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He was co-curator of the 50th Venice Biennale (2003), the 1st Moscow Biennial (2005), Airs de Paris (with Christine Macel) at the Centre Pompidou (2007), the 2nd Yokohama Triennial (2008), and Zero at Martin Gropius Bau (2015). Between 20 he was the director of Moderna Museet in Stockholm. He has been a member of the board of directors of Frankfurt’s Institut für Sozialforschung as well as of Nobel Media, which organizes all events and productions surrounding the Nobel prizes. From 2000 to 2010 he was rector of the Städelschule in Frankfurt and director of its Portikus gallery.
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He is professor of philosophy at the Städelschule in Frankfurt and the author of numerous books on art and critical theory. He is director of London’s Acute Art, a laboratory exploring art and technology. Professor Daniel Birnbaum is a curator and writer. The first large AR show I staged was Unreal City. They were also installed on Cork Street in October. These works are triggered by the QR the codes in the journal Catalogue. Our most recent AR projects were launched in London: Koo Jeong A’s OLO, Precious Okyomon’s Ultra Light Beams of Love, and Lune by Julie Curtiss. Soon we moved on to augmented reality works that have been displayed across the world, from Beijing to Buenos Aires. It started with VR works by Marina Abramović, Anish Kapoor, Jeff Koons and Ai Weiwei. Art institutions will be transformed and collectors of art have discovered the world of unique digital objects, so-called NFTs.Įxactly how will today’s visual media - AR, VR and Mixed Reality - expand the ways we experience art? Will the virtual turn change art itself, just like photographic techniques and mass distribution once altered our understanding of what an artwork can be? Walter Benjamin’s influential 1935 essay on mechanical reproduction opens with a quote from French poet Paul Valéry: ‘We must expect great innovations to transform entire techniques of the arts, thereby affecting artistic innovation itself and perhaps even bringing about amazing change in our very notion of art.’Ī little more than two years ago, I left my job as head of Moderna Museet in Stockholm, an institution with a strong art and technology legacy, to join Acute Art, a London initiative exploring new immersive media in collaboration with some of today’s key artists. Today, Whatson’s work can be seen in murals across the globe, from Stavanger and Oslo, to Paris and Tokyo, as well as in galleries and private exhibitions, in the form of originals and hand finished limited editions on aluminium, wood, and paper.New technologies are taking over the planet. An aesthetics of beauty and colour is key.
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Apolitical, his works are instead concerned with a subtle messages and transmissions of feeling: each, ambiguous piece is designed to evoke emotion in its viewer, and each viewer takes their own journey and makes their own conclusions. Taking inspiration from the people and places around him, Whatson is drawn to metropolitan spaces, fuelled by decaying architectural sites, peeling posters, and crumbling graffiti walls, signed by anonymous figures. Inspired by the work of Banksy, Whatson took up his stencils and spray paints and began to develop his own, urban aesthetic: creating monochromatic images from simple stencils, Whatson then fills his works with bright lashings of colourful spray paint. Whatson studied Art and Graphic Design at the Westerdals School of Communication in Oslo, where, alongside learning the tricks and techniques of art practice, he fostered a keen interest in the emergent graffiti art movement of the 1990s. Martin Watson is a Norwegian-born artist, whose graphic, street style has been evolving on the walls and shutters of cities around the world over nearly two decades.