphasizing humanity’s deep connection with the cosmos and all life forms. The artwork draws inspiration from Dayak Ngayu cosmology, where elements like mountains, hornbills, the Tree of Life, and water serpents emerge and disappear in cycles of destruction. Through this narrative, Ng provokes dialogue about our relationship with nature in the digital age.

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ARTIST 02: TOO MANY BIRDS IN ONE TREE (2024) - by Roger Ng Wei Lun 

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ARTIST 02: TOO MANY BIRDS IN ONE TREE (2024) - by Roger Ng Wei Lun 

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Laurie Anderson's Chalkroom is a virtual reality artwork created in collaboration with Hsin-Chien Huang. It immerses viewers in a vast, dreamlike space filled with floating words, drawings, and stories. In this interactive experience, users can fly through rooms covered in chalk-like text, where words dissolve into dust and reform, creating an ever-changing narrative. The piece explores themes of memory, language, and disembodiment, offering a unique sensory journey through Anderson's artistic vision

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ARTIST 01: CHALKROOM (2017) - By Laurie Anderson

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ARTIST 01: CHALKROOM (2017) - By Laurie Anderson

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Learning to See (2016) by Memo Akten is an interactive new media artwork that explores the concept of machine vision through artificial intelligence (AI). Using convolutional neural networks (CNNs), the piece trains a machine to "see" and categorize objects within images, drawing parallels to human perception. As the machine processes a vast dataset, it generates evolving visual interpretations, highlighting the differences between how machines and humans perceive the world. The work invites viewers to question the subjectivity of perception, raising concerns about the biases and limitations in AI’s understanding of reality. Through this, Akten probes the relationship between human and machine intelligence, and the role of perception in shaping knowledge.

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Rachel Ho is a visual development artist and illustrator from Sabah, Malaysia. In 2021, she was officially commissioned by Disney Southeast Asia to create a promotional poster for the animated film Raya and the Last Dragon. By using digital illustration medium this artwork was part of a regional campaign to celebrate Southeast Asian talent and highlight the cultural inspirations behind the film. Rachel’s unique illustration style and vibrant composition beautifully capture the film’s spirit of adventure, unity, and cultural richness, making her contribution a proud representation of Malaysian creativity on an international platform.

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ARTIST 1: Rachel Ho | Raya and The Last Dragon (2021)

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ARTIST 1: Rachel Ho | Raya and The Last Dragon (2021)

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“Sketch Aquarium” by teamLab is an interactive digital installation that invites participants to draw sea creatures which are then scanned and brought to life within a virtual aquarium projected on the walls. The immersive artwork blends traditional hand-drawing with advanced projection mapping and motion sensors. As the animated fish and marine life swim freely across the digital aquarium, they react to touch and movement, creating an engaging and ever-evolving underwater world. The piece explores themes of creativity, co-existence, and the harmony between nature and technology, transforming children’s drawings into living digital organisms.

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ARTIST : TEAMLAB “Sketch Aquarium” (2013–Present)

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ARTIST : TEAMLAB “Sketch Aquarium” (2013–Present)

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Yee I-Lann’s Tikar/Meja series reimagines traditional Sabahan. Created in collaboration with indigenous weavers from East Malaysia, the installation contrasts the communal spirit of the tikar (mat) with the hierarchical structure of the meja (table). The art features a large-scale installation made of woven mats (tikar) produced collaboratively with traditional weavers from communities in Sabah, East Malaysia. Each woven panel depicts images of tables (meja), referencing colonial administrative tables symbols of power, negotiation, and decision-making in Southeast Asian history. Through this powerful blend of traditional craft and conceptual practice, Yee critiques histories of colonialism, governance, and community, offering a new form of "new media" that is rooted in material culture, collaboration, and social memory.

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Artist 2: Tikar/Meja Series by Yee I-Lann

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Artist 2: Tikar/Meja Series by Yee I-Lann

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Es Devlin’s Memory Palace (2019), exhibited at PACE Gallery in London, is a large-scale sculptural installation that reimagines human history as a dynamic, living map. Inspired by the ancient mnemonic "memory palace" technique, the work plots significant cultural and political events across a fragmented topographical model animated by projection mapping and an immersive soundscape. Through shifting light and sound, historical moments such as the building of the Pyramids and the fall of the Berlin Wall emerge and fade, allowing visitors to physically and emotionally experience humanity’s collective memory. In Memory Palace, Es Devlin demonstrates her mastery of creating spaces where architecture, narrative, and technology converge. She offers not just a map of places, but a living portrait of humanity’s collective journey a portrait that is as fragile, complex, and luminous as memory itself.

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Walk, Walk, Walk: Search, Deviate, Reunite is an immersive, interactive digital artwork by teamLab, featured in their Borderless exhibition at the MORI Building DIGITAL ART MUSEUM in Tokyo. This piece invites visitors into a labyrinthine space filled with diverse, walking figures—such as mythical creatures, merchants, and animals—who move in unpredictable patterns. When visitors interact with these figures, they respond by altering their direction or behavior, creating a dynamic and ever-changing environment.​The artwork emphasizes the fluidity of identity and the interconnectedness of individuals within a shared space. By engaging with the figures, visitors become part of the narrative, influencing the movement and interactions within the installation. This participatory experience blurs the boundaries between the artwork and the audience, aligning with teamLab's philosophy of creating art that transcends traditional confines and evolves through human interaction.

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Artist 2: Walk, Walk, Walk: Search, Deviate, Reunite by Teamlab

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Artist 2: Walk, Walk, Walk: Search, Deviate, Reunite by Teamlab

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Universe of Water Particles" is a mesmerizing digital installation by the internationally renowned art collective teamLab. The piece simulates a cascading waterfall made up of countless digitally generated water particles. Utilizing advanced computer programming and real-time simulation, teamLab creates a stunning illusion of flowing water that reacts organically to the presence and movement of visitors.The water particles are not pre-recorded; instead, they are continuously generated by a computer program, allowing the waterfall to behave naturally and respond dynamically. If a person stands in the flow, the water is designed to curve around them, creating a unique interaction between the artwork and the viewer.This installation highlights the beauty and complexity of natural phenomena while exploring the relationship between humanity and nature within a digitized environment. It encourages viewers to become a part of the ever-changing artwork, emphasizing the interconnectedness of all things.

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ARTIST 2 : UNIVERSE OF WATER PARTICLES BY TEAMLABS

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ARTIST 2 : UNIVERSE OF WATER PARTICLES BY TEAMLABS

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Tatu” is an immersive art installation featuring a dome, shaped structure adorned with intricate circular plates. These plates are designed with elaborate patterns inspired by the major cultural groups of Malaysia ,Malay, Chinese, Indian, and Dayak. As light shines through the structure, it projects a stunning array of shadow patterns onto the surrounding walls, ceiling, and floor, reminiscent of the traditional art of Wayang Kulit (shadow puppetry).The installation invites visitors to contemplate Malaysia’s cultural diversity, emphasizing the importance of embracing differences as a foundation for unity. The title “Tatu” (meaning tattoo) also serves as a tribute to the communities of East Malaysia, particularly those whose rich heritage and traditions have often been marginalized in the national narrative.

