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“Hanya Batik” is an immersive digital experience, narrated through the eyes of a batik artist with visuals by Arif Rafhan. The show transitions from traditional longhouse interiors and historical events, such as the establishment of the Malacca Sultanate, to modern Malaysia’s vibrant urban scenes and cultural celebrations. Prominent Malaysian figures narrate their contributions, symbolizing the nation’s cultural continuity and progress. Batik graphic assets are intricately used throughout the show, blending traditional and contemporary designs to celebrate Malaysia’s diverse and evolving culture.

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ARTIST 1: ARIF RAFHAN "Hanya Batik" (2025)

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ARTIST 1: ARIF RAFHAN "Hanya Batik" (2025)

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The artist hand-painted 20 frames to animate them using augmented reality (AR) technology. This piece combines frame-by-frame animation, traditional painting, and digital experiences. Viewers can watch the 2D animation of the painting come to live by scanning the QR code.

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Together Towards Growth" (2022) by Wong Chee Meng is a vibrant acrylic-on-canvas painting that showcases the artist’s signature multi-layered style, blending traditional motifs with augmented reality (AR) technology. The artwork centers on themes of unity and shared cultural heritage, featuring a boy and girl standing side by side amidst symbols like pinwheels, branches, and Malaysian icons such as the Malayan tiger and hibiscus. When viewed through an AR app, the static elements animate, pinwheels spin, branches sway, and hidden layers of movement bring the composition to life. Wong’s use of overlapping imagery reflects his unique visual perspective, shaped by impaired vision that blurs lines and creates double layers. The piece forms part of his Rasa Sayang exhibition, which celebrates Malaysia’s multicultural identity through acculturation and shared memories. By integrating AR, Wong invites viewers to engage dynamically with Malaysian traditions, emphasizing optimism and collective growth.

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ARTIST 1: WONG CHEE MENG "Together Towards Growth"

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ARTIST 1: WONG CHEE MENG "Together Towards Growth"

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"WDCH Dreams" (2018) by Refik Anadol transforms Los Angeles’ Walt Disney Concert Hall into a dynamic AI-driven canvas using 45 terabytes of the LA Philharmonic’s archives. The installation’s three chapters, Memory, Consciousness, and Dreams, project data as cascading imagery, galactic clusters, and surreal architectural hallucinations, reimagining the building’s history and future through machine learning. Blending light, algorithms, and architecture, it visualizes cultural memory as a living, evolving entity.

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Harold Cohen's "Socrates' Garden", a large-scale installation that showcases the collaboration between Cohen and his AI program, AARON. This piece features biomorphic forms generated by AARON, which Cohen enlarged, colored with acrylic paint, and mounted on plywood to create an immersive experience. The installation measures 18 by 23 feet, resembling a tree that envelops visitors. It exemplifies Cohen's concept of collaboration between himself and AARON, where Cohen encoded the structures and rules for AARON to generate images, but the output was not predetermined. "Socrates' Garden" challenges traditional notions of authorship and creativity by highlighting the unique blend of human and AI-driven artistry, pushing the boundaries of what is considered "artistic" in the context of AI-generated content. This work reflects Cohen's exploration of the intersection between technology and art, demonstrating how AARON could produce complex and coherent images from simple rules, much like human artists might work with evolving ideas and techniques.

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Portrayals of scientists were a favourite topic in 17th-century Dutch painting and Vermeer's oeuvre includes both this astronomer and the slightly later The Geographer. Both are believed to portray the same man, possibly Antonie van Leeuwenhoek. A 2017 study indicated that the canvas for the two works came from the same bolt of material, confirming their close relationship. The painting shows an astronomer looking at a globe. The astronomer's profession is shown by the celestial globe (version by Jodocus Hondius) and the book on the table, the 1621 edition of Adriaan Metius's Institutiones Astronomicae Geographicae. Symbolically, the volume is open to Book III, a section advising the astronomer to seek "inspiration from God" and the painting on the wall shows the Finding of Moses—Moses may represent knowledge and science ("learned in all the wisdom of the Egyptians")

