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


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:

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.


More info, please read:


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.


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:


History of Changdeogung:





14. April 2014, Seoul

Dear Lily & Honglei,


This is a formal invitation letter to attend the Digital Art Weeks festival in Seoul.

The ETH Zurich based festival Digital Art Weeks is a meeting point between art, science and technology. Over the last eight years, DAW has been fostering collaboration and knowledge exchange worldwide. Its program offers a unique insight into current research and innovations in arts, science and technology illustrating resulting synergies in a series  of interdisciplinary projects, making artist aware of impulses in technology and scientists aware of the possibilities of application of technology in the arts.

This year, the festival is organized in collaboration with Seoul National University, Sogang University, KAIST University,
National Chengchi University, Museum of Art on the SNU campus and Platoon Kunsthalle.

The festival will take place from the 2nd of October to 8th of December 2014 and includes the following events:

  1. Hybrid Highlights Exhibition in the Museum of Arts (MoA)

  2. The Conference on Convergence and Creativity Museum of Arts (MoA)

  3. OFF Label exhibition and performances in Platoon Kunsthalle Seoul

  4. Augmented Reality exhibition in the Changdeokgung Palace’s Secret Garden and Culture Station 281 Seoul

Your work regarding the themes of the Hybrid Highlights Exhibition as well as the OFF LABEL event represents an important contribution that will influence collaborative nature of the Festival. Due to funding guidelines and high cost of holding the festival, we have very limited possibilities of support. Therefore, we are providing this letter in hope that it will facilitate the access to other funding sources that are available to you. The festival in turn will provide a unique opportunity to present in diverse context with high level of visibility, which will inevitable further your career and offer future opportunities internationally.



Arthur Clay

Director DAW International


DAW Seoul Update

Dear DAW Participants,

We hope you are all doing well and enjoying the early spring weather. We are now in the middle of preparation for the DAW Seoul and would like to share with you some updates on the festival planning.

This year DAW festival will include the following events:

Hybrid Highlights Exhibition in MoA (Museum of Modern Art) Seoul


Participating Artists:
Jin-Kyu Jung, Simon Schubiger-Banz, Raffaello D’andrea, Enrico Costanza,
Jackson 2Bears, Ted Hiebert, Doug Jarvis, Haru Ji & Graham Wakefield,
K-Soul  & Jardin Cosmique, EPFL- Human Brain Project, John Craig Freeman,
Laile Pasquale, Selected Swiss Game Artist Designers


The Conference on Convergence and Creativity in MoA (Museum of Modern Art)

Convergence Section- Dae-Shik Kim and Bernhard Egger
Creativity Section- Haru Ji and Graham Wakefield
Hybridization Section- Lichia Saner-Yiu and Raymond Saner

4.10.2014 Convergence Section
11.10.2014 Creativity Section
18.10.2014 Hybridization Section


OFF Label exhibition and performances at Platoon Kunsthalle Seoul

3-5.10.2014 Performances
7-12.10.2014 Exhibitions

Participating Artists:
Urich Lau, Lim Shengen, K-soul, Stefan Mueller Arizona in collaboration
with Fachhochschule Nordwestschweiz, Marcel Gaspar, Teow Yue Han


Augmented Reality exhibition in the Changdeokgung Palace’s Secret Garden
and Culture Station 281 Seoul

Lily & Honglei art studio, new media art

Ancient painting of Changdeokgung Palace and Huwon Garden, a UNESCO World Heritage site.

Lily & Honglei


Participating Artists:
Guests Artists Taipei, Virtuale Switzerland (Peter Aerschmann, Curious
Minds, Franzsika Furter, Herve Grauman, Michael Spahr)


Digital Art Weeks


Lily & Honglei new media artist, new media art China, venice biennale,, Lily & Honglei Chinese contemporary artists

Lily & Honglei: Crystal Coffin-Virtual China Pavilion at the 54th Venice Biennial


by SIMONA LODI, Art Director Share Festival , Curator, Art Critic


The text analyzes the work of artists who use augmentation, information and immersion in specifc contexts—public orprivate spaces. Te aim of the analysis is to understand socio-cultural transformations in the felds of art and technologyin social space and what new forms of aggregation and participation have developed, providing an opportunity to refecton new concepts of democracy that are emerging in our global media age. Te question underlying the study is how doartists who use augmentation, information and immersion give new meaning to the concept of public space, changingthe proprietary boundaries of that space and concept of what it is to perceive reality.

Manifest.AR members John Craig Freeman and Sander Veenhof, with Simona Lodi from the Invisible Pavilion, at Venice Biennial 2011 Opening

Manifest.AR members John Craig Freeman and Sander Veenhof, with Simona Lodi from the Invisible Pavilion, at Venice Biennial 2011 Opening

Working on the Invisible Pavilion project for the 54th Venice Biennale, it so happened that we came across another group of artists working on much the same issue, so we decided to cooperate with them and launch ajoint attack on the Biennale from diferent fronts and perspectives. In June 2011, the cutting-edgeinternational cyberartist group Manifest.AR¹¹ issued a statement to the general public and to the presidentand director of the 54th Venice Biennale informing them that they had created additional pavilions in theGiardini concourse, built in the new medium of augmented reality, and that some of the works had leakedout into the public space of Saint Mark’s Square. Te artists Mark Skwarek, Sander Veenhof, Tamiko Tiel,Will Peppenheimer, John Craig Freeman, Lily and Hong Lei, Naoko Tosa and John Cleater all took partdirectly in the project.