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"Embrace the Unknown" is a large-scale interactive installation by Malaysian artist Pamela Tan. The artwork features a vibrant structure made of yellow and orange arcs, strings, and spheres, forming a surreal and dynamic environment. Visitors are encouraged to walk through the intricate space, allowing them to physically engage with the flowing forms around them. As they move, the changing perspectives and playful design evoke feelings of curiosity, wonder, and exploration. Pamela Tan uses this immersive experience to symbolize the beauty of venturing into the unknown, encouraging viewers to embrace uncertainty with an open and adventurous spirit.

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Artist 1: Embrace the Unknown by Pamela Tan

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Artist 1: Embrace the Unknown by Pamela Tan

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“Voice Tunnel” - The experience of being in a place you’re not allowed is already so special that you could throw some rubber bands in the corner and the installation would look great,” the Mexican artist Rafael Lozano-Hemmer said about the Park Avenue tunnel. The seven-block-long subterranean roadway, in midtown, was closed to traffic and open to pedestrians for the first time in its hundred-and-seventy-nine-year history. Lozano-Hemmer had lined the blackened stone that buttresses the tunnel with a hundred and fifty speakers, and lit the tunnel’s corrugated-metal roof with three hundred spotlights, as a work of public art. “The problem with this tunnel is what not to do—there are just so many possibilities. Lozano-Hemmer’s “Voice Tunnel,” which opened this past Saturday and will continue for the next two, invites visitors to record a short message through an intercom at the passage’s midpoint. The recording is then looped through speakers on either side of the intercom. The amplification triggers the spotlights, two to each speaker, to flash according to the intensity of the voice, illuminating the ridges of the tunnel’s arched roof. As each visitor adds his or her voice, the previous recording and its translation into light are pushed outward, down the length of the tunnel and toward its edge, until the flood of new messages supersedes it. Every minute or so, the spotlights extinguish, and the tunnel returns to darkness, punctuated only by the diffuse, ghostly light from air vents overhead and at the tunnel’s northern egress.

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Artist 2: Voice Tunnel by Rafael Lozano-Hemmer

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Artist 2: Voice Tunnel by Rafael Lozano-Hemmer

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But was the tunnel a New York moment, or merely a chaotic scene of flashing, beeping public art?

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Artist 2: Serpenti Metamorphosis by Refik Anadol (2022)

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Artist 2: Serpenti Metamorphosis by Refik Anadol (2022)

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Serpenti Metamorphosis by Refik Anadol 6

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HARIS ABADI - The series is a reflection based on my study (and my interest) in Pohon Beringin/Pohon Budi (the tree of life). A main prop and a very important symbol in the traditional Shadow Puppet play. It symbolizes the universe - the levels and layers of life - concerning the relationship among human and also the connection with the Creator. 

Well, the pohon series are the representation of the netizens. It can be you, or myself.

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Artist 1 - Pohon Beringin/Pohon Budi by Haris Abadi (2011)

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Artist 1 - Pohon Beringin/Pohon Budi by Haris Abadi (2011)

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This artwork, in which lamps are seemingly scattered in a random manner, is composed of resonating light that changes based on the relationship between the people in the artwork space. It is a work that expresses the beauty of continuity.



When a person stands still close to a lamp, it shines brightly and emits a sound. The light spreads to the closest lamps, propagating their light to the lamps nearest to them. The light continues to flow to the closest lamp, passing through each lamp once, creating a single light trajectory that passes through all the lamps. The light created by your presence and the light created by the presence of others, will always intersect.



The seemingly random arrangement of the lamps is an arrangement in which the light produced by the presence of people is continuous, and is an arrangement created for the beauty of the continuity itself.



Specifically, the lamps are mathematically arranged in space so that when a line is drawn from each lamp to the closest lamp in three dimensions, it forms a single connected line (unicursal) with the same start and end points, that line becomes the trajectory of light that is beautiful.

As a result, the lamp light triggered by a person’s presence will, regardless of the fact that it is only spreading to the closest lamps, always pass through each lamp only once, as if it were a single stroke. It then intersects with the light created by other people in the same space at the same time, and ultimately returns to the original lamp that was the starting point. This artwork represents a beautiful continuity of light as people freely interact with the lamps.

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FOREST OF RESONATING LAMP-ONE STROKE [TEAMLAB]-2020

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FOREST OF RESONATING LAMP-ONE STROKE [TEAMLAB]-2020

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10.000 Moving Cities – Same but Different explores how our planet is becoming increasingly homogeneous and how globalization creates more and more “places without a local identity” – as described in Marc Augé’s essay Non-place (1992). In 10.000 Moving Cities all cities have the identical buildings, but the information on the building facades are constantly different. They are searched in real time on social networks about the chosen location.

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Artist 1: 10,000 Moving Cities by Marc Lee (2013)

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Artist 1: 10,000 Moving Cities by Marc Lee (2013)

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"Beneath the Neural Waves" (2021) by Sofia Crespo, created in collaboration with Feileacan McCormick as Entangled Others, is a digital art installation that uses artificial intelligence (AI) and generative art to create a speculative aquatic ecosystem. Drawing inspiration from the coral reef ecosystem, the piece employs neural networks and 3D GANs to generate virtual life forms resembling marine species, inviting the audience to reflect on the complex interconnections in nature. Through synthetic datasets and public data on aquatic species, the installation challenges perceptions of life and relationships in both the natural and digital worlds. Ultimately, it explores how AI can be used to reimagine ecosystems, while encouraging viewers to contemplate the role of technology in understanding and depicting nature’s intricate systems.

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"Beneath the Neural Waves" (2021) by Sofia Crespo

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"Beneath the Neural Waves" (2021) by Sofia Crespo

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Body paint is a visual instrument that enables you to paint on a virtual canvas with your body, interpreting movement and gestures into evolving compositions. It is not a painting application per se, and instead explores expressive ways of creating and performing images and color through capturing the motion and energy of the body. The piece is about the interaction experience. What matters is not the image created at the end, but the sensation of creating it, interacting with it, reacting to your creation as it evolves. Analogous to music, the motivation for playing an instrument is not always to compose or record. Sometimes every note is just for the moment, an unconscious response coming from within, without any concern for making it permanent. Similarly in Body Paint, when you stop moving, the image slowly fades away, leaving only the memory of your experience.

