Installed as a virtual pavilion during the 54th Biennale, Venice Augmented, the newest in a series of visible (in)visible projects hangs in the air surrounding Giardini di Castello and Arsenale pavilions, from June 1, 2011 throughout the duration of the Biennale.
Comprising a number of (un)seen attributes embedded throughout the garden and docks, Augmented Venice aims to provide a landmark addition to the Biennale. Accessible to visiting publics through a number of activation points scattered throughout the Venice landscape, the project is among the first Augmented Reality works to feature at the Biennale.
Using Augmented Reality (AR) as art, my projects layer new meanings and movements onto the environment. I am interested in how small acts of resistance, particularly within so-called virtual domains, can create pockets of transformation. Seeking to generate much more than novel surprise, my art explores new ways of being.
Moving from my previous projects using both graphic- and facial- recognition activators (also called “markers” or “points of interest”), Venice Augmented pays homage to the city’s rich history of Classical portrait painting and precursor avant-garde Italian Futurist Movement, while building on my previous infiltration of the Louvre Museum in Paris with Frenchising Mona Lisa, and the New York City FutARism Manifesto performance.