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The Segerak Series saw the return to the human figure for Yusof Ghani after excursions into Topeng (Masks) and Hijau (Green). Yusof Ghani commented: “Segerak has allowed me to explore the human figure as a symbol of life, which I transform into abstract statements to depict humanity’s contrasting realities of struggle and victory, aggression and celebration, realism and fantasy.” (Segerak VIII: Utopia, 2019). Segerak was unveiled at Art Case Galleries, Kuala Lumpur, in 2004, but it actually started in 2002, so it lasted 17 years, as it culminated in the major Segerak VIII Utopia exhibition (2004-2019) organised by Henry Butcher Art Auctioneers, Galeri Prima and Pinkguy Gallery at Galeri Prima in 2019. Three chapters of the series were held in Madrid (Spain, 2018), London (2017) and Hong Kong. Filled with energy, movement and tension, it represents a more chaotic strife with human configurations etched in charcoal breaking into several directions, like this Enigma. There is another aspect to the series, that of a sanctuary or safe space.

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ARTIST 1: Yusof Ghani "Segerak Series ‘The Enigma’, 2004"

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ARTIST 1: Yusof Ghani "Segerak Series ‘The Enigma’, 2004"

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One of the immediate striking elements of this self portrait is the whirling, chaotic background. Some critics believe this points to Van Gogh’s psychotic mental state at the time, though the repeated curves show an element of control and a steady hand. The wavy lines of the background are echoed in the short, emphatic brushstrokes that cover Van Gogh’s face, giving it a kind of shimmering movement, continued in the wavy lines of his suit. 

In this portrait, Van Gogh has painted himself in a blue suit, not the pea coat that he was accustomed to working in. However, much of the attention is focused on his face, his eyes having a determined yet weary stare, and his emaciated face showing a closed-off expression. As he wrote to Theo, “You will need to study [the picture] for a time. I hope you will notice that my facial expressions have become much calmer, although my eyes have the same insecure look as before, or so it appears to me.” The rigid appearance of his face contrasts sharply with the rolling lines apparent in the background.

The absinthe green and turquoise of the background compliment the fiery orange of van Gogh’s beard and hair, and the quiet blue color palette is reminiscent of Starry Night, as well as the undulating lines comprising the background.  

The frenetic energy of the artwork suggests the disorientation that Van Gogh was feeling after his time in a psychiatric hospital. He described these episodes in a letter to Wilhemina, stating, “I was completely unaware of anything that I was saying or doing.” Although the painting has a dark history, it shows Van Gogh’s mastery of the self portrait and depicts a pivotal moment in his life. 

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ARTIST 2: Vincent Van Gogh, "Self Portrait (1889)"

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ARTIST 2: Vincent Van Gogh, "Self Portrait (1889)"

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A New Media Art Piece by teamLab (Japan) | Located in Azabudai Hills, Tokyo. TeamLab Borderless is a new media art museum created by the inter-disciplinary creative collective teamLab. Located in Azabudai Hills, Tokyo, it contains interactive, immersive digital pieces of art where artwork moves, changes, and engages without physical confines. Spectators are part of the artwork because their own movement determines the environment in real-time. Using advanced technologies like motion sensors, projection mapping, and AI, the museum offers a fluid experience where the lines between viewer and artwork, and between different pieces, dissolve entirely and defining the spirit of new media art.

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Sketch Factory is an interactive installation by teamLab, featured at locations like teamLab Borderless in Tokyo and Digital Light Canvas at Marina Bay Sands, Singapore . Visitors can draw creatures, such as fish or butterflies, on paper. These drawings are then scanned and animated in digital installations like Sketch Ocean or Graffiti Nature, allowing the creatures to come to life and interact within a virtual ecosystem.​Beyond the digital experience, Sketch Factory enables visitors to transform their digital creations into tangible souvenirs, such as tin badges, T-shirts, tote bags, or papercrafts by selecting their designs at an ordering terminal .​

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This digital artwork by Petra Cortright showcases her signature style of blending internet aesthetics with painterly gestures. “peanut missy” is a vibrant, layered composition created using digital tools like Photoshop, merging glitch effects, abstract forms, and feminine motifs. It exemplifies how new media art transforms traditional visual languages into interactive and visually rich digital experiences. The piece reflects Petra's exploration of identity, beauty, and technology in the digital age.

