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SILHOUETTES V.2, Light & Sound installation, november 2014SILHOUETTES is a dialogue between space and light. Dots become lines, lines become curves. Directions and trajectories are drawn, space become oriented and is set in motion. Space is not vacuum, literally, but it becomes matter and it starts dancing in a field of shadow and light.

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SILHOUETTES V.2, Light & Sound installation, november 2014SILHOUETTES is a dialogue between space and light. Dots become lines, lines become curves. Directions and trajectories are drawn, space become oriented and is set in motion. Space is not vacuum, literally, but it becomes matter and it starts dancing in a field of shadow and light.

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NONOTAK-SILHOUETTES by MU/STRP for GLOW NEXT

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I taught them how to use Nomad's process.

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I taught them how to use Nomad's process.

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My favorite studios that are good at creating art with light: Nonotak Studios

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My favorite studios that are good at creating art with light: Nonotak Studios

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NONOTAK / DAYDREAM V.02 at INSANITUS 2013

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Immersive art experiences harness technologies such as VR, holography, and digital projection to enable viewers to enter the work of art and become a protagonist within it.

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Nathalie Djurberg & Hans Berg 'The Black Pot' 2013

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3D illustration & animation // life of miss focket // clients include: Adobe, Adult Swim, Burning Man, The New Yorker, etc // US & UK represented by Snyder New York We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits.

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Mary Corse investigates materiality, abstraction, and perception through the subtly gestural and precisely geometric paintings that she has made over her fifty-year career.

Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes. In 1968, Corse discovered glass microspheres, an industrial material used in street signs and dividing lines on highways. Combining these tiny refractive beads with acrylic paint, she creates paintings that appear to radiate light from within and produce shifts in appearance contingent on their surroundings and the viewer’s position.

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Mary Corse investigates materiality, abstraction, and perception through the subtly gestural and precisely geometric paintings that she has made over her fifty-year career.

Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes. In 1968, Corse discovered glass microspheres, an industrial material used in street signs and dividing lines on highways. Combining these tiny refractive beads with acrylic paint, she creates paintings that appear to radiate light from within and produce shifts in appearance contingent on their surroundings and the viewer's position. Corse's art emphasizes the abstract nature of human perception, expanding beyond the visual to include subtleties of feeling and awareness.

Corse's work has been included in historically significant group exhibitions, including Pacific Standard Time: Crosscurrents in L.A., Painting and Sculpture, 1950-1970 at The J. Paul Getty Museum, Los Angeles (2011); and Phenomenal: California Light and Space at the Museum of Contemporary Art, San Diego (2011). In 2018, the Whitney Museum of American Art organized the solo exhibition A Survey in Light. Her work is held in numerous public collections worldwide, including Fondation Beyeler, Basel; Solomon R. Guggenheim Museum, New York; The J. Paul Getty Museum, Los Angeles; The Menil Collection, Houston; The Museum of Contemporary Art, Los Angeles; and Whitney Museum of American Art, New York, among others.

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Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes.

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✅A good video worth learning about immersive art.

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✅A good video worth learning about immersive art.

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Machine Hallucination | Behind the Scenes

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Machine Hallucination | Behind the Scenes

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Nathalie Djurberg, a Swedish stop-motion animator

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Nathalie Djurberg, a Swedish stop-motion animator

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Nathalie Djurberg, a Swedish stop-motion animator, molds and manipulates clay figures to tell interesting narratives.

The Black Pot, a video and sculpture installation abstractly visualizes the essence of life in its most primitive form. Djurberg creates a series of multi-colored circles with cell-like behavior to depict a scene from the beginning of the universe.
The sculptures of eggs broken and full alike serve as metaphors for the controversy of where life began. The claymation videos featured in the installation are meant to inspire intense pondering within the spectators on how “things” come into existence. The installation is set up in a dark room. Three claymation videos play simultaneously on a wall, while a more illustrative style of animation plays on another to visualize the process of cells splitting.

The first claymation video is of a black woman wrestling with snakes that change masks after biting off each other's faces. The second is of a white family sitting down at the dinner table when their food comes to life and begins attacking them. The third is of a witch like figure and crocodile digging for an egg which they then fight over once it is uncovered. The illustrative animation looks like a crayon drawn animation of colorful circles that split and join together to form different shapes and sizes.  Each of the videos involve an intense use of color with very simplistic means of creating each of the images- very minimal realism. Spectators enter the room and observe the work while comfortably sitting on the egg and donut statues arranged in a circular pattern on the floor. In a more succinct description from Lisson Gallery:

“The central video installation takes the shape of a circular panorama where symbols of universal creation take on a very personal and poetic note. As in a bubbling pot, sublime and earthy senses mix in the dark space of the universe. The exhibition also features new work by the artist, including sculptural seats that take the shape of everyday items, such as donuts or scrambled eggs. These are formally united in a circle—the primary symbol of the creation of the world.” Feuer, Zach (2013, 21 June) Nathalie Djurberg & Hans Berg

A review in art agenda magazine states:

“The Black Pot showcases the artists’ experimentation with newly abstracted animations and ambient electronica within a darkened, womb-like environment, in order to depict the cycle of life. Sponsored by the Detroit Institute of Arts (DIA).”  (2014, 26 September) DLECTRICITY

Djurberg's work usually consists of shocking stories of nightmarish illusions. Her intriguing pieces often find spectators dumbfounded, trying to fully grasp the hellish imagery they witness. The dividing cell animation aspect of this piece refreshingly breaks away from Nathalie’s previous works of claymated terror. This original "sloppy" style of claymation Djurberg adapts brings light to the idea of what conceptually would change if her animations were more realistic and elaborate. This is the conversation Djurberg keeps open by creating barbaric images with a touch of simple, almost-childish construction. The concept of The Black Pot presents an idea that without a doubt every artist has come across a multitude of times in their career- where do my ideas, my inspiration, my motivation originate from? From where do all things derive?  It is important to continue conversation about existence to inspire not only artistic but scientific exploration on the matter.

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Nathalie Djurberg, a Swedish stop-motion animator, molds and manipulates clay figures to tell interesting narratives. The Black Pot, a video and sculpture installation abstractly visualizes the essence of life in its most primitive form. Djurberg creates a series of multi-colored circles with cell-like behavior to depict a scene from the beginning of the universe. The sculptures of eggs broken and full alike serve as metaphors for the controversy of where life began. The claymation videos featured in the installation are meant to inspire intense pondering within the spectators on how "things" come into existence. The installation is set up in a dark room. Three claymation videos play simultaneously on a wall, while a more illustrative style of animation plays on another to visualize the process of cells splitting. The first claymation video is of a black woman wrestling with snakes that change masks after biting off each other's faces. The second is of a white family sitting down at the dinner table when their food comes to life and begins attacking them. The third is of a witch like figure and crocodile digging for an egg which they then fight over once it is uncovered. The illustrative animation looks like a crayon drawn animation of colorful circles that split and join together to form different shapes and sizes. Each of the videos involve an intense use of color with very simplistic means of creating each of the images- very minimal realism. Spectators enter the room and observe the work while comfortably sitting on the egg and donut statues arranged in a circular pattern on the floor. In a more succinct description from Lisson Gallery:

"The central video installation takes the shape of a circular panorama where symbols of universal creation take on a very personal and poetic note. As in a bubbling pot, sublime and earthy senses mix in the dark space of the universe. The exhibition also features new work by the artist, including sculptural seats that take the shape of everyday items, such as donuts or scrambled eggs. These are formally united in a circle-the primary symbol of the creation of the world." Feuer, Zach (2013, 21 June) Nathalie Djurberg & Hans Berg

A review in art agenda magazine states:

"The Black Pot showcases the artists' experimentation with newly abstracted animations and ambient electronica within a darkened, womb-like environment, in order to depict the cycle of life. Sponsored by the Detroit Institute of Arts (DIA)." (2014, 26 September) DLECTRICITY

Djurberg's work usually consists of shocking stories of nightmarish illusions. Her intriguing pieces often find spectators dumbfounded, trying to fully grasp the hellish imagery they witness. The dividing cell animation aspect of this piece refreshingly breaks away from Nathalie's previous works of claymated terror. This original "sloppy" style of claymation Djurberg adapts brings light to the idea of what conceptually would change if her animations were more realistic and elaborate. This is the conversation Djurberg keeps open by creating barbaric images with a touch of simple, almost-childish construction. The concept of The Black Pot presents an idea that without a doubt every artist has come across a multitude of times in their career- where do my ideas, my inspiration, my motivation originate from? From where do all things derive? It is important to continue conversation about existence to inspire not only artistic but scientific exploration on the matter.

