Photo by Lucrezia Carnelos on Unsplash, collage by Daniel Hengst/Clemens Schöll
  • Exhibition

In VR we trust

  • Open Call 01.08.-30.09.2020
Image: Photo by Lucrezia Carnelos on Unsplash, collage by Daniel Hengst/Clemens Schöll

In VR we trust

Do you also want to ride on the virtual reality hypetrain? Do you dream of a mixture of pew-pew special effects and empathising, euphoric experiences? Do you believe in VR? Do you believe in immersion? Do you believe in the breakthrough that VR will have as a new medium in our society?

Why is that? What is the real benefit of VR, besides generating new markets? What hopes do we associate with VR, what goals do we have in mind, especially in the artistic field? Isn’t VR often used uncritically and without reflection in the art world, and doesn’t it also generate new, enthusiastic customers for the tech industry?

Daniel Hengst and Clemens Schöll critically observe the trend around VR: In the context of this trend, countless exhibitions and sponsorships have been organized – often with artistically mediocre contents, which apparently were only offered a platform because of their medium. What incentive and what added value do visitors have apart from the new (often first) experience with a VR headset? Do we find ourselves in that media-historical time in which McLuhan’s “the medium is the message” is completely realized? And if so, how and with which concepts is this point overcome?

The two-part exhibition “In VR we trust” at the NRW Forum in Düsseldorf and at the Nudel in Zeitz aims to reflect on the current status and future value of virtual reality as an artistic tool or medium on the basis of four critical positions and at the same time to enable a public discussion about it.

We are looking for works that critically deal with one or more of the following questions and perhaps offer answers:

  • Why should artists deal with VR? What actual added value does VR have for art and for our society?

  • Is VR inherently different from previous “new media” (360° film, before that 3D film, before that film, before that photography) or is it simply a new form in a gradual development?

  • In other words: How can we understand VR as an already mature, grown-up medium?

  • What expectations do viewers have of VR (headsets)? How can we actively deal with them?

  • How can the fractures between analogue and virtual reality be discussed primarily or even entirely from virtual reality and not from the analogue?

  • What can VR art look like that primarily triggers an artistic and not a media experience?

The four selected positions will each be shown for one day at the NRW Forum in Düsseldorf and at the Nudel in Zeitz in two four-day discursive exhibitions. These will be accompanied by discussions, lectures and an intensive exchange with the other artists. For this reason the continuous presence at both exhibitions is required.

The call is addressed to artistically working people of all self-definitions. We are especially happy to receive applications from people who are normally underrepresented in the VR (art) scene.

In the context of this exhibition project we want to experiment with a process of co-curation. Further information can be found on our website.

On trust.invr.info we accompany the project with conversations, discussions and links.

“In VR we trust”, curated by Daniel Hengst & Clemens Schöll, a project of THIS IS FAKE, in cooperation with plusnull e.V., supported by the innogy foundation.

Participate

In VR we trust

Do you also want to ride on the virtual reality hypetrain? Do you dream of a mixture of pew-pew special effects and empathising, euphoric experiences? Do you believe in VR? Do you believe in immersion? Do you believe in the breakthrough that VR will have as a new medium in our society?

Why is that? What is the real benefit of VR, besides generating new markets? What hopes do we associate with VR, what goals do we have in mind, especially in the artistic field? Isn’t VR often used uncritically and without reflection in the art world, and doesn’t it also generate new, enthusiastic customers for the tech industry?

Daniel Hengst and Clemens Schöll critically observe the trend around VR: In the context of this trend, countless exhibitions and sponsorships have been organized – often with artistically mediocre contents, which apparently were only offered a platform because of their medium. What incentive and what added value do visitors have apart from the new (often first) experience with a VR headset? Do we find ourselves in that media-historical time in which McLuhan’s “the medium is the message” is completely realized? And if so, how and with which concepts is this point overcome?

The two-part exhibition “In VR we trust” at the NRW Forum in Düsseldorf and at the Nudel in Zeitz aims to reflect on the current status and future value of virtual reality as an artistic tool or medium on the basis of four critical positions and at the same time to enable a public discussion about it.

We are looking for works that critically deal with one or more of the following questions and perhaps offer answers:

  • Why should artists deal with VR? What actual added value does VR have for art and for our society?

  • Is VR inherently different from previous “new media” (360° film, before that 3D film, before that film, before that photography) or is it simply a new form in a gradual development?

  • In other words: How can we understand VR as an already mature, grown-up medium?

  • What expectations do viewers have of VR (headsets)? How can we actively deal with them?

  • How can the fractures between analogue and virtual reality be discussed primarily or even entirely from virtual reality and not from the analogue?

  • What can VR art look like that primarily triggers an artistic and not a media experience?

The four selected positions will each be shown for one day at the NRW Forum in Düsseldorf and at the Nudel in Zeitz in two four-day discursive exhibitions. These will be accompanied by discussions, lectures and an intensive exchange with the other artists. For this reason the continuous presence at both exhibitions is required.

The call is addressed to artistically working people of all self-definitions. We are especially happy to receive applications from people who are normally underrepresented in the VR (art) scene.

In the context of this exhibition project we want to experiment with a process of co-curation. Further information can be found on our website.

On trust.invr.info we accompany the project with conversations, discussions and links.

“In VR we trust”, curated by Daniel Hengst & Clemens Schöll, a project of THIS IS FAKE, in cooperation with plusnull e.V., supported by the innogy foundation.

Curatorial statement

TIMELINE
2020-08-01 Publication Open Call
2020-09-30 Deadline Open Call
2020-10-10 Publication of short list, start of co-curation process
2020-12-01 Publication of selected pieces

2021-04-22 through 2021-04-25 exhibition Nudel, Zeitz
2021-05-13 through 2021-05-16 exhibition NRW Forum, Düsseldorf

FINANCIAL / ORGANIZATIONAL
A total fee of 500€ is paid for the two exhibitions. In addition, there is a maximum of 150€ each for travel expenses; simple board and lodging on site will be provided. The artists commit themselves to be present at both exhibitions on all four days and, if necessary, to be present at the set-up.

The rights to the work remain with the artists. Daniel Hengst, Clemens Schöll, THIS IS FAKE, plusnull e.V., die Nudel Zeitz and the NRW Forum/Kunstpalast Düsseldorf are granted the right to use photo, audio and video recordings of the works for public relations and documentation purposes.

No means of production can be provided. Costs for the set-up can be provided after arrangement if necessary to a small extent.

Comments

  • Hallo Nieves, bei diesem Open Call wird am 10.10. auf dieser Seite eine Shortlist veröffentlicht. Eine Eingangsbstätigungsmail müsstest du aber bekommen haben. Liebe Grüße

    Alina Fuchte
  • Hi, ich habe ein Paar Projekte eingereicht, habe aber noch keinen Bestätigunsemail bekommen. Ist das ok?

    Nieves de la Fuente
  • Apologies, the museum is in Germany

    james

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