The Interactive Art Magazine
Installations, projection mapping, immersive experiences, and the exhibitions turning space into a canvas.
The 16th Gwangju Biennale, September 5 – November 15, 2026, is led by artistic director Ho Tzu Nyen with curators Che Kyongfa, Park Gahee and Brian Kuan Wood. Titled 'You must change your life' after Rilke's Archaic Torso of Apollo, it presents 43 artists and groups — the smallest number in the biennale's history.
Eating Back, a new project by Slovenian artist Špela Petrič at Cukrarna in Ljubljana (September 10 – November 29, 2026, curated by Alenka Trebušak), explores the automation of care and its social and ecological implications through tactical and poetic gestures performed in Dutch greenhouses.
Taryn Simon | Father Country I Do Love You opens at the Solomon R. Guggenheim Museum on September 18, running through March 14, 2027. Curated by Nat Trotman, it fills the entire rotunda with 42 multipart works tracing the real life of one unnamed federal agent, and is the largest debut of new work the museum has staged.
Gaston Welisch's House of IFs uses an LLM agent pipeline, semantic embeddings and news APIs to generate daily omens in the form of Mesopotamian IF/THEN divination, displayed on the web and through an e-paper device with haptic feedback. Each omen includes a namburbi — a counter-ritual — arguing that predicted futures remain contestable.
ARTECHOUSE Houston premieres Twilight Zone: Hidden Wonders of the Ocean on September 19, made by ARTECHOUSE Studio with Woods Hole Oceanographic Institution. The 90-minute visit includes a 24-minute immersive film, seven interactive installations and six XR activations, with an original score by Mehmet Ünal of Tilde Sound Art.
Uncanny Alley: A New Day, a live immersive theatre piece staged inside VRChat by Ferryman Collective and Cape Town's Virtual Worlds Company, won the Emmy for Outstanding Emerging Media Program, beating Blumhouse Enhanced Cinema and The World of Fallout.
The inaugural Shenzhen Art and Technology Biennale opened at the Shenzhen International Museum of Art under the title 'A Glimpse of the Infinite,' running through April 30, 2027. Co-curated by Naiyi Wang and Mónica Bello — formerly of CERN's Arts programme — it puts Semiconductor, Libby Heaney, Christa Sommerer and Laurent Mignonneau, and Qiu Zhijie alongside Victor Vasarely.
Dave Blair's 'The Light Herder' generates real-time fractals from pure analog video feedback — no computer graphics involved — using cameras, monitors, and beam-splitter glass housed in mahogany enclosures with hand-cranked controls, now in its fourth major hardware revision after starting as a 2003 CRT prototype.
Onassis ONX's new Relay initiative bundles commissioning, production support, and international presentation into a single pipeline for artists working with emerging technology — launching with new large-scale works from Trevor Paglen, Maya Man, and Ben Frost.
Ground Truth doesn't chart housing inequality — it makes you pedal through it. Brooklyn artist Justin Blinder's bike-mounted device reads hyperlocal Census rent-burden data via GPS and applies real brake resistance block by block, turning an abstract statistic into something felt in the legs.
Moving Cloud is a working weather station that refuses to just display numbers — Spanish studio Rotor Studio built it to translate live environmental data into a continuous perceptual, audiovisual experience instead.
'After Tone' turns fifty-six exposed speakers into a physical Möbius loop, sending a single ultra-short tone circulating endlessly through the shape — a small, deliberately unglamorous piece of hardware used to make an argument about looped, non-linear time.
The Frist's next big show doesn't pick a side on whether technology helps or threatens the living world. It stages 16 artists arguing about it at once.
Esrawe + Cadena's touring installation has one simple rule: the house lights up brighter the moment you're inside it, turning a public park into a string of small, glowing invitations.
No single sculpture or screen is the point. Ten VCUarts Qatar research labs built a sequence of spaces meant to make proximity, ambiguity, and movement themselves perceptible — running in Venice through November.
Seventeen years in, Singapore's biggest night-art festival isn't just adding more lights — it's adding an entire new zone anchored on its museums, with a facade-scale projection mapping piece as the centerpiece.
No chat, no voice, no text. In Triantafyllidis's world you get somewhere by physically merging with strangers into towers, wheels, and spiders. The sculpture at Regent's Park in October is the way in.
The guitars are tuned, amplified, and waiting. The performers are finches, and they take no direction. It's the twenty-sixth version of a piece that has never once played the same way.
Public art usually asks you to look. 'Horizon' asks you to sit down and rock — six glowing domes in downtown Houston that turn a gentle motion into a personal wash of light and sound. And it's free.
Projection mapping usually lives in big-city arts districts. Asbury Park's free Color & Light Festival brings international mapping crews to the boardwalk, making a century-old Convention Hall appear to come alive.
teamLab's Light Sculpture room turns hundreds of swiveling beams into moving 3D form. Its new July reopening adds a mind-bending twist: sculptures that exist only in the mirror, or only in the room — never in both at once.
For decades Tony Oursler has made light talk — projecting faces onto lumps, dummies, and smoke until they mutter back. His new Tokyo Node show gathers that lifetime of uncanny video-sculpture into one immersive space.
United Visual Artists build cathedrals out of light. Their new installation suspends arrays of light and sound in space and choreographs them into an architecture you move through — a study in perception rendered at monumental scale.
Rafael Lozano-Hemmer has spent decades making art that doesn't exist until you participate in it. His new installation captures your heartbeat and voice and adds them to thousands of others — a portrait of a crowd made from its own bodies.
You can't see the fungal network wiring a forest together, trading nutrients and signals between trees. Marshmallow Laser Feast built a room where you can — walk through the underground internet of a forest, rendered in light and sound.
What if the view from your seat wasn't window glass but an AI-driven landscape that blooms and shifts as you pass through Japan? TeamLab's Shinkansen Kyoto turns your commute into an endless gallery.
Most 3D-printed art is finished the moment the print head stops. EARTHSEED DOME is designed to keep changing after fabrication ends, because the material itself is alive.
One is a university museum show with a five-month run. The other is a 6,500-square-meter building built around the work permanently. Different scales, same underlying practice.
The world's biggest media art festival is restructuring itself around the city instead of around a building — and a very different kind of public projection show is already running year-round in Chicago.