Manifest.AR: An International Aritist Collective Developing Augmented Reality Art

Crystal Coffin – China Virtual Pavilion at Venice Biennial 2011

AR Intervention by  Cyberartist Group Manifest.AR

More documentation at


Crystal Coffin - China Virtual Pavilion at Venice Biannale 2011. AR Visualization and Screenshot by John Craig Freeman
Crystal Coffin at Piazza San Marco, simulation by John Craig Freeman
Crystal Coffin - virtual China pavilion, simulation by Lily & Honglei

Help support the Manifest.AR Venice Biennial 2011 Intervention – buy the t-shirts!


‘Cyber-Animism and Augmented Dreams: The urge to augmentby Tamiko Thiel, Leonardo Journal


Butterfly Lovers Augmented Reality at Times Square

Concept and Paintings by Lily & Honglei, AR by John Craig Freeman, Documentation by Will Pappenheimer

Exhibition Venues & Dates:

Gradually Melt the Sky, Devotion Gallery, New York, April 8th. – May 1st., 2011;

Boston CyberArt at Institute of Contemporary Art Boston, April 22 – May 8, 2011;

Unseen Sculpture, Australian Centre of Virtual Art Melbourne & Sydney AU, April 2011;

Jamaica to China, Paining Center NYC, September to October 2011.

Butterfly Lovers Augmented Reality. Mobile Phone Screenshot
Butterfly Lovers Augmented Reality. Mobile Phone Screenshot

More descriptions:


The Augmented Reality Art Manifesto by Manifes.AR



Manifest.AR is an international artists collective working with emergent forms of augmented reality as interventionist public art. The group sees this medium as a way of transforming public space and institutions by installing virtual objects and artworks which respond to and overlay the configuration of located physical meaning. Utilizing this technology as artwork is an entirely new proposition and explores all that we know and experience as the mixture the real and the hyperreal.


Gradually Melt the Sky, at Devotion Gallery Brooklyn, NY, Apr.8 – May 1, 2011

The title of this exhibition takes its cue from the 1964 artwork-poem “Tunafish Sandwich” by Yoko Ono. The text imagines a performance event which is at once cosmic and mundane, an action painting and a protest. The artworks in this exhibition employ a recent developing technology dubbed “augmented reality” to overlay, intervene and challenge the physical world in much the same conjectural spirit as preceding Fluxus and Conceptual works. As the influence of the virtual expands, integrates and maps itself across the material, strange objects, banal byproducts, ghost imagery and radical events appear in our homes and spatially across the landscape. Closed social systems lodged in physical hierarchies are layered, then pried open by popup media available to armies of networked creatives. AR, as this technology is abbreviated, invites artists and viewers to consider coexistent spacial realities in which anything is possible anywhere. Subliminal, aesthetic and political suggestions play themselves out as techno-disturbances in a substratasphere of online and offline experience. The cell phone or the CRT, are immaterial witness to these ephemeral dimensional objects and relational post-sculptural events. The fact that this current technology is primitive, amplifies its potency, with the extra possibility of actualization tacked on to the conceptual gesture.

Will Pappenheimer, Jan 14, 2011

Artists participating:

eteam, Jeremy Bailey, Kristin Lucas, Sander Veenhof, Tamiko Thiel, LoVid, Christopher Manzione, Geoffrey Alan Rhodes, Lily Honglei, Will Pappenheimer, Virta-Flaneurazine, 4 Gentleman, John Cleater, John Craig Freeman, Mark Skwarek, Irvin Morazan, Joseph Hocking, Phoenix Perry, Patrick Lichty, Alan Sondheim, Damon Baker, Arthur Peters


Creativity Bytes: A Brief Guide To Augmented Reality Art Exhibits

Creators Project: The use of augmented reality in exhibition spaces is an emerging field, just beginning to take form and experiencing an experimental sandbox phase. AR artist Helen Papagiannis merges old techniques with new as she commingles the real with the virtual. While artist Pablo Valbuena has been layering projected realities onto objects with his Augmented Sculpture series since 2007. And then there’s the virtual reality hackers like global cyberartist group Manifest.AR whose members arranged the DIY AR invasion of MoMA last year—their hijacking of the physical realm via virtual technologies may seem entirely newfangled, but they have lineage with cross-disciplinary art groups like Neo-Dadaists Fluxus. (read more)


Bushwick AR Intervention – curated by Mark Skwarek

iPhone screen capture

The Great Firewall and Sunken City is a 3D environment constructed in Second Life online virtual world, with symbolic structures commenting current social and environmental issues of China. The Sunken City, a recreation of a real historic site, is an emblem of cultural heritage losses particularly caused by Three Gorges Dam, the world’s largest hydropower station, while the Great Firewall obviously points to Internet censorship effectively suppressing freedom of expression. The artists employ the spacial relationship inside 3D virtual world to indicate how varied problems are connected, tangled.

Developed by Lily & Honglei since 2007, Great Firewall and Sunken City is part of virtual art project Land of Illusion – Reconstructing History and Culture in Online Virtual World. Read more about the project at:

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