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ARTIST 1: "Body paint" by Memo Akten (2009)

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ARTIST 1: "Body paint" by Memo Akten (2009)

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"Machine Memoirs: Space" (2021) by Refik Anadol explores the concept of memory and artificial intelligence by transforming astronomical data into a visual masterpiece. Using cutting-edge machine learning algorithms, Anadol processes images from space telescopes to create dynamic, immersive environments that seem to evolve over time. The installation blurs the boundaries between the digital and the cosmic, turning vast amounts of scientific data into surreal, flowing visuals. Through this innovative approach, the work reimagines the relationship between human perception, technology, and the unknown depths of space, inviting viewers to reflect on memory, exploration, and the infinite nature of the universe.

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"Machine Memoirs: Space" (2021) by Refik Anadol 

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"Machine Memoirs: Space" (2021) by Refik Anadol 

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The Museum of Modern Art announces Light: Rafaël Rozendaal, an immersive digital artwork, on view from November 16, 2024 through Spring 2025 on the Hyundai Card Digital Wall in MoMA’s Agnes Gund Garden Lobby. This installation presents a selection of Rozendaal’s vibrant animated works, each sampled for two to three minutes. Each work originates as a storyboard sketched on paper, which is then translated into code of only a few kilobytes (the exhibition’s total file size is 135 KB). The resulting final form is an autonomous website powered by that algorithm, generating the animation in real time. Light: Rafaël Rozendaal is organized by Paola Antonelli, Senior Curator, Department of Architecture and Design, and Director, Research and Development, and Amanda Forment, Curatorial Assistant, Department of Architecture and Design. 

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ARTIST 2: Light at MoMa by Rafael Rozendaal  (2024-2025)

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ARTIST 2: Light at MoMa by Rafael Rozendaal  (2024-2025)

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Set in an unspecified near future, ‘Black Cloud’ follows a lone surveillance AI as they confront their existential crisis while watching over the streets of the abandoned smart city of SimBeijing.

Left with nothing to do, but still obliged to perform their endless tasks, the AI discusses their troubles with their built-in therapist — a self-help AI called Guanyin. Not all is as it seems in the smart city. Originally built as a replica of the Chinese capital to test autonomous vehicles, SimBeijing has mysteriously become a ghost town. As Black Cloud gradually opens up to Guanyin, they reveal the darker reasons behind why the city has been abandoned.

‘Black Cloud’ is the first part of Lek's 'Smart City' trilogy of CGI noir, followed by ‘NOX’ (2023) and ‘Empty Rider’ (2024). The series continues Lek’s ongoing Sinofuturist universe, an interwoven series of animated films and video games that explore questions of identity, agency, and emotion in the age of AI. The short film sets the rust-belt cityscape against an evocative electronic soundtrack, produced with long-term collaborator Kode9.

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ARTIST 1: Black Cloud by Lawrence Lek (2021)

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ARTIST 1: Black Cloud by Lawrence Lek (2021)

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Machine Hallucinations — Space : Metaverse is a breathtaking collection from digital media artist Refik Anadol. It includes richly diverse artworks inspired by his studio’s collaboration with NASA JPL which began in early 2018, and his long-term research into the photographic history of space exploration. Using advanced machine learning algorithms trained specifically on photographs of deep space captured by satellites and spacecrafts throughout humanity’s quest to explore its depths, Anadol creates mesmerizing visual speculations of the unknown. The works explore our fascination with the subject while unveiling intricate connections between obscurity and openness through both digital and physical mediums.

Studying the visuals that have been captured by the most comprehensive machines sent to outer space inspired Anadol to contemplate the idea that telescopes keep visual travel journals of spaces where humans cannot yet travel. From this, Anadol and his team members began speculating the possibility that telescopes, which collect so many images in their memories, could dream about the universe.

The entire collection was created by using over two million raw images captured and recorded by the International Space Station, the Hubble and MRO telescopes, providing a vast dataset to train a generative adversarial network. An in-depth look into Refik’s process can be found here.

“In 2016, during my artist residency at Google’s Artists and Machine Intelligence (AMI) program, I coined the terms ‘AI Data Painting’and ‘AI Data Sculpture’ as a way to encapsulate a groundbreaking exploration into the creative capacities of artificial intelligence. This concept was born from a profound curiosity: if a machine can learn, can it also dream? Can it hallucinate? These questions propelled my artistic inquiry, leading to the development of visual works that transcend traditional art forms. By harnessing vast datasets and AI algorithms, I sought to visualize the dreams of machines, creating ethereal landscapes that blur the line between the digital and the physical. AI Data Painting thus represents not just a new technique, but a philosophical pondering on the evolving relationship between human creativity and machine intelligence, inviting viewers to contemplate the potential for AI to not only mimic reality but to imagine beyond it.”

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 “Machine Hallucinations – Space : Metaverse,” (2021) by Refik Anadol

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 “Machine Hallucinations – Space : Metaverse,” (2021) by Refik Anadol

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Do Not Kill the Messenger is part of “Imposture Series”, a collection of 6 prints that reflects Klingemann’s interest in pushing AI models to surprise the viewer with their visual outputs. For these works, the artist focused on the human body, training his AI models to explore posture by turning stick figures into paintings, based on the analysis of images harvested from the internet.

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ARTIST 2 : Mario KlingemannDo Not Kill the Messenger, 2017

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ARTIST 2 : Mario KlingemannDo Not Kill the Messenger, 2017

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The Tranquil piece represents a state of calmness, fixed in its temporary stability. It is a pause between the storms of the turbulent present. Tranquil is simultaneously the long-awaited peace and rest, the lack of movement, development, as well as the ability to fill the sails with the winds of change. It contains the ambivalence and unknowing of the coming moment. Despite the arbitrary nature of the scene, the setting retains elements of realism and proximity to a natural landscape. The streamlined shapes resemble liquid metal. Those shapes reflect in the smooth waters, with barely noticeable ripples, frozen in anticipation of the unknown.

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ARTIST 1 : Stepan RyabchenkoTranquil, 2020 

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ARTIST 1 : Stepan RyabchenkoTranquil, 2020 

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Flat Bells describes how fragile and flexible human perception is, and how technology can stretch and mix our senses of sight, sound, and space.

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ARTIST 2: Alexandre Estrela "Flat Bells" (2023)

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ARTIST 2: Alexandre Estrela "Flat Bells" (2023)

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Machine Hallucinations is a fascinating project that explores the intersection of artificial intelligence, machine learning, and art. The piece delves into the concept of "machine hallucinations," where the algorithm generates unique visual experiences based on vast amounts of data. Anadol utilizes deep learning models to create visual representations of data that may otherwise be invisible to the human eye.In Unsupervised, Anadol uses machine learning algorithms to analyze and interpret huge datasets, which result in mesmerizing, fluid, and abstract visuals. The "hallucinations" refer to the AI's creative interpretations of this data, forming patterns, shapes, and colors that evoke surreal and dreamlike imagery.This work is part of a growing movement in art where technology is used not just as a tool for creation, but as an active participant in the creative process itself. Anadol’s exploration of unsupervised learning (where the model learns patterns in data without direct supervision or labeling) offers a fresh and innovative perspective on the role of machines in the artistic and creative domains.

