Screen City Biennial, Stavanger Norway

Virtual US/Mexico Border, augmented reality public art
Opening October 5th–8th, 2017, until October 31st.

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Curated by Tanya Toft and Daniela Arriado, Screen City Biennial is produced in partnership with the Stavanger Maritime Museum. The theme of the Biennial, Migrating Stories, reflects topics of migration and post-colonialism, new geographies and ecology, real and virtual voyages, storytelling and narratives traveling through time.

 

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John Craig Freeman, Portal to an Alternative Reality

Emerson Urban Arts, Media Art Gallery
Opening reception: Wednesday, September 20, 2017, 5:00-7:00 pm
Exhibit on view: September 21 – November 18, 2017
25 Avery Street, Boston, MA 02111
Gallery hours: Wednesday-Saturday 2:00-7:00 pm

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An installation of virtual reality and augmented reality projects by new media artist John Craig Freeman, Professor of Visual and Media Arts at Emerson College, Boston.

John Craig Freeman, Professor in the Department of Visual and Media Arts at Emerson College works in emergent digital media to create virtual and alternative reality installations that address social and political issues of currency. With his work, Freeman examines sites where the forces of globalization are impacting the lives of individuals. He seeks to expand the notion of public art by exploring how digital networked technology is transforming our sense of place. This exhibition features two of his recent subjects interpreted through three different projects: Chinatown Station with Service to Wuhan (2017); Virtual U.S./Mexico Border (2017); and Border Memorial: Frontera de los Muertos (2015).

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The Augmented Landscape

Produced by Boston Cyberarts, curated by George Fifield
Salem Maritime National Historic Site
May 27–November 30

The Augmented Landscape, an NEA funded augmented reality exhibit to be held by Boston Cyberarts at the Salem Maritime National Historic Site, including work by John Craig Freeman, Kristin Lucas, Will Pappenheimer and Tamiko Thiel, will open to the public on Saturday, May 27, and remain on view through November 30, 2017.

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Virtual Russia and Virtual China, geo-located augmented reality public art by John Craig Freeman, uses the historic Salem Custom House as a metaphoric portal, transporting users to two alternative realities created by the artist on location in the cities of Wuhan in Central China and Saint Petersburg Russia last year. The project is meant to evoke the history and contemporary manifestations of globalization, international trade and revolution.

To see the art, enable location on your smartphone or tablet. Then download and launch the free Layar app for Apple or Android. Pull down the upper left hand Menu , tap Geo Layers, then Search Layers and search for the two words: Salem Art.

Please see:

A question of attitude. Art, Museums and the Digital / The Arts +, Anika Meier, November 2, 2017.

Augmenting the landscape in Salem, Cate McQuaid, Boston Globe, July 27, 2017.

What’s New – Augmented Reality, Chronicle, WCVB, Jul 20, 2017.

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Everywhere but Nowhere

District Gallery

May 6, 2017 – May 20, 2017

Artist Reception: Sat May 6 @ 7pm
701 E 3rd Street | DTLA
Gallery Hours Wed – Sun 2pm to 7pm
After Hours Appointments email info [at] districtgallery.com

Everywhere but Nowhere, Featuring Augmented Reality Art by
John Craig Freeman, Zenka, Mike French, Lucas Kazanksy, Kevin Mack

Artists employ the techniques and technology of augmented and virtual reality to create interactive works that go beyond the walls of the gallery. The works help us to explore our physical and social environments with vivid, immersive experiences that explode traditional notions of how art is perceived.

Augmented Reality Art Vortex by John Craig Freeman

AR Vortex, acts as an access point where the public can immerse themselves in augmented reality experiences. Not long after its founding in Paris in 1957, the Situationist International developed the idea of the dérive, a kind of open passage walk, or drift. Participants were encouraged to ignore the normal traffic flows and circulations of planned urban developments and instead, moved through a city in a way that followed its moods. The goal was to track the cities emotions, the feeling and atmosphere of a place, to find what they called the plateau tourné, a vortex where forces come together to create strong atmosphere. The public art installation can be seen at the intersection of East 3rd Street, Traction Avenue and Rose Street and throughout DTLA. Viewing Instructions.

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Install the free Aurasma Augmented Reality App on your smartphone or tablet. Search JohnCraigFreeman and choose ‘Follow’

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Install the free Aurasma Augmented Reality App on your smartphone or tablet. Search JohnCraigFreeman and choose ‘Follow’

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AR Vortex #1 and #2, 60in x 33in archival inkjet print, 2017.

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Paseo Portal, Securing the Virtual Border

A virtual public artwork by John Craig Freeman San José, CA, April 7th–8th, 2017

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Produced for exhibition on behalf of ZERO1, in the Paseo de San Antonio Plaza in front of the Hammer Theatre Center in downtown San José, CA during the Paseo Public Prototyping Challenge, Paseo Portal, Securing the Virtual Border acts as an access point where the public can immerse themselves in virtual reality experiences documenting gentrification, the housing shortage, and working class flight in the Bay Area generally, and homelessness, displacement and migration globally.

Instructions: To view the augmented reality work on location in the Paseo de San Antonio Plaza in front of the Hammer Theatre Center in downtown San José, CA, with any late model iPhone, iPad or Android, Install the free Layar augmented reality browser app, http://layar.com and search Geo Layers for ‘Paseo Portal’ or scan this code.

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The dispossessed are all around us. Now, with the use of Silicon Valley’s most cutting edge virtual and augmented technology, anyone can see this new reality.

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Borders: Us and Them

From March 7th to May 30th, 2017, New York University Shanghai Art Gallery is proud to present “Borders: Us and Them,” an exhibition that probes the emergence and transformation of contemporary global borders, and their socio-political implications.

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In Border Memorial: Frontera de los Muertos (2016), American public artist John Craig Freeman boldly applies virtual reality (VR) and augmented reality (AR) technologies to a documentary video shot in Southern Arizona, early 2016. This results in a visual effect of life-sized, three dimensional geometric models of a skeleton effigy, or calaca, floating off into the sky on the US-Mexico border. Calcaca, an archaic Aztec imagery, is here invoked by the artist in commemoration to the thousands of migrant workers who have died along the U.S./Mexico border since the 1990s, in the attempt to cross the desert southwest in search of work and a better life. Freeman resurrects their souls, allowing them to float freely above this border in the virtual, public site. A memorial to those passed, his work also amounts to a vehement critique of American values on the other side of the border, built upon an economy sustained by these very migrant workers.

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Moving Image New York

Moving Image New York
February 27 – March 2, 2017

Hours
Opening reception: Monday, February 27, 2017: 6-8pm
Monday, February 27 – Wednesday March 1, 2017: 11am – 8pm
Thursday, March 2, 2017: 11am – 4pm

Waterfront New York Tunnel
269 11th Avenue, New York, NY 10001
Between 27th and 28th Streets

Virtual Saint Petersburg, John Craig Freeman, geo-located augmented public art produced on location in Saint Petersburg, Russia and relocated virtually in New York City for Moving Image New York, 2017. Video by Xueyi Yang, 2017.

Instructions: To view the work on location at Moving Image, Waterfront New York Tunnel, 269 11th Avenue, Between 27th and 28th Streets in New York City, with any late model iPhone, iPad or Android, Install the free Layar Augmented Reality Browser, http://layar.com and scan this code.

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