Exploring the role of digital technology in transcending the physical and conceptual boundaries that exist between different artworks, with imagery from one work breaking free of the frame and entering the space of another.
The installations also dissolve distinctions between artwork and exhibition space, and involve the viewer through interactivity.
The largest room in the exhibition will include six works and feature Universe of Water Particles, Transcending Boundaries (2017), a virtual waterfall that extends beyond the gallery wall onto the floor, flowing through the exhibition space and around the feet of the viewer. It engages with the concept of Ultra Subjective Space, central to teamLab’s practice, referencing the non-perspectival depiction of space in premodern Japanese art and situating the viewer directly within the realm of the artwork.
Encompassing the second room, Dark Waves (2016) is a simulation of the movement of waves based on the behaviour of hundreds of thousands of water particles. The waves are created in a three-dimensional virtual space, expressing water as a living entity that immerses the viewer and suggests an intrinsic connection with nature.
In the last room, the darkened space is transformed by the presence of the viewer, which activates Flowers Bloom on People (2017). With the body as a canvas for the projections, flowers are in a process of continuous change—growing, decaying and scattering in direct response to the viewer’s movements.
Go behind the scenes of some of the most iconic war films which have captured the imagination of cinema-going audiences for generations.
This major exhibition explores how film-makers have found inspiration in compelling personal stories and gripping real events from wars of the past century. See how film-makers have used war’s inherent drama to translate stories of love and loss, fear and courage, triumph and tragedy into blockbusters for the big screen.
For the first time, Real to Reel: A Century of War Movies brings together a unique combination of film clips, costumes, props, scripts, sketches and designs, alongside original archival material and artefacts from IWM’s Collections.
Spanning decades and featuring over 200 objects, the exhibition includes items from films such as The Dam Busters, Where Eagles Dare, Apocalypse Now, Battle of Britain, Das Boot, Casablanca, Jarhead, Atonement and War Horse.
Delve into the historic events and experiences that have inspired the movies. Look at the man behind the myth in Lawrence of Arabia, through to the real events of D-Day which were vividly recreated in Saving Private Ryan.
A festival celebrating modern Africa and the African diaspora (31 August – 4 September). The extraordinary life story of South African president and freedom fighter Nelson Mandela has been transformed into a musical tribute by Cape Town Opera and Wales Millennium Centre.
The performance follows three key stages of Mandela’s life, each featuring a different singer in the title role alongside a cast and orchestra of over 60 performers. Starting with Mandela’s early years and tribal initiation rites on the banks of the Mbashe River, the audience is taken on a journey to the heady and rebellious jazz-fuelled days in Sophiatown and onwards to Mandela’s lengthy incarceration on Robben Island and finally, his freedom.
Each of the three acts features distinctly different music to reflect each stage of Mandela’s life. From authentic Xhosa folk music to upbeat jazz and contemporary opera, the music spans the decades and influences that marked the life of one of the world’s most influential figures.
Over 100 works to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day.
The exhibition title is taken from a term coined in 1974 by South Korean video art pioneer Nam June Paik, who foresaw the potential of global connections through technology.
The exhibition is ordered in a timeline with works made at the arrival of the new millennium, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Key moments in the history of art and the Internet emerge as the exhibition travels back in time.
Featuring new and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing. From Cory Arcangel, Jeremy Bailey, James Bridle, Constant Dullaart and Oliver Laric, to Roy Ascott, Judith Barry, Lynn Hershman Leeson and Ulla Wiggen, over 70 artists spanning 50 years are included.
Vault Festival is returning for six weeks of events, drinks, shows and gigs underground! This year there are three bars and the Suffolk Punch, a brand new restaurant, open to the public.
Trgyve Wakenshaw, The Misfit Analysis and Clout Theatre are amongst the many performers, eight unbelievable spaces within one venue, three stylish bars and an amazing pop-up restaurant will fill the labyrinthine vaults beneath Waterloo Station.
Tickets for theatre performances, comedy, club nights, workshops, family entertainment and events from £5!
New work by Thomas Struth at his first show in London since the 2011 retrospective at the Whitechapel Gallery.
This exhibition will present works made in the context of two different recent projects, which are getting interwoven here for the first time: Photographs he made in Israel and Palestine as part of “This Place”, and of places of scientific and technological research in California.
Struth travelled to Israel and Palestine six times between 2009 and 2014 and worked in East Jerusalem, Tel Aviv, the Golan Heights, Ramallah, Al–Khalil/Hebron, Nazareth and the Negev. His visits were informed by listening to the stories of his guides and other people he met along the way, ‘my exploration was about observing the human drama and what seemed to touch me most. In essence, it was about the reading of the signifiers and the pictorial possibilities of the place’. And, in eschewing the colossal for the personal, Struth set himself ‘the challenge of how to condense an epic narrative into a still image’.
Struth was aware, from the very beginning, of the inherent conflicts and obstacles in approaching such a politically laden region as a subject, and he commented, ‘as an artist who has always been politically conscious and interested in the organisation of society, I was not sure what it meant to work in a conflict zone, or if you can do justice to it at all…moral and ethical questions are impossible to avoid; you have to acknowledge social and political injustices in this area…’ So, rather than assume a self-ordained role as moral arbiter, Struth attempts to represent what he refers to as ‘a particle of the conflict of the region’.