Exhibition

Virtual Realities Exhibition

Oct 10, 2024, 10.00 AM @ Festival Center D'24

The Dokumentale exhibition will take you into a world where the boundaries between reality and fiction are blurred. In an era where technology is constantly redefining our perception of reality, games, multimedia projects, and virtual reality offer unique opportunities to immerse ourselves in worlds we might otherwise never enter. 

This exhibition is a journey through emotional landscapes that make us think and move us with an intensity that we rarely experience in everyday life. With two installations, eight VR projects, and an exhibition, we are showing how diverse and powerful the art of digital storytelling can be. Documentary accuracy and the creative freedom of fiction meet at eye level, merging into a new form of storytelling that appeals to not just the mind but also the heart. 

The exhibition is an invitation to expand your imagination and engage in a special experience that is both profound and evocative. For as we immerse ourselves in these virtual worlds, we discover new perspectives, but perhaps also unexpected facets of our own reality. At a time when the digital and physical worlds are increasingly intertwining, the exhibition reminds us how powerful and transformative immersing ourselves in other realities can be. It is an xperience that will reverberate long after you have left the exhibition. 

Tickets

Exhibition
Oct 10 –
20
Festival Center D'24

Media in this event

This virtual reality experience will take you into Maremoto’s world, showing how the young Mexican caricaturist works. With her art, Maremoto fights for equal rights, empowers other women, and criticizes patriarchal structures.
In Mexico, two sisters who are members of the Mazatec community celebrate the Day of the Dead. Together they remember the stories of their grandmother and take us to the breathtaking landscapes of the Oaxaca mountains, which are full of knowledge and culture.
Set designer Silvia Albarella guides us through her memories of growing up in Naples. She takes us on a poetic journey through the city as both a living space and a danger zone, asking: Who owns the city?

VX

Origen

Mythological beings guide you through the rainforest and the memories, teachings, and stories of the Shipibo people in this virtual reality experience. Emilia Sánchez Chiquetti allows nature itself to become the storyteller. A reflection on how we coexist with nature.
To mark the twentieth anniversary of the SARC building, opened by Karlheinz Stockhausen, this video installation offers a unique experience comprising archive material, performances, and compositions. Creativity and innovation merge in research, design, and art.
The second part of the trilogy takes us to the Monkey House, which was where women in the camps who were suspected of having sexually transmitted diseases were locked up. Its name came from the screams heard from the women imprisoned there, calling for their freedom.
The last part of the trilogy takes a trip to American Town. In 1969, a brothel was built specifically for the American soldiers stationed at the airbase in Kunsan, South Korea. Women were brought to the town from all over the country, and a small, independent, self-sufficient town was established.
Bloodless is the first part of the trilogy, with which Gina Kim addresses the events that took place in Dongducheon Camp in South Korea. Kim draws attention to the murder of Yoon Geum Yi, who was brutally killed by a US soldier at Dongducheon Camp in 1992.
In matriarchal societies, women are in charge. This has an impact on social, political, and economic life. The Matriarx will allow you to experience what such a world could look like. How will you see yourself in a world that works very differently?
Eight-year-old David invites you to immerse yourself in his vivid imagination and his grief. Those around him don’t seem to understand the grieving boy, who increasingly wonders where the boundaries between reality and fantasy lie.
Containing over nine hundred objects, Charlotte and Gustav von Klemperer owned the most extensive private collection of Meissen porcelain. When the Jewish family had to flee Germany in 1938, the National Socialists seized the collection. Most of it remains unaccounted for.
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