In comparison to Djurberg's other work, "The Black Pot" definitely takes a calmer approach to creating a story to the conversation at hand. For example, in her piece Watch Me Move: The Animation Show (pictured above), Djurberg forms an obese woman who ironically gives birth to a rhinoceros and the two share awkward interactions until a male figure emerges and gives birth to a chimpanzee. The painful process watching a baby rhino escaping from the vagina of a swollen lady and then a chimp coming from the anatomy of a man surrounds the audience in an inescapable nightmare of discomfort and fear. These sort of grotesque images provide a strong juxtaposition to dancing bubbles and hand crafted donut seats featured in "The Black Pot". However, it is the dark fantastical scenes Djurberg so successfully creates that establishes her art as wickedly brilliant.

Djurberg's work also shares qualities of Allison Schulnik, a claymator, who creates naïve yet complex images out of clay. In her work, "Mound", Schulnik mixes paints, illustration, and clay to create a complex scene like Djurberg includes in her blobby paint cells and Claymation projections. "Mound" is an extremely eerie gathering of constantly deforming pale human like figures. The ghost-like figures that moan and distort in Schulnik's piece also reflect the dark vibes that resonate in Djurberg's claymation artworks.

"The Black Pot" was exhibited at the Garage Center for Contemporary Culture in Moscow, Russia

Additional Press:
http://blogs.wsj.com/speakeasy/2014/04/18/a-cruel-and-playful-world-of-clay-loved-bymiuccia-prada/ http://www.lissongallery.com/news/nathalie-djurberg-hans-berg-black-pot http://www.zachfeuer.com/artists/nathaliedjurberg/?news=2104,2079,2099,1780,2033,3315,3306,3370,3521,3555,3714,3881,3796,38 01,3825,4371,4407,4467,4463,4465,4519,4869,5158,5323,5327 http://thecreatorsproject.vice.com/blog/allison-schulnik-pushes-claymation-to-its-psychedelic-limit

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The Black Pot - 21st Century Digital Art

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Nathalie Djurberg, a Swedish stop-motion animator, molds and manipulates clay figures to tell interesting narratives. The Black Pot, a video and sculpture installation abstractly visualizes the essence of life in its most primitive form. Djurberg creates a series of multi-colored circles with cell-like behavior to depict a scene from the beginning of the universe.

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Very Focket is the digital branch within the Focketverse. Through illustration, animation and so much more, Loulou and her team of 3d modelers and animators work together to create a safe space that aims to transcend physical constraints. Pushing Loulou’s imagination resulting in an alternate reality where the possibilities are endless. Creating an encounter captivated by cuteness, providing visual accessibility allowing the viewer to open up and fully take in the experience.

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Very Focket is the digital branch within the Focketverse. Through illustration, animation and so much more, Loulou and her team of 3d modelers and animators work together to create a safe space that aims to transcend physical constraints. Pushing Loulou’s imagination resulting in an alternate reality where the possibilities are endless. Creating an encounter captivated by cuteness, providing visual accessibility allowing the viewer to open up and fully take in the experience.

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Mary Corse, Untitled (Electric Light), 1968/2018, argon, Plexiglas, high-frequency generator, light tubes, monofilament, 61-1/8" × 11-1/4" × 8" (155.3 cm × 28.6

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 Corse’s art emphasizes the abstract nature of human perception, expanding beyond the visual to include subtleties of feeling and awareness.

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 Corse’s art emphasizes the abstract nature of human perception, expanding beyond the visual to include subtleties of feeling and awareness.

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The touring show is a series of large-scale digital projections of the painter's work, complete with sounds and visuals that swirl around the exhibition space. No longer two-dimensional, the paintings move across the wall, surrounding the visitor who flows through the center of the artist's colourful flourishes.

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Exhibition Trailer: Life and Work of Frida Kahlo

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As the year of the tiger approaches Real Good Studio asked me to collaborate with a ton of other amazing artists to work on the Chinese New Year campaign for BMW China.

Combining the image of the tiger with the power  of the BMW car in a fun and playful manner. Three concepts were chosen to develop further.

The first features the tiger swinging around in a toy car surrounded by an overromanticized nature scene. Smoothly waving to the viewer as to welcome them to the new year. As for the second concept we’ve got a connected string between the tiger and a little car. Giving a little “catdog” moment with the tiger chasing after the car in an endless loop. Lastly is the tiger itself dancing with full confidence. This dance was created with a motion capture suit and the recorded data cleaned up to fit the tiger’s rig and body frame. The last concept was eventually chosen for the final cut of the ad.

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Mary CorsePastNov 4, 2021 – Jan 29, 2022Palo Alto

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Mary CorsePastNov 4, 2021 – Jan 29, 2022Palo Alto

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Throughout her innovative practice, Mary Corse has challenged viewers’ perception and created paintings of light, and her debut at our Palo Alto space will resonate with our location in Silicon Valley.
We are pleased to present an exhibition of new works by Mary Corse in Palo Alto. Marking the artist’s first presentation at our Palo Alto space, the exhibition will feature three large paintings and four electric light boxes of different sizes in conversation with one another. Throughout her innovative practice, Corse has challenged viewers’ perception and created paintings of light, and her debut at our Palo Alto space will resonate with our location in Silicon Valley.

Over the course of her six-decade career, Corse, who is based in Los Angeles and was born in Berkeley, California, has explored the nuances of light, space, and perception. The artist is widely known for her dynamic, subtly gestural, and precisely geometric paintings and inventive light boxes. The light boxes enabled the artist to explore new frontiers in illuminating her artworks. The result of Corse’s experimentations with electricity, plexiglass, glass microspheres, and traditional painting techniques is a singular language of light and abstraction, which is on full view in our Palo Alto presentation.

This exhibition in Palo Alto comprises three large-scale paintings, two freestanding light boxes situated on pedestals, and two hanging light boxes installed against the gallery’s walls. Suspended from the ceiling using monofilaments, these works are powered by Tesla coils that wirelessly transfer electromagnetic fields through the walls and allow the light boxes to hover in the exhibition space. Similarly, Corse’s use of microspheres in her paintings give viewers the impression that the canvases are lit from within as they refract light from different angles depending on the viewer’s position. The Inner Band and Multiband paintings in this exhibition shapeshift as viewers move around them, with vertical bands disappearing and reappearing from various points of view.

