Seeing The Invisible
AR Contemporary Art Exhibition
무료
1.7for iPhone, iPad and more
Age Rating
Seeing The Invisible 스크린 샷
About Seeing The Invisible
Seeing the Invisible is an augmented reality contemporary art exhibition initiated by the Jerusalem Botanical Gardens in partnership with Outset Contemporary Art Fund, with the support of the Jerusalem Foundation. The first exhibition of its kind to be developed in collaboration with botanical gardens, it will open and be on view simultaneously at twelve different gardens around the world. The participating gardens all present the same exhibition, but as the works are augmented into the unique surroundings and context of each garden, the exhibition is experienced differently against the backdrop of each location, and is constructed, as a whole, on different iterations of the same corpus of works. An open-air exhibition, Seeing the Invisible continues the efforts to present and discuss art in the current pandemic crisis, while also allowing local communities to be exposed to the forefront of international contemporary art. The exhibition can only be viewed upon visiting the participating botanical gardens and through the Seeing the Invisible mobile app developed for this project.
The exhibition features thirteen augmented reality (AR) works by established artists from various countries. Co-curators, Hadas Maor (curator of contemporary art) and Tal Michael Haring (virtual and augmented reality expert and curator) worked with the artists to select existing works as well as commission new ones, and to position these new experiential artworks in unique spots in each of the participating botanical gardens. As institutions holding documented collections of living plants for the purpose of scientific research, conservation, display, and education, botanical gardens are hybrids in their own right, blending nature and cultivation, order and coincidence.
Setting these digital experiences inside botanical gardens, without disturbing the preservations, and keeping the carbon footprint to a minimum, the exhibition addresses themes pertaining to nature, environment, and sustainability and explores the boundaries and connections between art, technology, and nature. Both bleak and hopeful, each artwork offers a unique perspective on these unresolved issues, creating thought-provoking, experiential, and contemplative spaces for the viewers to immerse in.
As viewers are invited to explore the botanical gardens and actively locate the artworks scattered throughout them, they must use technological devices to establish the digital works into existence and, in many cases, experience the way their own physical presence affects the work and changes its course, further exploring the interrelations between the "art object" and the self.
Since the works cannot be experienced online, but require viewers to physically visit the gardens, they offer a "phygital" experience combining the physical location and the digital manifestation. Thus, the exhibition invites viewers to also contemplate contemporary notions relating to site and non-site, physical and digital realms. In 1968 Robert Smithson created a series of works entitled Site/Nonsite. These geologically and geographically based works were part of Smithson’s ongoing radical challenge of the limits of sculptural practice, and paved the way for his most ambitious work, Spiral Jetty (1970). At the time of their creation, the tension between outdoors and indoors, scattered and contained, natural and constructed, was at the forefront of theoretical discourse and artistic practice. Today, as questions relating to the physical and digital realms are at the core of our existence, they become an inevitable part of artistic discussion and are at the heart of this exhibition
The exhibition features thirteen augmented reality (AR) works by established artists from various countries. Co-curators, Hadas Maor (curator of contemporary art) and Tal Michael Haring (virtual and augmented reality expert and curator) worked with the artists to select existing works as well as commission new ones, and to position these new experiential artworks in unique spots in each of the participating botanical gardens. As institutions holding documented collections of living plants for the purpose of scientific research, conservation, display, and education, botanical gardens are hybrids in their own right, blending nature and cultivation, order and coincidence.
Setting these digital experiences inside botanical gardens, without disturbing the preservations, and keeping the carbon footprint to a minimum, the exhibition addresses themes pertaining to nature, environment, and sustainability and explores the boundaries and connections between art, technology, and nature. Both bleak and hopeful, each artwork offers a unique perspective on these unresolved issues, creating thought-provoking, experiential, and contemplative spaces for the viewers to immerse in.
As viewers are invited to explore the botanical gardens and actively locate the artworks scattered throughout them, they must use technological devices to establish the digital works into existence and, in many cases, experience the way their own physical presence affects the work and changes its course, further exploring the interrelations between the "art object" and the self.
Since the works cannot be experienced online, but require viewers to physically visit the gardens, they offer a "phygital" experience combining the physical location and the digital manifestation. Thus, the exhibition invites viewers to also contemplate contemporary notions relating to site and non-site, physical and digital realms. In 1968 Robert Smithson created a series of works entitled Site/Nonsite. These geologically and geographically based works were part of Smithson’s ongoing radical challenge of the limits of sculptural practice, and paved the way for his most ambitious work, Spiral Jetty (1970). At the time of their creation, the tension between outdoors and indoors, scattered and contained, natural and constructed, was at the forefront of theoretical discourse and artistic practice. Today, as questions relating to the physical and digital realms are at the core of our existence, they become an inevitable part of artistic discussion and are at the heart of this exhibition
Show More
최신 버전 1.7의 새로운 기능
Last updated on Oct 13, 2022
오래된 버전
New gardens available
Show More
Version History
1.7
Oct 13, 2022
New gardens available
1.6
Sep 29, 2022
New gardens added
1.5
May 25, 2022
Fixes for photo sharing functionalityAdded tutorial for photo sharing
1.4
Nov 1, 2021
Increased artwork zone radius
1.3
Oct 14, 2021
Included opening hours for Canada
1.2
Sep 24, 2021
Fixed being able to save and share screenshots
Fixed some Hebrew formatting
Fixed formatting in AR panel
Fixed some Hebrew formatting
Fixed formatting in AR panel
1.1
Sep 20, 2021
Adjusted localization
Changed zoom level for JBG
Changed zoom level for JBG
1.0
Sep 18, 2021
Seeing The Invisible FAQ
제한된 국가 또는 지역에서 Seeing The Invisible를 다운로드하는 방법을 알아보려면 여기를 클릭하십시오.
Seeing The Invisible의 최소 요구 사항을 보려면 다음 목록을 확인하십시오.
iPhone
iOS 11.0 이상 필요.
iPad
iPadOS 11.0 이상 필요.
iPod touch
iOS 11.0 이상 필요.
Seeing The Invisible은 다음 언어를 지원합니다. 그리스어, 영어, 히브리어