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Galerie Sturm is a gallery for contemporary art with a focus on painting and digital art. It was founded in Nuremberg in 2008.
Its international orientation is reflected both in the selection of artists and in its participation in international art fairs. Now in its tenth year, Galerie Sturm is now making use of the fascinating possibilities of virtual reality to overcome all previous physical, geographical, and temporal boundaries.
Tobias Buckel and Gloria Zein
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For its first exhibition within the perimeters of Virtual Reality, Galerie Sturm brings together a collaborative presentation by Gloria Zein (sculpture) and Tobias Buckel (painting). Both artists probe layers and the simultaneous nature of virtual existence. They are interested in how different spatial experiences overlap.
Virtual reality enhances our visual awareness although we loose the physical image of our body. As we leave our physical being – with its tactile and sensory perceptions – behind in corporeal reality, our bodily sensations are intensified, akin to a phantom-limb.
For this Virtual Reality exhibition project, Gloria Zein’s sculptures (originally made of fired and partly glazed stoneware) have their dimensions and weights modified. Significantly enlarged, the forms become visually more plastic in the virtual space. Their surface is coarse and shows traces of the artist’s hand. The volumes are compact and the forms’ interiors only allow a glance from specific angles. One sculpture, hovering at eye-level in the simulated exhibition space, becomes a vehicle into another virtual layer. When stepping into the sculpture, the visitor is transported to a different state of the gallery. Here, a new form takes up the entire space, pushing the visitor towards the limits of virtual reality. This set up experiments with the experience of vulnerability within an intrinsically disembodied environment.
Tobias Buckel’s paper works (in real-time’s actuality) emerge from his sketching practice. They have a sense of ‘wandering around’, noting thoughts, constructions and forms. When his different motifs or ideas overlap and merge, new possibilities for images arise. These new images veer away variably from the initial subject matter, oscillating between representational spaces and formal compositions. The feigned places opening up in Tobias Buckel’s work extend into the simulated gallery space. Small-scale drawings are used to create an expansive floor piece from which linear elements stretch into the virtual space. Within this structure the paper works are equally presented floating, allowing the spectator to approach both their front, reverse and side angles.
Marc Spiegler, Director Art Basel:
“I definitely do think VR has a future.”
(Interview with Andrew Goldstein, March 19, 2018 on artnet.com)
Presenting art in Virtual Reality
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