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Corse has described her iconic argon light boxes as “light paintings,” and she first created works of this kind in the mid-1960s. It was in this period that Corse began studying physics, an endeavor that deeply informed her artistic production. Corse’s light boxes have long complemented her painting practice, which the artist has described as “a conversation with abstraction.” She has said that the light boxes were part of her efforts to “put the light into the painting,” an aim that also informed her return to painting in the following years.

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The life of things
and the invisible qualities of objects

After the Museo Civico di Storia Naturale and the Planetario Hoepli, Video Sound Art, a contemporary art festival since 2011, presented its twelfth edition with a programme of installations, videos, performance interventions and a screening programme at the Teatro Carcano.
The historic theatre, from the basement to the gallery, showcased the voices of the contemporary for seven days, ranging from video to publishing installations.

Starting with the reflections of the artists in the exhibition and in collaboration with the Dutch publishing project MacGuffin, the festival focused on the unexplored possibilities that each object embodies in relation to history, identity and social relations, attempting to unveil political and social conditioning - the invisible qualities of matter.

Overproduction and resource depletion are transparent entities looming over our heads while the life of things continues to scan our days. There is a world of exchange and circulation of power around objects and of hidden stages that turn out to be much more than mere stages of production. Laura Lamonea, curator of the exhibition.

MacGuffin
Chain chain chain

On the occasion of the launch of the new issue of the Dutch project MacGuffin - a design research platform exploring the life of ordinary things - the main stage of the theatre hosted an installation and a podcast corner.

Read more about the MacGuffin project

MacGuffin - The Life of Things is a Dutch editorial project. In themed magazines, presentations, and podcasts, MacGuffin examines the objects around us and uses them as a starting point to explore the historical, social, and political aspects they represent. As with the MacGuffins in Hitchcock's films, the objects are not the main characters, but plot devices that set the story in motion. The strongly interdisciplinary approach that the curators, Kirsten Algera and Ernst van der Hoeven, propose is able to explore and put into perspective the main philosophical, social, and political theories of our time.

To explore the topic in the publishing field, the Festival hosted the installation Chain chain chain, dedicated to the new issue The Chain focused on the object of the chain. From hip-hop jewellery to resistance movements, from new slavery to blockchain technologies, the work explores our complex relationship with the chain and its contrasting characteristics of connection, decoration, and constraint. The eight posters that compose the installation represent a selection of key images and articles from the eleventh issue that can be removed and taken home by the visitor, creating in their turn a chain of relationships. Along with the installation, the room also featured a podcast corner where visitors could listen to the 2Chains podcast series created by researchers and curators Alix de Massiac and Alex Furtado Melville.

Ph. 1 MacGuffin, Chain chain chain, installation view. Video Sound Art Festival XII edition, Teatro Carcano, Milan, 2022. Ph. Anna D'Amore
Ph. 2 The Chain issue #11
Ph. 3 MacGuffin, Chain chain chain, installation view. Video Sound Art Festival XII edition, Teatro Carcano, Milan, 2022. Ph. Yesuqi Lin
Discover the MacGuffin project

Mika Rottenberg
Cosmic Generator

In the gallery of the auditorium, the artist Mika Rottenberg presented the video Cosmic Generator.

Read more and meet the artist

Sacks of pearls, inflatable toys, plastic flowers, and sizzling frying pans, Mika Rottenberg's film installations explore the relationships between immaterial goods and manufactured products and blur the line between reality and fiction.

Cosmic Generator by artist Mika Rottenberg is a video work that establishes a connection between various places and actors, including Calexico (California), Mexicali (Mexico) and Yiwu (China), to recreate the imaginary life of an object, from its production in a factory to the moment it is sold.
The film, whose title is a reference to the engineer and physicist Nikola Tesla (1856-1943), highlights the absurdity of our human condition and systems of production and circulation. The artist relates footage from a restaurant and a Calexico shop to a huge plastic market in Yiwu, China. The tunnel system suggests a reflection on how certain objects are allowed to circulate freely in the world, while for others, traveling a distance of a few meters can be a long and complex process.
The tiredness displayed by some of the female protagonists is also a reference to sleep as a temporary means of retreat and as one of the few remaining bodily resources that cannot be exploited.

Watch the Mika Rottenberg interview

Letizia Cariello (LETIA)
Con te

Letizia Cariello (LETIA) presented a complex installation consisting of a video work, a sculpture, and a wall painting intervention that transformed the space of the high foyer.

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Letizia Cariello (LETIA)'s research is aimed at mending connections and relationships between materials and spaces. Her sign crosses everyday objects to reconstruct perceptive echoes and materialize time in a perceptible form.

For the 12th edition of the Festival, the artist presented a complex installation consisting of the video work Con te and the sculptural element L'ombra mia mi ha fatto paura. Con te is a sequence of 21 videos shot by the artist in the Piedmont countryside. They depict green wheat being moved by the wind. The installation forces the spectator to raise their head, turning into a tunnel. The light sound of the wind moving the wheat reaches the visitor, as if they were swimming through them. The disorientation is not an expedient to produce discomfort, but a system for the observer's body to lose its mental awareness by accessing another type of gravity and physical experience. L'ombra mia mi ha fatto paura is the title of the fabric sculpture with a calendar written on it. A symbol of instability, the tent, which belongs to nomadic culture, is a kind of refuge. The work is inspired by the cabins in Travemünde on the North Sea described by Thomas Mann.

Ph. 1 Letizia Cariello (LETIA), Con te, 2021, video, 6′. Installation view, Video Sound Art XII edition, Teatro Carcano, Milan, 2022. Ph. Francesca Ferrari
Ph. 2 Letizia Cariello (LETIA), L'ombra mia mi ha fatto paura, bamboo parasol with booth covered with sheet and black ink writing on iron stand designed by the artist, 2001-2022. Installation view, Video Sound Art XII edition, Teatro Carcano, Milan, 2022. Ph. Francesca Ferrari
Ph. 3 Letizia Cariello (LETIA), L'ombra mia mi ha fatto paura, bamboo parasol with booth covered with sheet and black ink writing on iron stand designed by the artist, 2001-2022. Ph. Clelia Ricci
Discover the artist's website

Caterina Morigi
Making Special

Caterina Morigi presented two of the five works that make up the sculptural series Making Special: Labirinti and Soli.

Caterina Morigi, Making Special, labirinti, 2022, starlight sapphire quartz, brown gold quartz, engraving and inlay, 37 x 77 x 2 cm. Produced in collaboration with Ultravioletto.art and Masutti marmi. Installation view, Video Sound Art Festival XII edition, Teatro Carcano, Milan, 2022. Ph. Francesca Ferrari

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Caterina Morigi revisits man's traces embedded in the dull materiality of rock engravings in a contemporary key. The sculptural series Making Special condenses the characteristics of human errors with the imperfections of machines and the uncertainty of interpretation, subverting the forms of the ancient to bring them into the present.
I would like to read the works with the 'Jungian' method, through the symbol that is always linked to human interiority. I start with the labyrinth, an abstract concept that largely captures our timeless interest. In the myths of antiquity, it is believed that some were built to deceive demons and that the labyrinth had an attractive capacity. In other cases, ancestral, circular or elliptical representations are thought to have mirrored astral movements, complementary to earthly labyrinths, symbolizing the loss of orientation, to defend and find (one's) center. For Jung, the sun is the symbol of the self and identity; for the Egyptian civilisation it was personified by Oro, the son of Isis and Osiris. The sun rejoins the labyrinth because, according to Eliade, it represents the generating and unifying rotational movement.
The Making Special series was realised in collaboration with Ultravioletto and the company Masutti Marmi. The title picks up on the theories of anthropologist Ellen Dissanayake, who argues that the artist, like human and animal mothers, has been involved in sacred rituals since prehistoric times, tending to make ordinary things special.