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ARTIST 1 : Refik Anadol "Unsupervised" - Machine Hallucinations (2022)

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ARTIST 1 : Refik Anadol "Unsupervised" - Machine Hallucinations (2022)

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"Yume" by Fahmi Hosnan and Ashish Khilnani (2023) is an immersive digital art installation that blends traditional cultural elements with cutting-edge technology. The artwork, which is part of the Other World exhibition at REXPERIENCE (RXP.KL) in Kuala Lumpur, invites viewers into a dreamlike space where visuals inspired by traditional Japanese art are brought to life through digital projection and animation. The title "Yume," meaning "dream" in Japanese, reflects the ethereal and otherworldly quality of the experience. By combining elements of Japanese art, such as Hokusai's iconic The Great Wave, with digital projections, Yume explores the relationship between culture, identity, and technology. This interactive piece challenges the boundaries between the physical and digital realms, offering visitors a unique, immersive experience that merges art and innovation.

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ARTIST 2: "Yume" by Fahmi Hosnan and Ashish Khilnani (2023)

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ARTIST 2: "Yume" by Fahmi Hosnan and Ashish Khilnani (2023)

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"Melting Memories" (2018) by Refik Anadol is a groundbreaking digital art installation that transforms EEG (brainwave) data into mesmerizing visual sculptures, exploring the fragile and abstract nature of human memory. Using custom algorithms and a large LED screen, the artwork displays fluid, ever-changing patterns that mimic the process of memory formation, decay, and transformation. Although not directly interactive, the piece offers an immersive sensory experience by blending neuroscience, machine learning, and aesthetics, inviting viewers to reflect on the connection between mind, data, and digital identity.

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ARTIST 1: "Melting Memories" by Refik Anadol (2018)

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ARTIST 1: "Melting Memories" by Refik Anadol (2018)

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The immersive exhibition of “Piying Dream” is a co-production between Temple of Light and Danny Rose. In this experience, carefully designed stages seamlessly traverse the venue’s floors and walls, each representing a distinct universe. Original music enhances dynamic choreography, inviting visitors to immerse themselves in a sensory journey. 

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ARTIST 1: DANNY ROSE STUDIO-PIYING DREAM

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ARTIST 1: DANNY ROSE STUDIO-PIYING DREAM

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The artwork Antara Callisto dan Europa is a celestial digital composition by Muid Latif that reimagines space as a symbolic stage for spiritual exploration. Drawing from the vastness of the universe, it presents two of Jupiter’s moons—Callisto and Europa—not as astronomical entities alone, but as metaphors for opposing forces or distant selves connected by unseen energy. The piece captures the wonder and rhythm of the cosmos through glowing colors, fluid shapes, and swirling galactic elements, evoking both serenity and motion. By blending spiritual motifs with a science-fiction aesthetic, Muid reflects on how identity, connection, and transformation transcend physical boundaries. In doing so, the artwork silently suggests that just as these celestial bodies orbit within a larger system, human beings too are part of a greater, often unperceived, cosmic order—bridging tradition, belief, and digital interpretation into a single visual meditation.

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ARTIST 1: Muid Latif - Antara Callisto dan Europa

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ARTIST 1: Muid Latif - Antara Callisto dan Europa

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This is an interactive installation featuring a room full of light bulbs that flash in sync with the heartbeat of the audience. When a person holds a metal sensor, their pulse is detected and their heartbeat is translated into flashes from one of the bulbs. Once they let go, the heartbeat pattern is stored and shifts along the rest of the lights, making room for the next person’s input. Pulse Room explores the idea of human presence, individuality, and shared memory through the heartbeat. It transforms visitors’ heartbeats into flashing lights, turning something personal into a collective visual experience. The artwork symbolizes how everyone leaves a trace behind, and how those traces come together to form a living, ever-changing installation. It highlights the connection between people, the fragility of life, and how art can be shaped by audience participation.

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ARTIST 2 - RAFAEL LOZANO - HEMMER - "PULSE ROOM" (2006)

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ARTIST 2 - RAFAEL LOZANO - HEMMER - "PULSE ROOM" (2006)

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"Crystal Universe” by teamLab is an awe-inspiring digital interactive installation that completely transforms how we experience art. Made up of countless shimmering LED lights arranged in a three-dimensional space, the installation gives the powerful illusion of stepping into a galaxy filled with stars, planets, and cosmic wonders. What makes this artwork truly special is how visitors can interact with it in real time using their smartphones. With a tap, they can select elements like stars, comets, or celestial bursts, instantly seeing their chosen object ripple through the LED universe, altering the entire atmosphere around them. It’s not just something you look at—it’s something you become a part of. The concept of the Crystal Universe explores the interconnectedness between people, space, and technology. At its heart, the installation is about how human presence and choices can influence the environment around them, both in art and in the real world. The use of lights and mirrors creates an illusion of infinite space, symbolizing the boundless nature of the universe and our curiosity to explore it       

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ARTIST 1 - TEAMLAB : "CRYSTAL UNIVERSE" (2015)

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ARTIST 1 - TEAMLAB : "CRYSTAL UNIVERSE" (2015)

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René Magritte, born in 1898 in Belgium, was a leading figure in the Surrealist movement, known for his ability to blend realism with the absurd in a way that questioned the very nature of perception and reality. Unlike other surrealists who often explored dreamlike chaos and fantastical imagery, Magritte took a subtler approach by using everyday objects and placing them in unusual or paradoxical contexts. His works are marked by a calm, almost photographic style that starkly contrasts with the unsettling or mysterious themes he presents. He sought to evoke curiosity, confusion, and introspection in his viewers, pushing them to think beyond what is simply visible on the surface. Magritte’s art often plays with the ideas of concealment, contradiction, and illusion—inviting viewers to question the relationship between images and the meanings they convey. One of his most iconic and widely recognized paintings, The Son of Man (1964), perfectly captures these themes.

The Son of Man is a surreal self-portrait that depicts a man standing in front of a low stone wall with a calm ocean and cloudy sky behind him. He is dressed in a dark overcoat and a bowler hat—an outfit often seen in Magritte’s representations of the everyman, particularly as a recurring symbol of anonymity and conformity. The most striking element of the painting is the bright green apple that floats directly in front of the man’s face, obscuring it almost entirely while allowing glimpses of his eyes and brow behind it. This simple yet powerful visual device transforms an otherwise ordinary image into something deeply enigmatic. The apple becomes a symbol of concealment, temptation, and the limits of human perception. Magritte himself explained that the piece was meant to explore the tension between what is visible and what is hidden, stating, “Everything we see hides another thing, we always want to see what is hidden by what we see.” This idea is central to much of Magritte’s work, which often encourages viewers to think critically about the act of looking itself.