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Artwork 1: “peanut missy” by Petra Cortright

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Artwork 1: “peanut missy” by Petra Cortright

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This artwork by Malaysian artist Wong Chee Meng integrates traditional cultural motifs with augmented reality (AR) elements, allowing viewers to experience his intricate visuals through digital interaction. At first glance, the painting is filled with rich layers and optical illusions, but when viewed through a mobile device, the artwork comes to life, adding new dimensions and meanings. The use of AR invites deeper reflection on memory, perception, and cultural identity in a modern context.

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 Artwork 2: AR Artwork by Wong Chee Meng

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 Artwork 2: AR Artwork by Wong Chee Meng

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"Shhhh" is a stunning picture by Malaysian artist Ahmad Fuad Osman that delves into issues of silence, censorship, and emotional strain.  A guy stares intently at the observer, finger to lips, forcing silence—not in peace, but as a sort of suppression.  The vibrant colors and expressive brushstrokes convey a sense of haste and turbulence, while the disordered background allude to deeper upheaval.  Fuad, known for his socially aware work, utilizes this piece to explore what forces silence us and what realities stay unheard.

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Artist 1: Ahmad Fuad Osman "Shhh" (2016)

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Artist 1: Ahmad Fuad Osman "Shhh" (2016)

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Farid Ghanbari's 'Bottle of Life' artwork is a beautiful combination of classical still life and modern fantasy, presented in hyper-realistic 3D detail.  A rustic wooden table holds a variety of antique bottles and jugs, some of which contain grapes and luminescent mushrooms.  The warm, ambient lighting and earthy tones establish a nostalgic, almost mystical tone.  Ghanbari's exquisite attention to texture and light gives the image a painterly aspect, while surreal elements, such as preserved nature within glass, invoke themes of time, memory, and the calm wonder of lost places.

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Artist 2: Farid Ghanbari, "Bottle of Life" (2017)

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Artist 2: Farid Ghanbari, "Bottle of Life" (2017)

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This new media artwork is been created by a Malaysia digital artist, Ellis Khan's. Ellis Khan's "Mars" presents a conceptually rich digital composition featuring the red planet enclosed within a decorative metal birdcage. This artwork is executed through digital collage techniques, specifically photomontage using Adobe Photoshop. This artwork is directly references to our cultural fascination with Mars, which Khan describes as "like a cage waiting to be unlocked". This metaphor speaks to both scientific curiosity and the planet's historical significance in inspiring human imagination. The composition suggests tensions between exploration and containment, knowledge and mystery, accessibility and distance.

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Miao Ying is a artist from China, she created this artwork - "Technomancy at Lava Pit" in 2023. This artwork exemplifies Miao Ying's exploration of the relationship between human creativity and artificial intelligence. The work presents an otherworldly environment featuring vibrant colors and abstract formations that mimic natural geological processes while maintaining a distinctly digital aesthetic. This artwork is representing a fascinating fusion of artificial intelligence, digital gaming assets, and traditional artistic techniques. This artwork manifests as an evolving digital landscape that continuously generates visual and auditory elements through sophisticated AI processes while challenging conventional notions of artistic creation and technological determinism.

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Artist 2 : Miao Ying - "Technomancy at Lava Pit (2023)"

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Artist 2 : Miao Ying - "Technomancy at Lava Pit (2023)"

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Miao Ying - Technomancy at Lava pit, 2023

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This lively drawing cheerfully and joyfully conveys the idea of staying at home. A person is working peacefully on a laptop at the center, representing online learning or remote work from the comfort of one's own home. People are reading, working out, caring for plants, and relaxing all around them. These activities that took center stage during indoor hours. The picture honors the ways in which people can find peace, creativity, and balance while remaining at home. It shows that life can be bright, colorful, and meaningful even when restricted to four walls. Every figure is involved in a pleasant action, supporting the idea that the house is a place for both self-care and output. Making the most of ordinary moments and accepting the slower pace of home life are encouraged by the happy atmosphere. The main takeaway is that spending time at home may be beneficial and rewarding. It serves as a reminder of the possibilities, security, and comfort that may be found in private areas.