Ph. 1 Caterina Morigi, Making Special, soli, 2022, Marmo Azul Bahia, engraving, 43 x 50 x 2 cm. Produced in collaboration with Ultravioletto.art and Masutti marmi. Installation view, Video Sound Art Festival XII edition, Teatro Carcano, Milan, 2022. Ph. Francesca Ferrari.
Ph. 2 Caterina Morigi, Making Special, soli, 2022, Marmo Azul Bahia, engraving, 43 x 50 x 2 cm. Produced in collaboration with Ultravioletto.art and Masutti marmi. Installation view, Video Sound Art Festival XII edition, Teatro Carcano, Milan, 2022. Ph. Anna D'Amore
Ph. 3 Caterina Morigi, Making Special, labirinti, 2022, starlight sapphire quartz, brown gold quartz, engraving and inlay, 37 x 77 x 2 cm. Produced in collaboration with Ultravioletto.art and Masutti marmi. Installation view, Video Sound Art Festival XII edition, Teatro Carcano, Milan, 2022. Ph. Alessandro Baldeschi
Discover the artist's website

New productions

Oli Bonzanigo
Unisono

The artist Oli Bonzanigo presented a new complex installation in the theatre courtyard.

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The artist Oli Bonzanigo presents a new installation that mixes a unison of voices with a single emitting body and a helium balloon, which is blocked in its movement to generate a moment of contemplation. Starting from Naum Gabo's concept of 'stereometric transparency', the artist has initiated an investigation into the transformation of solids into light forms.
The sound work is the focus of the installation: it is an archive containing recordings made by the artist since 2008 across different continents. Barroom chats, people at parties, gatherings in the square, demonstrations, thunderstorms on boats, prayers, backyard voices, children's screams, encounters in the desert, streets and squares full of life. Voices in the courtyard, outside the theatre, almost in the street. We can see the counterweight of gravity, the lightness of air.

Discover the artist's website

Daniel de Paula
circulação

The theatre basement, normally inaccessible to the public, hosted Daniel de Paula's complex installation composed of the video work circulação and newly produced sculptural and sound elements.

Daniel de Paula, circulação, 2019, video-negotiation. Installation view, Video Sound Art XII edition, Teatro Carcano, Milan, 2022. Ph. Francesca Ferrari

Read more and meet the artist

Displayed on a decomposable LED screen, circulação, from 2019 still in progress, presents a collection of footage given to the artist by companies carrying out inspections for multinationals active in natural resource extraction and telecommunications. The neutrality of the content is only apparent: the images show the relentless commodification of the landscape.
The sculptural works are made out of recycled materials from different environments: electric cables, antenna components, fulgurites (fossils originating from lightning). For the sound intervention, the artist also uses existing material or material obtained through the practice of negotiation: sound fragments from the autotune software and sounds from companies that collect data for the oil extraction industry.
Autotune is software used in pop music to correct pitch, an example being the song Believe by Cher. It was invented by Andy Hildebrand, a scientist who, at the time, worked for ExxonMobil, collecting seismic data in order to locate oil deposits underground. To obtain data on the location of new deposits, the oil industry transmits sonic waves that bounce back to their origin. The data gathered is analyzed in an attempt to determine the composition of the ground.
It is from these assumptions that Andy Hildebrand - amateur flutist - creates Autotune. Daniel de Paula's new work, through negotiation and observation, shows a system of control in which the production and exchange of goods are at the centre, even of the software used to create pop songs.

Ph. 1-3 Daniel de Paula, power-flow, 2021, fulgurite, subterranean data cables, high-frequency antenna mounting bracket and aluminum zip ties. Installation view, Video Sound Art XII edition, Teatro Carcano, Milan, 2022. Ph. Francesca Ferrari
Ph. 2 Daniel de Paula, circulação, 2019, video-negotiation. Installation view, Video Sound Art XII edition, Teatro Carcano, Milan, 2022. Ph. Yesuqi Lin
Watch Daniel de Paula interview

Screening program and performances

The exhibition was enriched by performative interventions and a video dance screening programme with a selection of national and international titles aimed at awakening the expression of physical language in relation to the things that surround us.

We are used to surrounding ourselves with objects, inanimate bodies that live around us, participating in our actions and motionless in becoming. What do objects tell us? How do they permeate our bodies? Dance, on and off screen, invites us to awaken our perception of the extensions of the body, of the relationships between more or less animate subjects, and of the mutations of space and time.
The Public Programme of the twelfth edition of Video Sound Art revolves around Videodance with a proposal never seen before in Italy, where the language that unites movement and the camera still remains largely unexplored.
Bianca Ambrosio, screening program coordinator

Candoco Dance Company and Jo Bannon
Feeling Thing

Candoco Dance Company e Jo Bannon, Feeling Thing, 2022, 23′

Read more and watch the trailer

In Feeling Thing by London-based Candoco Dance Company and artist Jo Bannon, three performers establish an intimate dialogue with an object: a ladder, a fan, a hoover. The accompaniment is provided by ASMR - Autonomous Sensory Meridian Response - that is the sensation of relaxing tingling in the back of the head when actions such as whispering, hair brushing, scratching and hitting are heard or experienced. The viewer is thus invited to immerse themselves in a sensory, illogical and disturbing space in which all things are alive.
Watch the trailer

Silvia Giordano
Fresh oranges into the Ocean

Silvia Giordano, Fresh oranges into the Ocean, 2021, 12′

Read more and watch the trailer

Three oranges trace the delicate passage of three young women into adulthood through a metaphorical narration of their present condition and their projections into the future. In an intimate feminine journey between high and low tides, turbulence and contradictions, calm and turmoil, Fresh oranges into the ocean invites a poetic reflection on today's existential themes in relation to nature. The images evoked by the bodies transport us to an another place: it is there that absurdity and poetry intersect, questions float and subtexts (there) reflect.
Watch the trailer

Park So-Hyun
Pallae: Womanhood Story

Park Sohyun, Pallae: Womanhood Story, 2021, 25′

Read more and watch the trailer

With Pallae: Womanhood Story by Korean director Park So-Hyun, an activity as simple as laundry becomes a performative and narrative action set in a remote structure where bodies emerge in all their strength. The film takes its inspiration from Nam Jeongho's contemporary dance performance Pallae, first presented in 1993.
Watch the trailer

Kotoji ensemble
Taiko performance

Ensemble Kotoji, taiko performance. Ph. Alessandro Baldeschi

Read more about the performance

During the opening day, Video Sound Art hosted a taiko performance by the Kotoji ensemble. The protagonists of the musical intervention are the traditional Japanese drums that, throughout history, have conveyed multiple meanings. From being an instrument of communication, to serving as an incitement in battle, their use during ceremonies of various kinds - religious, earth fertility rites, social festivals - makes them objects of strong symbolic power.
Founded in 2007 by Takeshi Demise, a student of Koji Nakamura, the Kotoji ensemble is made up of almost 20 percussionists united by their passion for the Japanese drum and the search for an authentic sound, as the group's name suggests, 'the way of the taiko sound'.

Silvia Giordano
How can you float without sinking?

Read more about the performance

How can you float without sinking? is a site-specific performance, a score for three female bodies, which established a dialogue with the video work Con te by Letizia Cariello (LETIA).