Beyond its visual intrigue, The Son of Man has become an enduring symbol of mystery, individuality, and the unknowable aspects of human identity. The apple may evoke associations with the biblical story of the Garden of Eden and the pursuit of forbidden knowledge, further enhancing the philosophical undertones of the painting. The bowler-hatted figure—impersonal and anonymous—may represent the modern man, trapped in societal norms and expectations, his true self obscured by appearances and external symbols. The combination of the mundane and the surreal in The Son of Man exemplifies Magritte’s mastery of turning simple compositions into profound visual riddles. Today, this painting is not only a masterpiece of surrealist art but also a cultural icon, frequently referenced in film, literature, advertising, and pop culture. It continues to captivate audiences with its elegant mystery and philosophical depth, firmly securing René Magritte’s legacy as one of the most influential artists of the 20th century.

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ARTIST 2: René Magritte “ The Son of Man (1964) “

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ARTIST 2: René Magritte “ The Son of Man (1964) “

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Gustav Klimt was a renowned Austrian painter born in 1862, best known for his role as a leading figure in the Vienna Secession movement, which sought to break away from the traditional academic art styles of the 19th century. His works are characterized by a distinctive combination of symbolism, eroticism, and intricate ornamentation, often drawing upon themes of love, sensuality, and the mysteries of the human condition—particularly the feminine form. Klimt’s artistic style evolved significantly over his career, but it reached its pinnacle during what is often referred to as his “Golden Phase,” a period in which he made lavish use of gold leaf, influenced by his exposure to Byzantine mosaics during a trip to Ravenna, Italy. One of the most iconic and celebrated pieces from this period is The Kiss, completed in 1908. This square canvas, measuring 180 by 180 centimeters, captures an intimate moment between two lovers, enveloped in a golden aura that gives the scene a dreamlike, timeless quality.

In The Kiss, Klimt portrays a couple in a passionate embrace, with the man bending forward to plant a gentle kiss on the woman’s cheek. The figures are positioned against a flat, gold background that removes them from any identifiable setting, enhancing the sense of otherworldly intimacy. The bodies of the lovers are wrapped in a flowing golden robe that merges with the background, decorated with contrasting motifs: rectangular, linear patterns adorn the man’s cloak, symbolizing masculine energy, while swirling floral patterns on the woman’s garment suggest femininity and fertility. The woman kneels in a field of colorful flowers, her head tilted back in serene surrender, eyes closed, as if completely absorbed in the moment. Klimt’s use of gold, elaborate patterns, and flat perspective blurs the line between figure and space, drawing viewers into the symbolic world he creates.

The Kiss is not only a celebration of romantic love but also a meditation on unity, transcendence, and the sacredness of human connection. The merging forms suggest the dissolution of the self in the presence of overwhelming emotion, while the golden background elevates the moment to a divine plane. This painting is widely regarded as the pinnacle of Klimt’s artistic career and has become one of the most recognizable images in Western art. Today, it is housed in the Österreichische Galerie Belvedere in Vienna, where it continues to captivate audiences from around the world with its radiant beauty and emotional depth. Klimt’s masterful synthesis of decorative art, symbolism, and psychological insight in The Kiss secures his place as one of the most influential and beloved artists of the early 20th century.

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ARTIST 1: GUSTAV KLIMT “ The kiss 1908” 

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ARTIST 1: GUSTAV KLIMT “ The kiss 1908” 

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In La Promenade (1875), Claude Monet captures a light, breezy moment of his wife and son walking on a hill. Using soft brushstrokes and bright colors, he conveys movement, sunlight, and the gentle atmosphere of a summer’s day.

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 In 1928, Joan Miró was inspired by Dutch Baroque paintings, especially Jan Steen’s The Dancing Lesson, to create Dutch Interior II. He reimagined the original by emphasizing lively human and animal figures, reducing background details, and capturing the chaotic energy of the scene through abstract forms and dynamic movement.

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The image is a humorous contemporary take on Vincent van Gogh’s The White Orchard, which was an original peaceful portrayal of the natural silence and beauty of renewal. In this rehashed version, aspects of modernity are introduced, including an individual engrossed in a smartphone and a drone flying above all, interfering with the serene orchard ambiance and imparting hilarity to the scene. Through the combination of Van Gogh’s rural landscape and representations of digital life, this piece brings to prominence how contemporary technology intrudes even into our sublimer moments. It silently criticizes our lifestyles heavily dependent on technology by stating that today’s awareness of nature is often screen-based rather than real reflection phenomenology turning into distraction.

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Artist 2: Vincent van Gogh - Orchard in Blossom, Bordered by Cypresses, 1888

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Artist 2: Vincent van Gogh - Orchard in Blossom, Bordered by Cypresses, 1888

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Unmoored explores a potential future of melting ice caps and rising oceans filling Times Square. Developed in collaboration with Microsoft, Unmoored allows guests to explore a submerged Times Square in mixed reality, to use their mobile phones to access an augmented reality experience.

Guests who look up in Times Square experience an incoming flotilla of boats of all kinds, making their way around existing buildings into the square — eventually creating a nautical traffic jam above. Boat age in the air; occasionally bumping into each other while waves break the silence of a surreal floating canopy of hulls. Apparitions appear, based on living species of plankton, and seem to seek connection to the human audience.

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Infinity Mirrored Room—The Souls of Millions of Light Years Away is an immersive environment that fosters an out-of-body experience, heightens one’s senses, and produces a repetitive illusion through the use of lights and mirrors. Similar in appearance to stars in the galaxy, hundreds of LED lights hang and flicker in a rhythmic pattern that seems to suspend both space and time. The visitor becomes integral to this work as his or her body activates the environment while simultaneously vanishing into the infinite space. The ethereal nature of the installation can be traced back to the early 2000s, when Kusama began making dimly lit mirrored rooms, a departure from her earlier brightly colored and polka-dotted spaces. Continuing her exploration of the transience of life and the inevitability of death, this installation creates a harmonious and quiet place for visitors to contemplate their existence, reflect on the passage of time, and think about their relationship to the outer world.

