Curators: Lily & Honglei (Xiying Yang, Honglei Li, Curatorial Assistant: He Li)
Event: Digital Art Weeks Festival 2014, Seoul
Exhibition Dates: Oct 5th -Dec 22nd, 2014
Organization: DAW International
The Augmented Realism
Lily & Honglei (Lily X. Yang, Honglei Li and He Li)
The artistic application of Augmented Reality (AR) mobile technology is a new approach to creativity. With a mobile-device program, AR technology allows artists to set up site-specific installations that integrate digital art with physical surroundings. The audience can then view these works through their cell phone cameras, resulting in an artistic experience that challenges the existing definitions of space and medium.
Like any site-specific installations, the physical setting of AR artwork plays a vital role as a visual and contextual component of the overall piece. By inserting virtual artistic elements into a physical site, the AR medium provides artists with an opportunity to redefine a particular space with a new historical, political, or aesthetic light. Contrary to traditional forms of site-specific installation, the presence of AR art does not require permission from authorities that have jurisdiction over the physical space. This unique liberty is exemplified by 4Gentlemen’s installations Goddess of Democracy and Tank Man in Tiananmen Square, projects which certainly would have been obstructed by the Chinese government if it was not for the discreetly expressive nature of AR technology. Thus, in many respects, AR has made the whole world a canvas for new media art.
Moreover, artists and audiences alike are often challenged to think beyond their native cultures and landscapes in this global age. While environmental, economic, and political issues have come to span across the entire world, individuals often find themselves acquainted with unfamiliar peoples, places, and history. AR art corresponds precisely to this globalizing trend because it provides artist with an expressive medium that could take form anywhere in the world in a direct and efficient manner.
AR art is a “realistic” art style- not only because it stands against the backdrop of the real physical world, but also because it requires artists to ponder on the relationship between the physical setting and their virtual sculptures. It is only when a concordance exists between these two domains that compelling and relevant ideas could be put forth. In this way, the artist is able to present their own take on reality to the audience through their mobile devices, unraveling a new “realism” of the digital age.
The AR exhibition that is to be held at the at Changdeokgung Palace’s Secret Garden and Cultural Station 284 in Seoul will embody all of such concepts discussed above. We would like to thank Digital Art Weeks International Festival 2014 as well as all contributing artists for making this invaluable opportunity possible.
Background information for participating artists and audience:
Culture Station 281 Seoul
The old building of the Seoul train station was designed by Tsukamoto Yasushi, a professor of Tokyo University. Construction of the station started in June, 1922 and was completed in September, 1925. Due to its unique domed roof and large size, the station attracted much attention in its early years.
After Korea regained its independence from under Japanese colonial rule, the station’s name was changed from ‘Gyeongseong Station’ to ‘Seoul Station’. During the Korean War, the station was partially destroyed but later restored. After Korea began industrializing after the war, the South annex and West annex were constructed to handle the increasing transportation volume.
In 2004 when the privately-funded new station was constructed, the old station closed down, but after reconstruction in 2011 opened as a multicultural space called ‘Culture Station Seoul 284’. The main section (Jungang Hall) is for performances, exhibitions, events, and cafés, while the 2nd floor houses a hall that serves as a venue for cultural performances, exhibitions, academic seminars, business meetings, and more.
More info, please read:
Secret Garden of Changdeokgung Palace, Seoul
Taking up 60% of the entire area of Changdeokgung Palace, the Secret Garden (‘Biwon’ in Korean) was a private garden where the kings and royal family members relax and enjoy the picturesque nature.
Changdeokgung’s rear garden was constructed during the reign of King Taejong and served as a resting place for the royal family members. The garden had formerly been called ‘Bukwon’ and ‘Geumwon,’ but was renamed ‘Biwon’ after King Kojong came into power. The garden was kept as natural as possible and was touched by human hands only when absolutely necessary. Buyongjeong, Buyongji, Juhabru, Eosumun, Yeonghwadang, Bullomun, Aeryeonjeong, and Yeongyeongdang are some of the many pavilions and fountains that occupy the garden. The most beautiful time to see the garden is during the fall when the autumn foliage is at its peak and the leaves have just started to fall.
Changdeokgung Palace had a great influence on the development of Korean architecture, garden and landscape planning, and related arts, for many centuries. It reflects sophisticated architectural values, harmonized with beautiful surroundings. The palace compound is an outstanding example of Far Eastern palace architecture and garden design, exceptional for the way in which the buildings are integrated into and harmonized with the natural setting, adapting to the topography and retaining indigenous tree cover.
The Daejojeon Hall nearby was for the use of the queen. The garden was landscaped with a series of terraces planted with lawns, flowering trees, flowers, a lotus pool, and pavilions set against a wooded background. There are over 26,000 specimens of 100 indigenous trees in the garden. To these should be added 23,000 planted specimens of 15 imported species, including yew, stone pine, white pine, gingko and Chinese junipers.
Watch video: http://youtu.be/_M3hwhsm7Hw