The object of my practice is to create emotional landscapes that influence the bodies and voices of the dancers, leading them to act in metaphorical realities that condition their quality of movement. In this case, I worked on the immersion of the bodies in dialogue with Letizia Cariello (LETIA)'s installation work, inviting the dancers to establish a connection with specific sections of the unfolding landscape, a process that starts from the emotional experience to connect perception and individual weaving. I have considered the space as a place of immersion that alters references, reconstructing an imaginary ocean in which the femininity of the bodies crosses it, with the help of sound scores and vocalisations that provoke a dimension of epidermal listening between the performers, between them and the elsewhere in which they find themselves, and between the audience and the elsewhere into which it is called to enter.
Silvia Giordano

Antonio Perticara, winner of the Open Call
Drilling Down

Read more about the performance

Starting from the observation of a familiar tool such as the drill, the Drilling down lecture-performance focuses on its application outside the ordinary context.
The artist proposes a reinterpretation of the ancient surgical practice of drilling, which is still half-known and characterised by a perturbing underlying ambiguity.
Devoted to the conspiracy studies and conspiracy fantasies that have interested the debate in recent decades, the project connects a multitude of case studies: from the Neolithic age to 90's electronic music, passing through the self-styled medieval practices of curing madness, up to today's requests for drilling in online forums, cartoons, brainbloodvolume theory and much more.

XII edition
The life of things
and the invisible qualities of objects
22 - 28 September 2022
Concept
Exhibition guide
Open Call
Education
Venue:
Teatro Carcano
Corso di Porta Romana, 63,
MM3 Crocetta, Milan

With the contribution of:
Fondazione Cariplo
Chiesa Valdese
Mondriaan Fund
Netherlands embassy

With the patronage of:
Comune di Milano - Milano è Viva
Consulate General of Japan in Milan

Open Call in collaboration with:
Associazione Amici di Duccio

Curated by Video Sound Art
Artistic direction and curator
Laura Lamonea

Screening Program Coordinator
Bianca Ambrosio

Open Call Coordinator
Francesca Colasante

Education
Thomas Ba, Gaia Lazzerini, Agnese dell'Omo

Production
Lino Palena, Anita Wilczega,
Carlo Di Florio, Ileana Rutigliano

Press office and communication
Francesca Mainardi, Sofia Gemelli
Press release
Communication consultant
Valentina Letizia

Visual identity
Ilaria Roglieri

Technical department
Dario Leone and Cesare Rossi

Administration
Giovanni Licari

VideoSoundArt Festival © 2023. Tutti i diritti riservati. CF e P.IVA 06974250968, Via Piero della Francesca, 74 - 20154 Milano

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The life of things and the invisible qualities of objects After the Museo Civico di Storia Naturale and the Planetario Hoepli, Video Sound Art, a contemporary art festival since 2011, presented its twelfth edition with a programme of installations, videos, performance interventions and a screening programme at the Teatro Carcano.

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ilike this work: DAY DREAM_ Nonotak Studio

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ilike this work: DAY DREAM_ Nonotak Studio

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NONOTAK - DAYDREAM V.4 by MU/STRP for GLOW NEXT

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" The art is not on the wall, it’s in the viewer’s perception.”

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" The art is not on the wall, it’s in the viewer’s perception.”

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In a 2017 interview with art historian Alex Bacon, Corse said, “Works of different scales relate to the body differently. I like to see different configurations and sizes and see how they feel ... With my work, which changes as you walk around it, what one person sees from one side is different from what another person sees from the other. The art is not on the wall, it’s in the viewer’s perception.”

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Participatory art and experiential art have a rich history, from the Dada to Fluxus to the concept of relational aesthetics. The viewer-visitor-audience becomes a core component of the work. The visitor is no longer a passive spectator but is integral to the activation of the installation, work or space.

Participatory, experiential art and interactive installations envelop visitors and entice them within artificial, constructed, often multi-sensory environments. The centrality of the viewer is not exclusive to immersive art, and there are many cross-overs between immersive art, interactive art and participatory art.

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You have probably heard about the Van Gogh immersive art "experience" exhibition. The touring show is a series of large-scale digital projections of the painter's work, complete with sounds and visuals that swirl around the exhibition space. No longer two-dimensional, the paintings move across the wall, surrounding the visitor who flows through the center of the artist's colourful flourishes.

These exhibitions deliver high-impact, highly Instagram-able experiences. They provide visitors with shareable content, perhaps explaining the accelerating supply of immersive art exhibitions in recent years, showing the likes of Klimt, Cezanne, Kandinsky and Kahlo.

These immersive art shows reflect a cultural shift towards the instagramification of art, in which the museum or gallery space becomes a site of entertainment. And the growing popularity for this kind of art experience has a precedent in modern and contemporary art; artists and curators have been playing with this idea for decades.

Participatory art and experiential art have a rich history, from the Dada to Fluxus to the concept of relational aesthetics. The viewer-visitor-audience becomes a core component of the work. The visitor is no longer a passive spectator but is integral to the activation of the installation, work or space.

Participatory, experiential art and interactive installations envelop visitors and entice them within artificial, constructed, often multi-sensory environments. The centrality of the viewer is not exclusive to immersive art, and there are many cross-overs between immersive art, interactive art and participatory art.

Consider the centrality of the viewer-visitor-participant to works by Marina Abramovic's The Artist is Present. Visitors had the opportunity to immersive themselves in the work by sitting opposite the artist during her 736-hour and 30-hour performance at the Museum of Modern Art in New York.

Visitor participation is key to the installation work of Carsten Holler who explores space, participation and interactivity between the viewer and the work. At the Hayward Gallery in London, ​​the exhibition Carsten Höller: Decision immersed visitors in experimental environments. Interactivity powered the exhibition. At every stage, visitors could decide which route to take. They were invited to consume pills, traverse through unknown spaces, and take the slide (or the stairs) out of the exhibition. The exhibition-as-artwork is a defining characteristic of the immersive art experience.

Japanese artist Yayoi Kusama has been inviting viewers to enter her works since the 1960s. Experimenting with space since the 1960s, her work Infinity Mirror Room - Phalli's Field 1965 is an early example of her use of recurring objects and mirrors that force the viewer to question their sense of space. The artist opened her immersive art experience Infinity Rooms at Tate Modern in London in 2021. The immersive installation of reflections and lights gives the visitor endless space to explore. And the mirrors that Kusama uses in her work give some insight into immersive art's fast-growing popularity.
Immersive art experiences harness technologies such as VR, holography, and digital projection to enable viewers to enter the work of art and become a protagonist within it.
With the Van Gogh Experience, you enter the universe created by the artist, or more accurately, the Curator (or perhaps even, the Tech Lead). In these kinds of spaces, you can engage all your senses at once. The museum visitor is no longer a passive observer of Van Gogh's paintings but a small figure within them.

These blockbuster immersive art exhibitions are only part of the story, though. Immersive art is far more than the pizzaz of these entertainment experiences. Artists and collectives have been experimenting with new digital technologies for many years, crafting immersive art experiences in the tradition of participatory art.

Since 2001, the Tokyo-based international art collective teamLab have been creating experiential, immersive artworks that put the viewer-visitor at the centre of the work. The collective combine art, technology and science to produce explorations in ideas of space and time. They are a multidisciplinary group of artists, animators, engineers, architects and programmers and they aim to investigate ideas of perception through their works.

For teamLab, their artworks are constantly in flux; the meaning and experience of their work is never fixed. And perhaps most fundamentally, every visitor's experience, every encounter and every interaction with the work is unique.

Immersive art today

The arts and entertainment company Meow Wolf, which is home to immersive art spaces across the US, is the perfect example of the overlap between art and entertainment. They started as a collective of artists in 2008 and have since grown to occupy thousands of square feet in space from Las Vegas to Denver. In Las Vegas, they run out of AREA15, an "experiential entertainment district" that hosts an array of "ever-changing art, retail and entertainment" experiences.