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ARTIST 1 : Yayoi Kusama - Infinity Mirrored Room - The Souls of Millions of Light Years Away (2013)

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ARTIST 1 : Yayoi Kusama - Infinity Mirrored Room - The Souls of Millions of Light Years Away (2013)

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Edvard Munch was a renowned Norwegian painter and a pioneer of the Expressionist movement. He is best known for creating deeply emotional and psychological works that explore themes of anxiety, fear, loneliness, and despair. Rather than focusing on realistic depictions, Munch used exaggerated forms, bold colors, and swirling lines to represent the internal emotional states of his subjects. Munch’s personal life was filled with emotional turmoil. He lost his mother and sister at a young age, struggled with illness, and experienced ongoing mental health challenges. These life experiences profoundly shaped his art, making each piece feel like a raw emotional outpouring. His work resonates with those who want to explore the depth and complexity of human feelings through visual art. The Scream is one of the most iconic artworks in art history, often seen as the ultimate visual representation of existential anxiety. The figure in the center, standing on a bridge with a distorted face and hands on its cheeks, appears to be overwhelmed by a powerful, invisible force. The sky burns in shades of red and orange, intensifying the emotional impact. This painting captures the raw, almost unbearable intensity of fear and panic emotions that many can relate to but struggle to express. The distorted forms, strong lines, and swirling colors perfectly illustrate how overwhelming emotions can distort one’s perception of reality.

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ARTIST 1 : Edvard Munch – The Scream (1893)

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ARTIST 1 : Edvard Munch – The Scream (1893)

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Sweet Hug (2021) by Yannie Gu who born in Shanghai, China. Sweet Hug is an intimate visual metaphor for self-compassion and emotional healing. This painting shows a woman holding a smaller girl inside a dark house. The painting wants to show that the woman feels weak but is protecting her inner child with her own strength.

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Bosch’s masterpiece comes under the gaze of new technology in The Garden of Earthly Delights, by Mario Klingemann (Laatzen, Germany, 1970). A suite of algorithms, custom-developed by the artist, reinterprets the original as we watch. The distinctive structures of Bosch’s original melt into abstract forms; prominent characters such as Adam or Eve are revisited, and the painting’s colors and texture become fluid.  The AI-model works on different areas of the triptych, reinterpreting sections of the painting before returning them to their original state. This organic cycle of analysis, morphosis, and restoration is endless, offering each viewer a unique visual experience. Considered by its creator as an experiment in perception,The Garden of Earthly Delights uses Bosch’s work to raise questions about awareness, memory and change.

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ARTIST 1 : Mario Klingemann "The Garden of Earthly Delights" (2020)

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ARTIST 1 : Mario Klingemann "The Garden of Earthly Delights" (2020)

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ARTIST 1 - "Towkay’s Horizon" by Chong Yan Chuah (Immersio 2023)

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ARTIST 1 - "Towkay’s Horizon" by Chong Yan Chuah (Immersio 2023)

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Towkay’s Horizon by Chong Yan Chuah (Immersio 2023)

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his media artwork was designed by using both modern media technology and pointillism drawing techniques. Pointillism uses an accumulation of distinct dots of colors to create a picture. Here, light points are used to create three-dimensional objects. The light sculpture extends infinitely in all directions. To make the artwork more interesting, people need to use their smartphones to select stars to throw into The Infinite Crystal Universe. These stars are reborn in three dimensions, creating the artwork. The presence of people and their location within the work affect these three-dimensional stars, which in turn influence and are influenced by other stars in the space.

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ARTIST 2: Teamlabs – “The Infinite Crystal Universe”

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ARTIST 2: Teamlabs – “The Infinite Crystal Universe”

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This media artwork was designed by teamlabs Japan with the concepts of the beauty of the nature in mind by using koi fish. The movement of the koi fish in the water will be influenced by the presence of the other people and the other koi fish. The koi will transform into flowers and scatter around when the fish collide with other people. After sometimes, the flowers that bloom will change along with the seasons. This artwork is considered a masterpiece because it was designed by using computer program that was rendered in real-time and only the interaction between the viewer with pieces of the artwork itself can cause continuous change in the artwork.

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ARTIST 1: Teamlabs - "Drawing on the Water Surface Created by the Dance of Koi and People - Infinity"

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ARTIST 1: Teamlabs - "Drawing on the Water Surface Created by the Dance of Koi and People - Infinity"

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Cosmic Dance – Metamorphosis (2021) by Koh Kai Ting who is a Malaysian artist. She draws inspiration from the statue of the dancing Shiva (Nataraja) at CERN, the European Organization for Nuclear Research. The title references the “cosmic dance” of Lord Shiva (Nataraja)—a symbol of creation, destruction, and rebirth. This concept connects deeply with how the universe works, and how human beings constantly undergo change.

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Assemblance is a collaborative immersive environment built on motion tracking, laser, audio and tactile output systems to enable three-dimensional interactive light-structures to be sculpted collaboratively by people's gestures and movements. Assemblance is a collaborative immersive environment that acts as a ‘playground’ for smart city interaction, using computer-controlled lasers to generate three-dimensional forms in air manipulated by people with their hands, feet, and bodies. An intensely collaborative experience, people interact with each others’ forms and spaces through sweeping gestures and gentle movements that leave walls of light behind and around them, building complex structures, or destroying them if they’re not careful. Structures are more stable and resilient when built together, and help uncover hidden ‘easter eggs’ in the space.

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ARTIST 2: Assemblance – Umbrellium (2014)

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ARTIST 2: Assemblance – Umbrellium (2014)

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My Final Inch (2009) by Louise Fishman is a powerful abstract painting that speaks through texture, gesture, and silence. Using thick layers of oil paint and bold, scraped brushstrokes, Fishman creates a surface that feels raw and emotionally charged. The canvas is marked with earthy tones and heavy lines that overlap in a rhythm of tension and release, suggesting a story not told through images but through movement and resistance. The title, inspired by the film V for Vendetta, symbolizes holding on to one’s identity and truth, even in the face of oppression. This theme resonates deeply with Fishman’s personal history as a queer Jewish woman and her rejection of traditional, male-dominated abstract expressionism. Instead, her work reclaims the gesture as a tool for personal and political expression. Though not interactive in a digital sense, My Final Inch invites emotional engagement. The viewer is asked to reflect on their own boundaries, memories, and inner strength. It’s not a painting that explains—it confronts. And in that confrontation, it creates space for introspection, survival, and quiet defiance.

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ARTIST 1: Louise Fishman
My Final Inch, 2009

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ARTIST 1: Louise Fishman
My Final Inch, 2009

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Random International’s Rain Room (2012) is an immersive environment of perpetually falling water that pauses wherever a human body is detected. The installation offers visitors an opportunity to experience what is seemingly impossible: the ability to control rain. Rain Room presents a respite from everyday life and an opportunity for sensory reflection within a responsive relationship.Founded in 2005, Random International is a collaborative studio for experimental practice. They use science and technology to create experiences that aim to question and challenge the human experience within a machine-led world, engaging viewers through explorations of behavior and natural phenomena. In the decade following the studio's inception, the focus of Random International’s artistic practice has continuously evolved and today encompasses sculpture, performance, and installation on an architectural scale. Rain Room can be seen as an amplified representation of our environment. Human presence prevents the rain from falling, creating a unique atmosphere and exploring how human relationships to each other and to nature are increasingly mediated through technology.