Tamiko Thiel, with Simona Lodi and Gionatan Quintini from the Invisible Pavilion

Tamiko Thiel, with Simona Lodi and Gionatan Quintini from the Invisible Pavilion

As Tamiko Tiel explains:

“Augmented reality has redefned the meaning of ‘public space.’ As corporations privatize many public spaces and governments put the rest under surveillance, augmented reality artists take over the invisible but actual realm that overlays real space with multiple parallel universes. Augmented reality actualizes the metaverse in the real universe, merging the digital and the real into a single, common space. Augmented reality can conquer space but it is not indifferent to space. With my artworks you must negotiate real space in order to view the works. They are usually not single images or objects, but installations that surround you. In order to look at them you must move your body in space, looking up, down and twisting around.12” In Shades of Absence: Outside Inside, Tamiko Tiel inserted into the closed curatorial space of the Giardini concourse in Venice the silhouetted fgures of artists who have been threatened with arrest or physical violence. Regardless of whether they are outsiders or insiders to the Art System, known internationally or only within small circles, their work has excluded these artists from the safety of protected space.

More info:

Read the entire article here.

Commissioned by New Radio and Performing Arts Inc., new media art project Shadow Play: Tales of Urbanization of China is complete in May 2014 and soon to be launched via

Designed and produced by Lily & Honglei Art Studio, a New York-based collective with three artists, Xiying Yang, Honglei Li and He Li, ‘Urbanization of China’ is a multimedia project comprised several phases. Following the first phase ‘Shadow Play,’ more work will be unveiled over next 2-3 years period, with funding from varied channels.

net-art,, commission, Lily & Honglei Art Studio, new media art in China, Chinese new media artist, artist He Li, Chinese contemporary artist

Commissioned by New Radio and Performing Arts, Inc.

Shadow Play: Tales of Urbanization of China

Over the past few decades, China has been undergoing urbanization at an astounding pace. In 2013, the newly inaugurated national leadership raised the process to a new gear when it unveiled its plan of converting 70 percent of the population to a city-oriented lifestyle by 2025. Such a significant change would undoubtedly transform the character of a country that has been largely agrarian throughout its millennia of history. One may wonder how, and to what extent, the landscape, culture, and daily being of the nation’s people may be altered. As artists, we are compelled to explore and reflect upon the various phases of this historic undertaking. Through fieldwork in China, we collect the ingredients necessary for a multimedia production that combines traditional artistic expressions with emerging technologies. The project make use of innovative means of expression such as virtual reality (VR), augmented reality (AR) to visualize the metamorphosis that results from the urbanization process. With an outlook to the future through digital technologies, a retrospective into the past through time-honored imagery, and a reflection of the present through immersion in the realities of the modern China, we seek to present the unfolding of a monumental development to the conscience of a worldwide audience.  (2014 © Lily & Honglei Art Studio)


visualization of “Shadow Play: Tales of Urbanization of China”
© 2014 Lily & Honglei Art Studio

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

by Senior editor & artistic director Lanfranco Aceti, editor & curator Özden Şahin, associate editor Andrea Ackerman

Uncontainable – ISEA2011 Istanbul: Some Thoughts After The Fact

When talking about ISEA2011 Istanbul one of the things I believe will remain as a legacy of the symposium is its magnitude. ISEA2011 was the most attended to date with almost 1500 attendees, the last count we had was of 1489, and it had over 100 artists – the ones we could account for – who participated and engaged with the city in multiple ways, authorized and non.

Manifest.AR is an international artists group working with emergent forms of mobile augmented reality as interventionist public art, using this new art medium to transform public space and challenge institutional structures. Geolocating 3D computer graphic artworks at selected sites, they respond to and overlay the physical locations with new meanings, pushing the boundaries between the real and the virtual.

Collectively and individually, Manifest.AR members exhibit and intervene around the world. After their pathbreaking intervention at MoMA NY in 2010 they set their sights on the Venice Biennial, creating the artworks that are mirrored in the Kasa Gallery exhibition „Not There“ during the ISEA Istanbul Festival. Participating artists are: Tamiko Thiel, John Craig Freeman, Lily and Honglei, Will Pappenheimer, Naoko Tosa, Mark Skwarek, Sander Veenhof, John Cleater.

Lily & Honglei new media art, new media artist China, Whitney Museum of American Art

The museum and artworld interventionist works of Manifest.AR will big part of talk by Will Pappenheimer for the upcoming  mini symposium at the Whitney Museum entitled, “SHARED SPACES: SOCIAL MEDIA AND MUSEUM STRUCTURES.”

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