Critics argue these immersive art exhibitions represent the commodification and marketisation of art history, feeding an individualistic obsession with the self. Advocates argue the value of these commercially-driven shows lies in attracting an audience who might otherwise feel alienated by the traditional museum experience. And the number of visitors to displays at the L'Atelier des Lumières in Paris-home to the Van Gogh experience-and millions of visitors worldwide suggest these shows are in high demand.

So are these immersive art shows a cynical profit-driven manifestation of our attention-deficit times? You could argue that the embrace of mass culture, like pop artists before them, celebrates the spectacle of art entertainment as a true reflection of our times. It mirrors a cultural landscape that is both consumer-oriented and constantly in search of authentic, new experiences.

On the flip side, perhaps the motives of the exhibition makers are not solely driven by profit creation. As the foundation behind L'Atelier des Lumières explains, they exist to promote social inclusion through culture, and their mission is to bring art to hard-to-reach communities. But when blockbuster shows of non-experiential art exhibitions continue to attract record-breaking visitor numbers, it seems viewers are still eager to learn via more traditional exhibition setups.

If you are eager to get a taste of the immersive art experience, you can visit the following spaces:

teamLab, Tokyo

Atelier des Lumières, Paris

Home of the Culture Fondation and host of some of immersive art's most well-known exhibitions of late, including the show Cezanne, the Lights of Provence and Kandinsky The Odyssey of Abstraction.

Kusama Museum, Tokyo

Omega Mart, Las Vegas

An unforgettable immersive ride through the work of international and local artists takes you from secret portals to an interactive supermarket.

Tate Modern, London

Kusama's Infinity Mirror Rooms is an immersive installation that acts as a portal into the artist's universe of endless reflections.

Cover image: Art collective teamLab providing an immersive experience in New York. Photo courtesy of teamLab.

Stay Tuned on Kooness magazine for more exciting news from the artworld.

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What is immersive art? The story of immersive art and 5 exhibitions you can visit in 2022. Explore all daily art news from the international art world. Read the most recent art news from Kooness Magazine, the best resource for contemporary art.

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Bloom of Joy PastSep 4 – Oct 15, 2020 Hong Kong

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Bloom of Joy PastSep 4 – Oct 15, 2020 Hong Kong

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My thought🤔 :The effect of light on immersive art? / The relationship between light and immersive art

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My thought🤔 :The effect of light on immersive art? / The relationship between light and immersive art

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In my opinion, light is a work of art that adorns dark spaces.

In a completely dark room, the only spot of light will present the color, volume, outline, and structure of light as a visual maximization.

If the video of immersive art is my drawing board, then the light can be the brush for me to create and draw freely on the drawing board with colors.

In a popular sense, I like to use light to paint in a completely black space.

The video has an atmosphere presented by the contrast of light and shadow, and is more vivid and flexible, allowing better interaction with the audience.

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Japanese artist Yayoi Kusama has been inviting viewers to enter her works since the 1960s.

Experimenting with space since the 1960s, her work Infinity Mirror Room – Phalli's Field 1965 is an early example of her use of recurring objects and mirrors that force the viewer to question their sense of space. The artist opened her immersive art experience Infinity Rooms at Tate Modern in London in 2021. The immersive installation of reflections and lights gives the visitor endless space to explore. And the mirrors that Kusama uses in her work give some insight into immersive art's fast-growing popularity.

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Exhibition DetailsBloom of JoySep 4 – Oct 15, 2020

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Bloom of Joy gathers artworks of modern and contemporary masters of Pace’s program that are especially impactful with their brilliant palettes and focus on perception, including James Turrell, Sam Gilliam, Mary Corse, and Peter Alexander.

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Bloom of Joy gathers artworks of modern and contemporary masters of Pace’s program that are especially impactful with their brilliant palettes and focus on perception, including James Turrell, Sam Gilliam, Mary Corse, and Peter Alexander.

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Titled Bloom of Joy, thIS show brings together works by modern and contemporary masters from Pace’s program that are especially impactful with their brilliant palettes and focus on perception, including James Turrell, Sam Gilliam, Mary Corse, and Peter Alexander. 

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Titled Bloom of Joy, thIS show brings together works by modern and contemporary masters from Pace’s program that are especially impactful with their brilliant palettes and focus on perception, including James Turrell, Sam Gilliam, Mary Corse, and Peter Alexander. 

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concept:/background
Since last year, the world has experienced ideological conﬂicts and the impact and struggles brought about by a public health emergency. Many have begun to fall into dissatisfaction with contemporary reality and find the uncertain outlook for the future challenging.

purpose/convey
Under these circumstances, the show wishes to convey a much-needed uplifting spirit by engaging viewers with the mesmerizing environment created by the presentation’s aesthetics that are both vivacious and soothing as well as evoking hope.

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James Turrell, Solon, Medium Rectangle Glass, 2019, L.E.D. light, etched glass and shallow space, 56" × 73", Runtime: 2 hours 30 minutes © James Turrell

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James Turrell (b. 1943, Los Angeles, California), a leading figure of the Light and Space movement

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James Turrell (b. 1943, Los Angeles, California), a leading figure of the Light and Space movement

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James Turrell (b. 1943, Los Angeles, California), a leading figure of the Light and Space movement, has long devoted himself to the exploration of the art of perception with a special focus on the materiality of light. Influenced by the notion of pure feeling in pictorial art, Turrell’s earliest work focused on the dialectic between constructing light and painting with light, building on the sensorial experience of space, color, and perception; these interactions became the foundation for Turrell’s oeuvre. Presented as site-specific pieces, the two recent works by Turrell in the exhibition are composed of rectangular shapes with a frosted glass surface animated by an array of technically advanced LED lights which are wall mounted and generated by computer programming. The light changes are subtle and hypnotic, one color morphing into the next seamlessly. The program runs on a loop that is imperceptible to the viewer, prompting a transcendental experience. This wall-cavity filled with color advances the lineage of abstract art, particularly calling to mind Mark Rothko’s Color Field paintings which for Turrell “brought color out of darkness.” In implicating the viewer in the temporal experience of color within the physical and perceptual experience, Turrell turns light into a powerful substance.

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Peter Alexander, Butter Your Grits (Don't That Just?), 2020, urethane, 6 units, 77" × 39-1/2", overall installed © Peter Alexander

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Peter Alexander (b. 1939, Los Angeles, California; d. 2020, Santa Monica, California)

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Peter Alexander (b. 1939, Los Angeles, California; d. 2020, Santa Monica, California)

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Other highlights of the show include works by Light and Space artist, Peter Alexander (b. 1939, Los Angeles, California; d. 2020, Santa Monica, California), featuring a cast urethane sculpture that refracts light rather than emits it; the work’s effect is equally phenomenological, resisting verbal description through a singular and beguiling visual presence. Butter Your Grits (Don't That Just?), an installation by Alexander created this year characteristically arrests and cradles light within its nebulous interiors re-emitting it in a mirage-like emanation. In juxtaposition, a set of five relief prints made with glass microspheres by Mary Corse (b. 1945, Berkeley, California) will be presented. Known for her signature Band paintings, these works further emphasize the abstract nature of human perception for audiences to contemplate.

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Mary CorsePainting with LightJul 2 – Sep 5, 2021The Long Museum, West Bund

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Mary CorsePainting with LightJul 2 – Sep 5, 2021The Long Museum, West Bund

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The Long Museum West Bund in Shanghai presents Mary Corse’s first major museum survey in Asia.