Upon entering the installation, visitors are simultaneously exposed to and protected from the water falling all around. Although the sound and smell of the rain are intense, its touch remains absent leaving visitors dry within a continual downpour as they navigate the space.

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ARTIST 2: RAIN ROOM BY  HANNESS KOCH and FLORIAN ORTKRASS

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ARTIST 2: RAIN ROOM BY  HANNESS KOCH and FLORIAN ORTKRASS

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Unnumbered Sparks is a monumental interactive sculpture in the sky. Choreographed by visitors in real time through their mobile devices, at night the sculpture became a crowd-controlled visual artwork on a giant, floating canvas to celebrate TED’s 30th anniversary.
    The sculpture spanned 745 feet between buildings in downtown Vancouver, Canada for one week in March, 2014. After sunset the sculpture came alive with illumination. Visitors with smartphones and tablets were able to paint vibrant beams of light across the sculpture at a remarkable scale: small movements on their phones became hundred foot long trails evolving and combining with fellow participants. As part of Google’s Data Arts Team, I developed, designed, and architected the visuals that visitors created on the sculpture.

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ARTIST 1: UNNUMBERED SPARK BY JANET ECHELMAN and AARON KOBLIN

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ARTIST 1: UNNUMBERED SPARK BY JANET ECHELMAN and AARON KOBLIN

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Particles of light dance to create ephemeral forms that depict the formation of our celestial souls.

Worlds Within explores the aesthetics of the invisible as part of the artist’s ongoing research of light in motion. As various forces influence more than 500,000 particles in real time, a dynamic “stardust sculpture” emerges, each reflecting a spirit’s unique personality through forms such as swirling currents, dancing flames, glowing filaments, and neural pathways.

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ARTIST 2 : Jason Ting, "Worlds Within" (2023)

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ARTIST 2 : Jason Ting, "Worlds Within" (2023)

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The five kinetic screen sculptures which made up "Flower Meadow”, consisted individually of six flexible OLED screens. They were arranged in petal-like formation and controlled by a complex drive to open like natural blossoms. A spherical soundtrack accompanied the spectacle which was mounted on the ceiling of 180 The Strand in London's West End.

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ARTIST 1 : iart Studio, "Flower Meadow", LUX Exhibition Artists (2021)

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ARTIST 1 : iart Studio, "Flower Meadow", LUX Exhibition Artists (2021)

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Haffendi’s recent body of work reimagines kain pelikat, a traditional Malaysian cloth, while examining the fabric’s origin, social use, and visual patterns.

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ARTIST 2 : Haffendi Anuar "Rumah Berkaki" (2022)

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ARTIST 2 : Haffendi Anuar "Rumah Berkaki" (2022)

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Ashley Zelinskie’s Twin Quasar is a three-dimensional artwork and space in the Whitney Museum Virtual Landscape that intertwines science with art history, building on the artist’s eight-year coordination with NASA's James Webb Space Telescope team and discussions with Tim Rawle, a scientist at the European Space Agency. The work uses two pieces from the Whitney Museum’s collection László Moholy-Nagy’s painting Space Modulator (1938–1940) and Rosalind Bengelsdorf Browne’s watercolor Compotier II (1938) as sources and turns them into navigable 3D models, drawing parallels between phenomena in physics and the artists' exploration of space and form. When viewers approach the 3D models of the original works, the forms depicted in them reveal themselves as protruding from the virtual canvas, becoming layered in three-dimensional space and allowing viewers to navigate through the abstract shapes. The experience replicates the effects of gravitational lensing, a cosmic event occurring when massive objects such as black holes, galaxies, or dark matter bend light around spacetime, creating natural lenses that both magnify and distort. Gravitational lensing was first observed at an observatory in Arizona where scientists saw the light of a quasar an extremely luminous galactic object through a galaxy, and it appeared as though there were two quasars.

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ARTIST 1: ASHLEY ZELINSKIE | TWIN QUASAR 

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ARTIST 1: ASHLEY ZELINSKIE | TWIN QUASAR 

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“Unsupervised” large-scale, AI-generated digital artwork displayed at the Museum of Modern Art (MoMA) in New York. Using machine learning trained on over 200 years of MoMA’s art collection, the piece continuously transforms into dynamic, organic shapes and vivid colors. The swirling, abstract visuals resemble blooming forms, creating an immersive and ever-changing sensory experience. It explores the intersection of human creativity and artificial intelligence, inviting viewers to contemplate the evolving nature of art and memory in the digital age.

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ARTIST 2: Refik Anadol- “Unsupervised” (2022-2023)

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ARTIST 2: Refik Anadol- “Unsupervised” (2022-2023)

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“The Greatest Artist” is Malaysia’s first AI-powered multi-sensory digital art exhibition, combining technology, emotion, and imagination. Featured in Pavilion Bukit Jalil, the installation immerses viewers in a vibrant world of lights, sounds, and movement. One standout piece spells “love” with colorful floral elements, accompanied by interactive umbrella projections that respond to audience movement. This exhibition celebrates creativity and innovation while paying homage to Van Gogh, blending traditional artistic expression with modern digital interactivity to create a memorable and emotional experience.

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ARTIST 1: FrameMotion Studio- “The Greatest Artist” (2022-2023)

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ARTIST 1: FrameMotion Studio- “The Greatest Artist” (2022-2023)

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“The Greatest Artist” by FrameMotion Studio

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Pulse Topology (2021) by Rafael Lozano‑Hemmer is a large‑scale installation of over 3,000 suspended light bulbs that pulse in real time to participants’ heartbeats. Visitors place their hand beneath a non‑contact sensor, and after about 10 seconds their real‑time pulse is broadcast across 1,000 bulbs in one section of the space. The bulbs flash in real-time with the visitor's pulse, creating a shared experience of light and sound, symbolizing connection and presence.

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ARTIST 2: RAFAEL LOZANO-HEMMER - "Pulse Topology" 

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ARTIST 2: RAFAEL LOZANO-HEMMER - "Pulse Topology" 

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"The Treachery of Sanctuary" by Chris Milk is a large-scale interactive triptych that explores themes of birth, death, and transformation through the use of cutting-edge technology. The artwork consists of three towering panels, each representing a different stage of flight. Using Kinect controllers and infrared sensors, the installation captures the viewer's silhouette and transforms it into dynamic visuals projected onto the panels. 

