I’ve always wanted to follow people around and make noises around them to see what happens. I got to do that with animal imitations. I imagined that the viewers looking at the art are animals from an animal planet documentary being observed by the viewers. The results are pretty funny and peculiar.

The Future of ____ (Installation)

As a group, we’re interested in installation work in galleries and museums. In our version of the imagined future, we envision that, with the help of augmented reality, viewers will be able to see and interact with art without physically going to a gallery space. There are questions of access when it comes to viewing work in museums and/or galleries. Who is allowed? Who isn’t allowed? What works are allowed? When we bring it into the public context, we invite the public to participate in viewing the work and in conversations about the work.

In our search for work that engages with the public and politics, we were interested in finding political meanings in street art and creating an augmented installation gallery where the viewer can come into the space, sit down, and watch the work magically appear.

An Urban Performance

By: Deniz Balkaya, Qizhan (Eric) Chen, Shirley Leung, Franky Wang

We’re imagining a future where the entire world is a recorded performance. In a modern world where surveillance is prevalent, your actions and your voices are probably recorded with or without you noticing. With an entire archive of material, what are we going to do with this content?

We’re interested in taking these recordings of visuals and sounds and mixing it into a performance that is a direct misrepresentation of one’s actions. There is something uncanny about the juxtaposition of mismatched sounds and visuals. We expect to hear a particular sound when we are faced with a familiar visual. However, when the outcome is not what we expect, we face this cognitive dissonance. Do we accept this? What if it is a performance?