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The picture shows a gorgeous digital art piece by well-known media artist Refik Anadol in a dark, atmospheric gallery setting. It is shown on a long, horizontal LED screen. The abstract piece by Refik Anadol, who is well-known for his groundbreaking work in driven by data art, is full of organic, swirling shapes that suggest coral, petals, or flowing dreamscapes. A captivating visual rhythm is created by the artwork's explosion of vibrant purple, orange, red, and blue colors. High-resolution textures and moving objects require the application of advanced 3D modeling methods and machine learning techniques. The audience is dragged into a peaceful, almost heavenly experience by the minimalist setting, which highlights the dynamic content even more. Both natural and fantastical moods are evoked by the way light and shadow interact with the textured images. The work probably examines the connection of art, architecture, and artificial intelligence, which is characteristic of Refik Anadol's style. The moving data artworks are meant to be interpreted by viewers using their own emotions and senses. All things concidered, the installation is a prime example of Refik Anadol's creative use of immersive media art in digital storytelling.

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ARTIST 2: 'Echoes of The earth: Living Archive' by Refik Anadol

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ARTIST 2: 'Echoes of The earth: Living Archive' by Refik Anadol

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Yeoh Choo Kuan’s paintings are unapologetically gestural—with themes of spirituality, desire, violence, and the contradictions within the natural world and contemporary life. One of his standout works is Streaming Mountain, a three-part series inspired by his study of shan shui (mountain water), the traditional Chinese landscape style. The paintings are arranged in different formats and heights, which mimic the layers and rhythm of mountain ridges, bringing the concept of “shan” (mountain) to life. His incredible artistry earned him a spot on Forbes’ 30 Under 30 Asia: The Arts List. I

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ARTIST 1: YEOH CHOO KUAN "STREAMING MOUNTAIN" (2025)

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ARTIST 1: YEOH CHOO KUAN "STREAMING MOUNTAIN" (2025)

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With the runaway success of his first solo show at Maddox Berkeley Street, followed by a move from France to Dubai, Touils, artist and cultural explorer, had an action-packed 2024.Bringing the same momentum to the year ahead, Touils will be debuting his latest body of work at Maddox Berkeley Street in February. Venturing inside different cultures to capture their essence, Touil’s narrative-driven works take the viewer on a journey. His densely layered paint strokes infuse each piece with a sense of vibrancy and light. Through his signature vertical lines that backdrop each painting, he creates a tapestry of textures, bringing warmth, luminosity and volume to his canvases.Lacking the finances to travel in his youth, Touils initially painted scenes of places he visited in his dreams. Following the success of his breakthrough show last year, he made the decision to relocate to Dubai. Immersed in a new way of living, the move has opened Touils’ eyes to a vibrant new world of inspiration, leading to the creation of a new body of work, the Arabic Collection—a tribute to the customs, ceremonies and traditions of Arabic culture, viewed through a contemporary lens.

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ARTIST 2 : TOUILS "ARABIC COLLECTION" (2025)

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ARTIST 2 : TOUILS "ARABIC COLLECTION" (2025)

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This work is a representation of millions of scattered stars forming fictional constellation in the shape of a woman, chandelier, flowers and others. Ever since experiencing four death of my family members, I am always contemplating and attracted to big questions concerning life, death and existence. I became attracted to wonders of nature and engross in its scientific details, and that include the stars. My night walking routines exposes me to the starry sky that surrounds me during the walk. Walking in the hilly area near my home feels like an invigorating activity. In those moments, the sky is always clear and I can see the stars. Star gazing is a contemplative and mesmerizing experience which distracts my thoughts in the silence of the night. The escapade felt positive and helped me regain a sense of perspective on life. As I drench in the vastness of the star-filled sky, I perceive both the connection to nature and that we are a small part of a larger infinite whole. The main elements of stars are carbon monoxide and oxygen, which forms a carbon atom that produces the light of the star. Each living thing needs oxygen to live and generates carbon upon its death. This connectivity of living things on earth is very similar to stars despite being many light years away. As with the notion of death, I notice it is a transformation of the physical, in which spiritual and metaphysical connections still exist. This is my reflection during the night walking and painting process. The repeated dotting and painting of stars are meditative and numbing experiences, which I believe can protect oneself from emotional and physical pain. Hasanul Isyraf Idris November 2022, Penang, Malaysia

