Domenico Quaranta, “Venice: the augmented reality”, Flash Art, issue 295, July – September 2011, p. 33.
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On the other hand, the subliminal nature, and its ability to infiltrate their messages in a non-invasive in public spaces, the AR makes a tremendous opportunity for artists. The nature of rental reveals clear links with the street art, and it is no accident that terms like “delusional”, “infiltration”, “constraints” and “freedom” is fulfilled in the communication of the two major events that have been joined at the Biennale: the Invisible homegrown Pavilion, organized by curator Simona Lodi and the artist group Les Liens Invisibles, and ‘AR Intervention orchestrated by the international group Manifest.AR. The first had already given proof of the subversive potential of making it appear AR, April 23 St. Peter’s Square in Rome, a “invisible pink unicorn,” a deity created the paradoxical as a parody of the monotheistic religions. The latter have a long experience with this, with unauthorized access of AR around the world, by the ICA in London at the MoMA in New York. Both have resulted in the halls alternative, at once monumental and invisible, in places such as the Biennale Gardens and Piazza San Marco. On the other hand, only worked Amir Baradan performer, best known for being offered in marriage to Marina Abramovic at The Artist is Present. Augmented in Venice, parasitism is even more evident because Baradan has “hooked” holds its interventions to specific visual scattered among national pavilions and Cordero. “I am interested in how small acts of resistance, in particular the so-called virtual domains, can create pockets of transformation,” explains the artist.

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