Augmented-reality-art


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Screenshot of virtual environment Shadow Play, Chapter IV. The Maze: No Exit (work-in-progress).  © 2005-2016 LILY & HONGLEI ART STUDIO

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Screenshot of virtual environment Shadow Play, Chapter I, II & III (work-in-progress).          © 2005-2016 LILY & HONGLEI ART STUDIO

For more info about Shadow Play project, visit website http://lilyhonglei.com/shadowplay2

Lily & Honglei Art Studio’s augmented reality artworks “Crystal Coffin” and “Dragon’s Pearl” on view at at both Longlake Festival & LAC Lugano Arte e Cultura, Switzerland, Opening June 24, 2016.

Lily & Honglei, asian art, shadow play

Image by Lily & Honglei Art Studio

Essay by Serena Jara, Jamaica Flux 2016 Catalog:

“A smoggy window view looks outwards towards a bustling cityscape, where traffic, skyscrapers, and pedestrians disappear into the industrialized atmosphere. An inverted figure materializes from the haze, suspended midair. Free falling through dense smog, the body appears poised to crash on top of the urban sprawl, frozen in its ominous descent. Gray tones envelop the dystopian scene as well as the weightless industrial worker, who appears rendered in hand drawn lines, cut out and collaged into photographic space. Her final moments assume hauntingly mythological characteristics, telling one story of the suicides afflicting many migrant workers who build China’s expanding skylines.

“Lily and Honglei’s installation for Jamaica Flux, entitled, ‘Shadow Play: Tales of Urbanization of China’ and exhibited on site at the Jamaica Center of Arts and Learning, studies the many layers of China’s expansion into modernity. Employing darkly dystopian allegories that reflect individualized struggles, the narrative of a village family displaced by mass land grabbing takes on the forms of virtual and augmented realities. The overarching storyline is comprised of both research and thirty years of lived experience. Presented in four chapters, the tale details the murder of the village chief at the hands of demolition crews, his son’s subsequent abduction, and his wife’s journey into the city to search for her lost child. Featuring a synthesis between traditional Chinese shadow play puppetry and advanced three dimensional rendering technologies, the project becomes an immersive fable told through equal parts symbolism and bleak reflections of reality.

“As the mother emerges from the subterranean city beneath Beijing, home to many rural migrant workers who build the expanding urban skyline above ground, she witnesses some of the most strikingly dark imagery visible in “Shadow Play.” Images of falling workers hover over her anonymously like ghosts, dangling from wires and steel beam ledges. Speaking at the 2015 Creative Capital Artist’s Retreat, Honglei explains that the visuals of descending migrant bodies ‘specifically reflects on the worker suicide cases at Foxconn factory, the electronics manufacturer behind popular products like iPads and iPhones.’ Despite their spirit-like, evaporating qualities, one cannot separate the disappearing figures from the “modernity” achieved by rapid urbanization of China. Lily and Honglei effectively bridge disconnect from both sides of one story into potent allegorical tensions, fitting vast complexity into small shadow puppet characters inhabiting a phone or tablet’s screen. Their imagery causes audiences to question the advancement of culture, embedded directly into the technologies which enable such costly ‘progressions’ to occur continuously.”

Lily & Honglei, Chinese shadow puppetry, contemporary art, Asian Art

Research presentation of Shadow Play at Jamaica Flux 2016, Jamaica Center for Arts and Learning, NY. Photography courtesy of Lily & Honglei

Lily & Honglei, Asian Art, Chinese shadow puppetry, Chinese contemporary art

Research exhibition at Jamaica Flux 2016, JCAL. Photography courtesy of Lily & Honglei

Lily & Honglei, Chinese shadow puppetry, urbanization of China, Asian art, Chinese media art

Shadow Play, VR screenshot by Lily & Honglei Art Studio

After months of intensive work, Lily & Honglei Art Studio is launching a series of public presentations and exhibitions of their on-going project “Shadow Play” at three venues in April and May, 2016: Queens Museum of Arts (NY), Wilfrid Israel Museum for Asian Arts & Studies (Israel), and Jamaica Center for Arts & Learning (NY).

The exhibitions are produced in varied formats including video, augmented reality installation that is viewable on mobile phone apps, and prints juxtaposed with traditional Chinese shadow puppets (by courtesy of Wilfrid Israel Museum). The images appearing in the exhibitions present current stage of development of the multimedia project that integrates emerging technology such as Virtual Reality with traditional shadow puppetry motifs.

Lily & Honglei, Jamaica Flux, New York artist

Catalog of Jamaica Flux 2016

For more exhibition info and project updates, visit website http://lilyhonglei.com/shadowplay2

 

 

 

http://www.dlux.org.au/cms/dTour/un-seen-sculptures.html

These virtual digital works are hidden from the naked eye but visible to anyone with an iPhone, Android or Nokia smartphone and an app called the Layar Reality Browser, that can be downloaded for free from iTunes, the Android Market or the Ovi Store.