In the first panel, the viewer's shadow dissolves into a flock of birds, symbolizing liberation and transcendence. The second panel depicts a more intense interaction, where birds attack the shadow, representing struggle and loss. Finally, in the third panel, the viewer's shadow is bestowed with wings, embodying empowerment and rebirth. This progression creates a deeply symbolic and emotional experience, inviting participants to reflect on their own journeys of transformation and self-discovery. The installation is designed to engage viewers on a personal level, making them an integral part of the artwork. By blending technology, storytelling, and symbolism, Chris Milk creates a powerful and immersive experience that resonates with audiences. 

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Artist 2 : The Treachery of Sanctruary by Chris Milk (2014)

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Artist 2 : The Treachery of Sanctruary by Chris Milk (2014)

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"Flowers and People – Dark" by TeamLab is an interactive digital artwork that explores the transient beauty of nature and the interconnectedness between humans and the environment. Created in 2015, this piece uses advanced computer programming to continuously render visuals in real time, ensuring that no two moments are ever the same. The artwork features a mesmerizing display of flowers that bud, grow, blossom, wither, and fade away, symbolizing the cycle of life and decay. 

What makes this installation truly unique is its interactivity. The flowers respond dynamically to the proximity and actions of the viewers. For instance, as participants approach the artwork, the flowers may shed their petals, wither, or come to life and bloom again. This interaction creates a constantly evolving experience, emphasizing the impact of human presence on the natural world. The soundscape, composed by Hideaki Takahashi, enhances the immersive quality of the piece, adding an emotional layer to the visual experience. The concept behind "Flowers and People – Dark" reflects TeamLab's philosophy of creating art that fosters a deeper appreciation for nature and encourages viewers to reflect on their role within the ecosystem. 

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Artist 1 : Flowers and People - Dark by TeamLab (2015)

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Artist 1 : Flowers and People - Dark by TeamLab (2015)

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p•AI•n is a novel AI art system that harnesses a network of 83 Warrior AI’s to generate breathtakingly realistic rock structures. The process is totally pain-free - simply draw an image, instruct our Warriors to build, and pump away to fuel [/feel] their vigour. The piece is a fictional AI art creation service that responds to and pokes fun at recent commercial models such as DALL•E 2 and Google Deep Dream. The piece depicts an AI network of warrior agents who pick up and throw stones in the environment to create megalithic rock structures based on a user's drawn image. However, the user is required to physically involve themselves in the process by pumping in order to power these men to create these structures.

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Paik predicted, in 1965, that "someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk." Over the decades, his own work stayed in constant conversation with how new technologies reshape the world. Electronic Superhighway playfully engages three such forces--the US interstate highway system, cable television, and the emergent internet of the 1990s.

In this TV map, neon-outlined states play a mix of borrowed and original footage. Each distinct channel reveals Paik's associations with or understanding of that state. Some video collages draw from personal connections, like Paik's recordings of longtime collaborator and cellist Charlotte Moorman filling the screens in her home state of Arkansas (along with images of then president Bill Clinton, also from Arkansas). Others incorporate existing media representations, with the movie musical Oklahoma! filling Oklahoma, and edits from a documentary on the 1950s Montgomery bus boycotts echoing from Alabama. A closed-circuit camera marks Washington, DC, where gallery visitors can see themselves in real time. This suggests the map is also a portrait, reflecting how media and mediation shape views of ourselves and each other at national, regional, and individual levels.

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ARTIST 1 : Nam June Paik - Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995

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ARTIST 1 : Nam June Paik - Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995

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Absolutely—Deep Meditations (2018) is one of Memo Akten’s most mesmerizing and thought-provoking works. It blends AI, mysticism, and visual art into a hypnotic meditation on the intersection between spirituality and machine perception.

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ARTIST 2: Memo Akten | Deep Meditations (2018)

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ARTIST 2: Memo Akten | Deep Meditations (2018)

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YongL's Vanishing Heights: The Disappearing Mountain of Ipoh is a poignant digital art series that sheds light on the environmental degradation caused by quarrying activities in Simpang Pulai, near Ipoh, Malaysia. Through surreal imagery, YongL illustrates how human actions are consuming the natural landscape, using everyday tools like forks and razors to metaphorically depict the dismantling of the mountain .

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ARTIST 1: Tan Yong Lin (YongL) | Vanishing Height: The Disappearing Mountain of Ipoh (2023) 

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ARTIST 1: Tan Yong Lin (YongL) | Vanishing Height: The Disappearing Mountain of Ipoh (2023) 

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'A New Day' by Wong Chee Meng is a vibrant artwork that blends traditional painting with augmented reality (AR). Within the artwork, the artist has recreated the motion of the LRT doors that symbols of everyday life in Malaysia. Using AR, the doors open to reveal a scene featuring the words “Selamat Pagi Malaysia” and a Malayan tiger, representing national pride, unity, and strength. This piece, showcased in the 2023 Rasa Sayang exhibition, uses layered acrylics and rich patterns to celebrate Malaysia’s diversity. Through both visual and digital storytelling, the artwork encourages reflection on hope, harmony, and new beginnings.

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"LUNAR" by Jun Ong is a striking new media installation that blends light, sculpture, and spatial tension to explore themes of geology, outer space, and the interplay between natural and synthetic forces. This particular piece—aptly titled LUNAR—was inspired by the moon’s surface and the idea of a fractured celestial body emitting light from within. The work features a central glowing orb, from which metallic rods radiate outward like sunbeams or spines. Surrounding the orb are jagged, porous forms resembling rock or asteroid fragments, evoking the texture of the moon’s surface. These forms are illuminated from within, giving the impression that the sculpture is both breaking apart and coming alive at the same time. Jun Ong, a Malaysian light artist and architect, is known for merging architecture and illumination in immersive ways. In LUNAR, he uses light not only as a visual medium but as a conceptual one: it represents both destruction and rebirth, like a celestial body cracked open to reveal an inner core of energy. The use of industrial materials—such as steel rods and resin-coated fragments—mirrors the tension between the organic and the man-made.

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Bubble Universe is an immersive interactive installation created by the interdisciplinary art collective teamLab. Still under development as of 2023, the work presents a dreamlike space filled with countless glowing crystal spheres suspended in the air. These spherical lights respond to the presence and movement of viewers by gently wobbling and changing color, creating a fluid and responsive light environment. The entire space is covered in mirrors—on the floor, walls, and ceiling—creating an optical illusion of infinite depth. This infinity effect transforms the environment into a seemingly boundless "universe" of light, where the viewer becomes a part of the artwork. The title’s inclusion of “One Stroke” reflects teamLab’s concept of a continuous world without boundaries. All elements—light, sound, space, and people—are seamlessly connected as one. Sound artist Hideaki Takahashi created an ambient soundscape that evolves with the lights, deepening the sensory immersion and offering a serene, otherworldly experience.

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Artist 1 : Teamlab - " Bubble Universe "

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Artist 1 : Teamlab - " Bubble Universe "