Will Pappenheimer

“Funnel Visions” is a configuration of large-scale virtual funnels inspired by the concepts and shapes of projection and visual intake, two opposite functions of the expanding elongated cones of the audio horn and the telescope. They are intended to transform architectural spaces and act as a series of channels for focusing and reframing vision. The concept builds on an early series of works by Mike Kelley (1954-2012) entitled “Spirit Collector,” “Perspectophone” and the birdhouse sculptures (1978-79), and the framed viewpoints in James Turrell’s “skyspaces” of the 1970s. These two artists touch the psychological and aesthetic relativity that vision projects on everything we see around us.

Through the visitor’s mobile device augmented reality application, brightly colored sculptural vision funnels appear and viewers are invited to look through and enter the funnels to sight the vistas at the other end. Each has a particular viewpoint combined with a peculiar animated object and audio sound framed from within. The enclosed scene, altered by a variety o visual and audio inference, becomes a strange new vantage point on the surrounding environment.


John Craig Freeman

Based of the work of Gustav Gustavovich Klucis, including designs for Screen-radio Orators, Rostrums, and Propaganda Stands from 1922. Each of the Orators, Rostrums, and Propaganda Stands display a black and white animation from a contemporary mass uprising, juxtaposed with frames from the Odessa Steps scene of Sergei Eisenstein‘s historic Battleship Potemkin film. When touched, the virtual objects play sound from the uprising. The stands call up both the resurgence and nostalgia of current worldwide political idealism as they reimagine the museum plaza in the function of the public square.


Tamiko Thiel

The self-referential “ARt Critic Face Matrix” surrounds you with animated art critic faces, ranging from skeptical to outrage. It was originally created for “We AR in MoMA,” the path-breaking AR intervention at the Museum of Modern Art in New York, 2010. In 2011 it was updated with animated faces as the “ARt Critic Face Matrix (reloaded).” It is permanently installed in fine art museums the world over, such as MoMA NY, ICA Boston, MoCA Los Angeles, Tate Liverpool, Hayward Gallery London, Stedelijk Museum Amsterdam.


Curious Minds

Da Vinci was the consummate perfectionist and is quoted as once saying: “Art is never finished, only abandoned” Various incidents have extended the Mona Lisa beyond the portrait of an ordinary woman by a master Italian painter of the Renaissance into a conceptual artwork indicative of the processes of creating art in our times.  Curious Minds use of QR Code picks up on the transmutation phenomena that the painting has been know for and also tags on to the idea of a gradient use of blending reality with virtually. This act of hyper linking from physical world objects to those of the virtual echoes Da Vinci’s innovation of using “sfumato” and confronts the viewer with another: how the real is being affected by the virtual and how intrinsic meaning is now shared and no longer available solely through the real. Using a common barcode reader supplied with every smartphone, the visitor is coaxed into the exhibition without any delay or effort, bringing him or her into the realms of a marketing campaign where attention is solely focused on the virtual at the cost of the real and the visitor is targeted with the pitch of the exhibition  “what need is there for the real?”


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