Titled Mary Corse: Painting with Light, the presentation includes more than 25 large-scale works by the artist, who explores geometry and light in her practice. Works in the exhibition span Corse’s pioneering six-decade-long career, highlighting the ways the artist has pushed abstraction to new frontiers.

Among the bodies of work on view in the show are the White Light and Black Light paintings, Black Earth clay-based works, and Corse’s iconic argon Light Boxes, which the artist first created in the 1960s as part of her investigations into varied effects and experiences of light. In much of her work, Corse contemplates perceptions of and reactions to light.

The Long Museum’s exhibition, which is one in a series of recent institutional presentations spotlighting Corse’s achievements and contributions to art history, also features new paintings by the artist. The six new works are presented in the show as part of the artist’s White Inner Band paintings series.

“I’m not interested in painting coming from thought,” Corse told the art magazine Apollo in 2018 on the occasion of her Whitney Museum retrospective. “Thought is finite, thought is the past. By the time you have the thought, it’s over, behind you. It’s more about intuition and feeling.”

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1. What is immersive art?

2. The influence of light on immersive art? / The relationship between light and immersive art

3. MY Immersive Exhibition (NEVERLAND) Putting the whole Neverland process in:.
Pre-research integration/Examples of some screenshots of my software/Process of the exhibition

Maybe I can invite them into my immersive place.
(play the video )______ VIRTUAL WORLD NEVERLAND (my personal project)

4.Simply make your own immersive art and make it into a vr art effect.

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In my opinion, light is a work of art that adorns dark spaces. In a completely dark room, the only spot of light will present the color, volume, outline, and structure of light as a visual maximization.

If the video of immersive art is my drawing board, then the light can be the brush for me to create and draw freely on the drawing board with colors.

In a popular sense, I like to use light to paint in a completely black space.

The video has an atmosphere presented by the contrast of light and shadow, and is more vivid and flexible, allowing better interaction with the audience.

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Think about what knowledge can be taught to others. If it is knowledge-based teaching, you can do online questionnaires and feedback on learning.

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Ray suggested that I can make my own immersive art through students, such as teaching them to use VR to see the art pictures they made, etc.

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Summarize the entire project process of the experience clearly the process.

Detect what others have learned about you.

Add some principles and theories.

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How they learn to learn the immersive art? 

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How they learn to learn the immersive art? 

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—— If you create an immersive art through light and shadow.

—— Teach students how to make their own pictures into VR effects.

—— Everyone will make pictures to display in VR.

—— Assessing the results of their learning.

—— Use ps to make a picture for each person, use VR mobile phone to put the immerse picture into the app.

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- [ ] Upload pictures with theeasys.io

- [ ] buy vr glasses on amazon, put the phone inside to record the screen and record ⏺️ the visual effect of watching

- [ ] Upload to YouTube for a 360-degree panoramic VR experience

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Albion · Mat Collishaw    Title AlbionYear2017MaterialsAluminium, media player, Mirror, Paint, Scaffolding rig, Scretching accessories, Transparent mirror film,

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Mat Collishaw (b. 1966) is a key figure in the important generation of British artists who emerged from Goldsmiths’ College in the late 1980s. He participated in Freeze (1988) and since his first solo exhibition in 1990 has exhibited widely internationally.

Upcoming solo exhibitions include:

All Things Fall, The Bomb Factory Foundation Marylebone, London, UK (April – May 2023)
Mat Collishaw, M77 Gallery, Milan, Italy (June – July 2023)
Mat Collishaw, Borusan Contemporary, Istanbul, Turkey (Sept 2023 – July 2024)
Mat Collishaw, Shirley Sherwood Gallery, Kew Gardens, London, UK (Oct 2023 – April 2024)

Recent solo exhibitions include:

The Machine Zone, Tatintsian Gallery Dubai, UAE (2022)
Equinox, Terra – The Sustainability Pavilion, Expo 2020, Dubai, UAE (2021-2022)
The Adoration of the Mystic Lamb, St Nicholas’ Church Korenmarkt, Ghent, BE (2020-2021)
Mat Collishaw, Djanogly Gallery, Lakeside Arts, Nottingham, UK (2020-2021)
The End of Innocence, Fundació Sorigué, Lleida, ES (2019-2020)
The Nerve Rack, Ushaw College, Durham, UK (2019)
Deep State of Rapture, (with Mustafa Hulusi), Page Gallery, Seoul, KR (2019)
Dialogues, Presented by Fundació Sorigué, Villanueva Pavilion, Real Jardín Botánico, Madrid, ES (2019)
The Grinders Cease, Blain|Southern, Berlin, DE (2018-2019)
The Mask of Youth, Queen’s House, Royal Museums Greenwich, London, UK (2018)
Standing Water, Galerie Rudolfinum, Prague, CZ (2018)
The Centrifugal Soul, Castle Howard, Yorkshire, UK (2018)
Thresholds, National Science and Media Museum, Bradford, UK (2018)
Thresholds, Yapı Kredi Kültür Sanat Yayıncılık A.Ş, Istanbul, TR (2018)
Night Hunter, Robilant + Voena, St. Moritz, CH (2018)
Albion, Gary Tatintsian Gallery, Moscow, RU (2018)
Thresholds, Somerset House, London; Birmingham Museum and Art Gallery, Birmingham; Lacock Abbey, Wiltshire, UK (2017)
The Centrifugal Soul, Blain|Southern London, UK (2017)
Fountains Relief, Fountains Abbey & Studley Royal, North Yorkshire, UK (2016)
Mat Collishaw, The New Art Gallery Walsall, UK (2015)
In Camera, Library of Birmingham, UK (2015)
Black Mirror, Galleria Borghese, Rome, IT (2014)
This Is Not An Exit, Blain|Southern, London, UK (2013)
Mat Collishaw, Bass Museum of Art, Florida, US (2013)
Mat Collishaw, Pino Pascali Museum Foundation, Bari, IT (2013)
Mat Collishaw: Afterimage, Arter, Istanbul, TR (2013)
Magic Lantern, The Victoria and Albert Museum, London, UK (2010)

Recent group exhibitions include:

London Calling. British Art Today. From David Hockney to Idris Khan, Fundación Bancaja, Valencia, ES (2021); UnNatural History, Herbert Art Gallery & Museum, Coventry, UK (2021); Fairy Round, Tate Britain, London, UK (2020-2021)

24/7 A WAKE-UP CALL FOR OUR NON-STOP WORLD, Somerset House, London, UK (2019); Silences, Musée Rath, Musée d’arts et d’histoire, Geneva, CH (2019); Fire: Flashes to Ashes in British Art 1692-2019, Royal West of England Academy, Bristol, UK (2019); Le Laboratoire de la Nature, Le Fresnoy, Tourcoing, FR (2019); In the Shadow of Forward Motion, Zabludowicz Collection, London, UK (2019)

Through The Looking Glass, COB Gallery, Camden, London, UK (2018); Beyond 2001, Espacio Fundación Telefónica, Madrid, ES (2018); Enchanted Garden, Laing Art Gallery, Newcastle, UK (2018); NGORONGORO II, Lehderstrasse 34, Berlin, DE (2018); Il Terzo Giorno, Palazzo del Governatore, Parma, IT (2018)