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Hasanul Isyraf Idris Shama and Perwana, 2022

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Hasanul Isyraf Idris Shama and Perwana, 2022

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Experimenting with Perspective                      Hockney's landscapes are vistas seen through the window of a moving vehicle, capturing the quintessential Los Angeles driving experience. Testament to Hockney's innovative spirit, his depictions of the Hollywood Hills are experiments with dynamic perspective. His stylistic evolution in the 1980s resulted from his renewed understanding of Cubism and his engagement with Chinese scroll painting, which provided an antidote to the static effect of single-point perspective, which he felt alienated the viewer from the composition. This in turn inspired Hockney's Moving Focus print series, which aimed to capture the experience of looking from shifting vantage points. Hockney's relentless experimentation in painting and printmaking inspired subsequent generations of artists, inclding Paricio. The contemporary Spanish artist's prismatic paintings contain a Hockney-esque ambition to capture the experience of looking. Paricio reinterprets Hockney's Californian panoramas using his unique visual vocabulary: colourful designs are his signature motif, filling familiar silhouettes and landscapes with geometric patterns. The artist encourages the viewer to participate in the act of creation, completing details with the mind's eye: 'What I want is that you finish completing the work, Paricio explains, 'It is like a kind of trio, me, the painting and you.'             

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Canyon Road

2023

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“Atma Kirana” is a digital art installation that explores the concept of the ‘Beautiful Soul’ through five distinct visual works, each representing a core principle of the Rukun Negara (National Principle) in Malaysia. The artwork incorporates local motifs, such as the Lotus, Luffa, Bunga Keledek, Turmeric, and Orchid flowers, symbolizing faith, loyalty, transformation, justice, and humility. These motifs are displayed on upcycled LED panels, creating a fusion of traditional Malaysian artistry and modern digital technology. The installation also incorporates songket weaving patterns and an analog pixilation effect, emphasizing the connection between the past and present. “Atma Kirana” invites viewers to reflect on their personal journey, cultural heritage, and the shared values that unite society, promoting unity and introspection.

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ARTIST 1: ABDUL SHAKIR, "ATMA KIRANA" (2023) 

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ARTIST 1: ABDUL SHAKIR, "ATMA KIRANA" (2023) 

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MACHINE HALLUCINATIONS — NATURE DREAMS is an innovative digital art exhibition by Refik Anadol, designed for KÖNIG GALERIE. It explores artificial intelligence and machine creativity through a vast photographic dataset of nature. The exhibition consists of a large AI-generated data sculpture, a series of data paintings, and a real-time public projection titled WINDS OF BERLIN.

Anadol is a pioneering artist in digital and crypto art, having minted the first fully immersive NFT in 2021. His work in this exhibition transforms massive datasets—over 300 million nature images—into machine-generated paintings and sculptures using GAN AI algorithms. This process enables AI to create dreamlike interpretations of nature. Through collaboration with Google AI Quantum, Anadol integrates quantum computing into his AI-driven aesthetic, speculating an alternative visual reality.

His concept of ‘AI Data Painting’ and ‘AI Data Sculpture’ reflects his artistic inquiry into whether machines can dream or hallucinate, pushing the boundaries of AI’s role in creative expression. Ultimately, the exhibition serves as a philosophical and artistic exploration of the evolving relationship between technology, humanity, and nature.