For more about previous showings of (Un)seen Sculptures and to find out what’s been done in this field elsewhere in the world, follow some of the links in the AR Art Links box in the sidebar on this site. www.unseensculptures.com

If you want to create your own mobile augmented reality art, click on the DIY link at the top of this same site for some tips to get you started and some ideas about other directions to take your work.

"Shadow Play: Tales of Urbanization of China" is a 2014 commission of New Radio and Performing Arts, Inc., 
 for its Turbulence.org website. It was made possible with funding from the Jerome Foundation.

Shadow Play: Tales of Urbanization of China
by Lily & Honglei

Lily & Honglei, new media art, He Li, Rose Goldsen Archive of New Media Art, Turblence commission

Screenshot of Shadow Play VR installation. Lily & Honglei © 2014

Lily & Honglei, new media art of China, He Li, Rose Goldsen Archieve of New Media Art, Turblence.org commission

Screenshot of Shadow Play VR installation. Lily & Honglei © 2014

http://turbulence.org/Works/shadowplay/

Over the past few decades China has been urbanizing at an astounding pace. In 2013, the People’s Republic unveiled its plan to relocate 260 million people from China’s countryside to one of 21 “mega regions” by 2020 (cbsnews.com). Such a significant shift will undoubtedly transform China’s national character, which has been predominantly agrarian for millennia. Shadow Play weaves three interfaces, Virtual Reality (VR), Augmented Reality (AR), and Physical Reality (PR), and combines the past and present – through time-honored imagery, paint, shadow play, and new media technologies – to immerse participants in the realities of contemporary China.

Lily & Honglei, Turbulence.org, new media art China, Rose Goldsen Archive of new media art, China urbanization

Shadow Play, Chapter I. The Land: Death of the Village Head (AR Screenshot)

Lily & Honglei, new media art, turbulence.org commission of net-art, China urbanization

Shadow Play, Chapter III. The Ruins: Lost Children

Lily & Honglei, He Li, new media art China, Rose Goldsen Archive of new media art

Shadow Play, Chapter IV. The Maze: No Exit (AR Screenshot)

Thanks to the great support from co-directors, Jo-Anne Green and Helen Thorington, Shadow Play also becomes part of Rose Goldsen Archive of New Media Art, Division of Rare and Special Collections at Cornell University, NY.

Virtuale Switzerland

http://virtualeswitzerland.wordpress.com/

Virtuale stands for Virtual Biennale and is a Festival for public space using new digital tools not only to view the artworks and to interact with them, but also to design the experience of participation itself.

The program content for Virtuale focuses on the use of public space, mobile communication technologies, and explores the types of audiences found in public space,  inventing “playful” new strategies to bring the public into the exhibit as “real” visitors being offered a unique experience.

The project encompasses Artworks using Augmented Reality, Urban or Location Based Gaming, and Digital Heritage applications. It is interdisciplinary, bridging areas such as art and technology, digital heritage and tourism, as well as digital culture and art mediation.

http://virtualeswitzerland.wordpress.com/virtuale-2014/lausanne/artworks-lausanne/

The Butterfly Lovers – Derived from a popular Chinese folktale Butterfly Lovers, the painted figures in traditional costumes are placed at varied locations around the world. Utilizing Augmented Reality, the work addresses issues of Chinese diaspora and cultural identity, and visualizes the restless, roaming cultural spirit of the East hidden in western metropolis.

laussanne_butterflylovers_lillyhonglei

http://virtualeswitzerland.wordpress.com/virtuale-2014/basel/artworks-basel/

liliehonglei

http://virtualeswitzerland.wordpress.com/virtuale-2014/lugano/artworks-lugano/

The Crystal Coffin – The augmentation is inspired by the crystal coffin displayed in Mausoleum of Mao Zedong on Tiananmen Square since 1977, a year after Mao’s death. In the twenty first century, while China has been transforming itself into a modern society in many ways and gaining more influences economically and politically around the globe, Mao’s crystal coffin, the immortal-looking shell, remains exist as a symbol of authoritarian ruling system. During spring 2011, a crackdown on dissent – including detaining many intellectuals and members of religious group – followed by distinct signs of revival of Maoist policies, has left people baffled about the future direction of China. We therefore use Crystal Coffin of Mao as main body of the virtual China Pavilion topped with a tower and roof with ancient Chinese looking, as regulated by Ministry of Construction of China: architectural ‘designs must reflect traditional Chinese building styles’.
lugano_crystal-coffen

 

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

Curatorial Statement:

The Augmented Realism

by

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.

 

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Background information for participating artists and audience:

Location One:

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.

source: http://english.visitkorea.or.kr/enu/SI/SI_EN_3_1_1_1.jsp?cid=1340416

More info, please read:

http://discoveringkorea.com/111220/culture-station-seoul-284

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Location Two:

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.

source: http://english.visitkorea.or.kr/enu/SI/SI_EN_3_1_1_1.jsp?cid=264348

Introductions by UNESCO & World Heritage Convention

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

Source: UNESCO/CLT/WHC

History of Changdeogung:

source: http://eng.cdg.go.kr/info/info_history.htm

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