J.F.Millet, retrospective, Millet – USA, Palais Beaux-Arts, Lille, FR (2017); We Are Not Alone, Athr Gallery, Jeddah, SA (2017); Enjoy (curated by Danilo Eccher), Chiostro del Bramante, Rome, IT (2017); Dominion, New Media Gallery, New Westminster, CA (2017); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Guildhall Art Gallery, London, UK (2017); Mirror Mirror, Museum of Contemporary Design and Applied Arts (MUDAC), Lausanne, CH (2017); Luther and the Avant-Garde, Altes Gefägnis, Wittenberg, DE (2017); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Muzeum Narodowe, Wrocław, POL (2017); Creating the Countyside, Compton Verney, Warwickshire, UK (2017); Glasstress, Boca Raton Museum of Art, Florida, US (2017); Naturalia (curated by Danny Moynihan), Paul Kasmin Gallery, New York, US (2017)

Highlanes Gallery, Drogheda, IE (2016); On the Origins of Art, Museum of Old and New Art (MONA), Hobart Tasmania, AU; Les Photaunales 2016: LOVE STORIES, Beauvais, Le Quadrilatere, Paris, FR (2016); Ron Arad’s 720°, Singapore International Festival of the Arts, The Meadow, Gardens by the Bay, Singapore, SG (2016); Festival of Images, Vevey, CH (2016); Curtain Call, Roundhouse, London, UK (2016); Daydreaming with Stanley Kubrick, Somerset House, London, UK (2016); Sculpture in the City, London, UK (2016), I Prefer Life, Weserburg Museum fur Moderne Kunst, Bremen, DE (2016); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Konsthallen-Bohusläns Museum, SE (2016); A Weed is a Plant out of Place, Lismore Castle Arts, Co. Waterford, UK (2016); SerpentiForm, Museo di Roma, Rome, IT (2016)

Na wspak (ciała i ogrody), 9th Biennale of Photography, Arsenal Municipal Gallery, Poznań, PL (2015); SUBSTANCE (2015) Timothy Taylor, London, UK (2015); L’inconscient pictòric (the pictorial unconscious), Museu Nacional d’Art de Catalunya (MNAC), Barcelona, ES (2015); In Search of the Miraculous, Newlyn Art Gallery, Penzance, UK (2015); SNAP, Art at the Aldeburgh Festival, UK (2015); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Hå gamle prestegard, NO (2015); Gallery of Wonder, Northumberland; Woodhorn; Powburn; Spittal; Falstone; Alwinton; Newcastle, UK (2015); Glasstress 2015 Gotika, Istituto Veneto di Scienze Lettere ed Arti, Palazzo Franchetti, Venice, IT (2015); NGORONGORO – Artist Weekend, Studiobuildings, Lehderstrasse, Berlin-Weissensee, DE (2015); “The time … and there was time”, from Helga de Alvear Collection,Fundación Helga de Alvear, Cáceres, ES (2015); Rack ‘em Up: British Contemporary Editions 1990 – 2000, Shapero Modern, London, UK (2015); The Omnivore’s Dilemma: Visualized, University of Connecticut Contemporary Art Galleries, Mansfield, UK (2015); How to Construct a Time Machine,MK Gallery, Milton Keynes, UK (2015)

Fashion and Art, Bass Museum of Art, Miami (2014); Back to Eden, Museum of Biblical Art, New York (2014); Victoriana, The Guildhall Art Gallery, London (2013); GLASSTRESS:White Light/White Heat: Contemporary Artists & Glass, collateral Event of 55th Venice Biennale, Venice (2013); About Caravaggio (curated by Anna Imponente), Museo Tuscolano – Scuderie Aldobrandini, Frascati Rome (2012); 720°, as part of Ron Arad’s Curtain Call Project, The Israel Museum, Jerusalem (2012); Made in Britain, Contemporary Art from the British Council Collection, Benaki Museum, Athens (2012); Out of Focus: Photography, Saatchi Gallery, London; Otherwordly – Optical Delusions and Small Realities, Museum of Arts and Design, New York (2012); The 12th International Istanbul Biennial, Istanbul, TR (2011).

Collishaw’s work is in several public collections including; Arter Foundation, Istanbul, TR; Art Gallery of New South Wales, Sydney, AU; Artphilein Foundation, Vaduz, LI; British Council Collection, London, UK; Centre Georges Pompidou, Paris, FR; Fondazione Sandretto Re Rebaudengo, Turin, IT; Galleria Civica d’Arte Moderna, Turin, IT; Hiscox Collection, London, UK; Hortensia Herrero Foundation, Valencia, ES; IMMA, Irish Museum of Modern Art, Dublin, IE; Manchester City Art Gallery, Manchester, UK; Marguiles Collection at The Warehouse, Miami, US; Murderme, London, UK; Museum Huis Marseille, Amsterdam, NL; Museum of Contemporary Art, San Diego, US; Museum of Old and New Art, Hobart, Tasmania, AU; National Galleries of Scotland, Edinburgh, UK; Olbricht Collection, Berlin, DE; San Francisco Museum of Modern Art, US; Fundació Sorigué, Lleida, ES; Tate, London UK; The David Roberts Art Foundation, London, UK; Zabludowicz Collection, London, UK; 21c Museum, Louisville, US

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British Artist Mat Collishaw Talks Extreme Imagery, Defending Your Art And Where To Draw The Line

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Mat Collishaw was an integral part of the YBA group that graduated from Goldsmiths in the late 80’s and exhibited work in Freeze

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NONOTAK is a creative duo founded by former visual artist Noemi Schipfer and former architect-musician Takami Nakamoto that was conceived in late 2011. NONOTAK work with light & sound installations and performance pieces to create ethereal, immersive and dreamlike environments which are built to envelope, challenge and stagger the viewer capitalising on Nakamoto’s approach to space, light & sound and Schipfer’s experience with kinetic visual and geometric drawings. This results in a duo who creates pieces that put together light, sound and space in order to provide audience a unique visual and sensitive experience.
The large range of projects NONOTAK are capable of designing and producing allowed them to experiment in many different fields of arts : Architecture, Music, Fine Arts, Digital Arts, Scenography, Theater, Cinema, Dance, Design and Fashion.
The studio never expanded since its founding. NONOTAK still operates as a duo. Sound and visual contents are all produced in house, including their documentative contents that are available online as a visual preview of their work.
Nonotak’s aesthetic is inspired by minimal architecture and optical art.

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Use this website to make the built model visible with VR glasses

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Use this website to make the built model visible with VR glasses

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Theasys - 360 VR Online Virtual Tour Creator

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Create, upload and embed 360 VR Panoramic pictures and Virtual Tours online for free.

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How to use the 3dmodeling mobile app to freely build your own 3D art and display it in VR?

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How to use the 3dmodeling mobile app to freely build your own 3D art and display it in VR?

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step process:

- 1. Download the mobile phone 3DModeling App to build your own 3D art

- 2. Use theeasys.io website to upload pictures

- 3. Use VR glasses and put the phone inside to watch the effect.

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I use this app to create a 3D art scene.

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I use this app to create a 3D art scene.

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Part I— Video recording of my lecture process. I introduced them to the definition of immersive art.

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Part I— Video recording of my lecture process. I introduced them to the definition of immersive art.

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Part 2 — I showed them some videos of immersive art and also showed examples of immersive art from my project Neverland.

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Part 2 — I showed them some videos of immersive art and also showed examples of immersive art from my project Neverland.

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Part3 — I showed them how I set up the exhibition and I taught them to make models in Nomad and create simple 3D VR art scenes in Reality Composer.

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Part3 — I showed them how I set up the exhibition and I taught them to make models in Nomad and create simple 3D VR art scenes in Reality Composer.

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Their viewing of my immersive art Neverland video

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Their viewing of my immersive art Neverland video

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Video of the process of creating a cartoon character

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Video of the process of creating a cartoon character