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ARTIST 2: REFIK ANADOL, "MACHINE HALLUCINATIONS - NATURE DREAMS" (2021) 

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ARTIST 2: REFIK ANADOL, "MACHINE HALLUCINATIONS - NATURE DREAMS" (2021) 

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Using broken shapes and a warm, earthy colour scheme, this abstract artwork seems to examine the themes of human connection and duality.  The artwork suggests both oneness and division with its two profile-like forms confronting each other, delicately woven into a network of patchwork patterns and organic lines.  A sense of balance between opposing forces, such as physical and spiritual or past and present, is evoked by the use of contrasting tones, with one figure in golden hues and the other in pale, ghostly shades.  The intersecting lines, which resemble veins or fissures, represent the intricacy and fragility of the human experience as well as the invisible bonds that unite individuals.  The figures appear despite their disorganised and fractured appearance, suggesting that identity and meaning endure despite disintegration. In general, the artwork asks spectators to consider the complexity of interpersonal bonds and the human spirit's ability to endure separation or change.

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ARTIST 1: RENEE KRAAL "Meeting Of The Masters"

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ARTIST 1: RENEE KRAAL "Meeting Of The Masters"

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This picture is a light-hearted contemporary parody of Pablo Picasso's well-known 1932 work "La Rêve" (The Dream).  The original artwork emphasises themes of intimacy, abstraction, and the subconscious by showing Picasso's muse, Marie-Thérèse Walter, in a sensuous, dreamy state of rest.  The woman is depicted in this modified rendition, however, clutching a modern smartphone and sporting earbuds, adding a hilarious and satirical twist by fusing modern digital culture with classical fine art. This revised version highlights how contemporary technology has permeated every aspect of our life, including during our alone or relaxation periods.  It implies that rather than looking inside, today's "dreaming" or inner calm frequently entails fleeing into screens, music, or social media.  The artwork asks spectators to consider how the means of leisure and self-expression have changed, and maybe how they divert or supplant more contemplative experiences, by putting a smartphone in the hands of a classical figure from a different age.  It subtly criticises our tech-dependent lifestyles while also being funny.

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Krystal Valley (2024) by Jun Ong is an art installation that turns a landfill into a landscape full of crystals. This artwork had inspired by the natural shapes of crystals and the memories attached to found objects, the installation uses recycled materials such as scrap metal, plastics, and even personal keepsakes to create glowing, artificial crystals embedded in rock-like forms. The piece makes the viewer hard to determine where the junkyard is and where the valley of minerals is. It makes viewers think about what is valuable and what is waste. It encourages self-reflection regarding nature, memory, and sustainability. This piece uses light and sound to create an otherworldly, futuristic environment that encourages visitors to reflect on sustainability, memory, and the natural connection between earth and human. It converts worthless material to something beautiful and meaningful.

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ARTIST 1 : Jun Ong  - "Krystal Valley (2024)"

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ARTIST 1 : Jun Ong  - "Krystal Valley (2024)"

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Streaming Stillness (2022) by Liu Jia Yu is a 3D mapping installation at the Chinese Pavilion of the 59th Venice Art Biennale. The installation transforms a 21-meter-long mountain sculpture into a poetic landscape with floating motion graphics, all powered by AI technology. The process of this piece combines the ancient Chinese topographical data of the "Tribute of Yu" the country's oldest geography book with deep machine learning, generating dynamic 3D plots that reinterpret traditional terrain. The artist further digitized textural details using AI and overlaid them on the sculpture and pavilion walls using eight synchronized projectors to evoke the spirit of Chinese ink and wash painting. The piece is a hypnotic, transcendent experience that bridges ancient cartographic traditions with contemporary digital artistry, inviting the viewers to think new relationships between history, technology, and the natural world.

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ARTIST 2 : Liu Jia Yu  - "Streaming Stillness (2022)"

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ARTIST 2 : Liu Jia Yu  - "Streaming Stillness (2022)"

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Streaming Stillness (2022) by Liu Jia Yu

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    The "Projection Car" was a collaborative effort by Obscura Digital and the filmmakers behind the documentary Racing Extinction (2015) to raise awareness about the ongoing anthropogenic mass extinction at the time and encourage people to change habits to ensure the survival of species for future generations.                                                                               The "Projection Car" was a custom Tesla Model S by Obscura Digital. The "Projection Car" was a remarkable piece of technology, as it was fitted with a 15,000-lumen projector system. It was also the first car in the world with electro-luminescent paint, which contains phosphors that emit light like bioluminescent organisms when an electric current is applied, like bioluminescent organisms.                                                    The "Projection Car" was used to do guerrilla projections for the Racing Extinction(2015) awareness campaign, at the 2014 Climate Summit at the United Nations in New York,in which the car projected images of critically endangered and extinct species onto public bulidings including Shell factories, Wall Street, Headquarters of the United Nations, the Empire State Buliding and the Vatican, spread all sort of information surrounding the topic to the common public.                                                                                             What makes the "Projection Car" so wonderful piece of a new media artwork is that it uses arts for solving problems and encourages immediate action toward a sustainable future. 

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Artist 1: Obscura Digital- The "Projection Car"

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Artist 1: Obscura Digital- The "Projection Car"

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    With our lives so packed, it's easy to be overwhelmed and lose all motivation to keep ourselves accountable. Therefore, it's important to make tasks fun to stay motivated. This is proven by Volkswagen and DDB Stockholm by the "Piano Stairs Experiment".                                                                         The "Piano Stairs Experiment" was part of The Fun Theory, an ad campaign back in October 2009 promoting Volkswagen's new, more fuel-efficient brand.                                                                          "The Fun Theory" consisted of a series of videotaped experiments investigating whether making somewhat undesirable activities more entertaining could persuade individuals to make better choices, and what better way to get the ball rolling than making the stairs more appealing than the elevator?                                  The experiment took place at a staircase beside an elevator at the Odenplan subway station in Stockholm, where the groups turned the average staircase into a"piano staircase", which is what it sounds like, a staircase that can be played like a piano.                                                                                              And this transformation has resulted in wonderful changes, as the data showed that the "piano staircase" resulted in 66% more commuters opting for the stairs compared to the average day, which is good, as more people are staying healthy via walking.     We all live in a world where "doing the right thing has to hurt". Well, that's what's beautiful about the "Piano Stairs Experiment" and the other experiment in "The Fun Theory", as they prove that it doesn't have to be the case(at least for simple tasks.)                                                                                                                                                      

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Artist 2: Volkswagen - The "Piano Stairs Experiment"

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Artist 2: Volkswagen - The "Piano Stairs Experiment"

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Factory of the Sun. First unveiled at the 2015 German Pavilion during the Venice Biennale, this immersive work delves into the pleasures and dangers of image circulation in an age defined by the relentless global flow of data. Blending elements of news reportage, documentary and video games. Factory of the Sun uses light and acceleration as central motifs to question the boundaries of freedom and control in a hyper-virtual, heavily surveilled world. The installation tells a surreal and unsettling story of workers whose forced movements in a motion capture studio are transformed into artificial sunlight, probing how bodies, labor, and resistance are reshaped in the digital age.

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TeamLab, the world-famous digital art collective in Japan, has created a new immersive sculptural light space as part of teamLab SuperNature Macao. “Light Sculpture - Plane” includes 13 huge works made from planes of light, generated by lasers. These light-based sculptures create immersive, three-dimensional artworks that continuously change and shape our understanding of space and form. Light has no physical mass, but the planes of shifting light create the deception of weight. When the planes of light shift and transform from shape to shape, the audience is confronted with the limits of human perception, and the illusion of the changing planes of light creates the feeling of being encircled by a series of solid three-dimensional forms. The recreation of a space allows the audience to become immersed, with their experience moving beyond visual to physically become immersed as their bodies disappear into fields of real light. Art, technology, and experience combine to create an overwhelming power that collapses our distinction between our real and perceptual worlds.

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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 "

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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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'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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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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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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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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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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"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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"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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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 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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“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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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 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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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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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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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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"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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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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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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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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"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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"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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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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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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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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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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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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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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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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"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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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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"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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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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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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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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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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“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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"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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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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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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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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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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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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“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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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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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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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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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 