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Float Gallery

  • We show the work of artists working in the digital realm and support aesthetic and cultural practice in virtual environments.

By nature, we define ourselves as a global endeavour, resolving boarders and blending realities in the search of new forms of being, discourse and organization.

Float Gallery was founded and is run by artist Manuel Rossner.


  • To grasp today’s society by theoretical means as well, we work with Internet-TBD on defining the conditions of our contemporary connected lifestyle.

As we reap the fruit of technological progress we also witness its disruptive effects on society. A promising idea to shape a liveable future for everybody might be a universal basic income

Acute Art – as used by KAWS

Acute Art brings together renowned international artists, new media and technology to produce and exhibit compelling, cutting-edge visual artworks in Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR).

Works produced include those by Marina AbramovićNathalie Djurberg & Hans BergOlafur EliassonAntony GormleyAnish KapoorBjarne MelgaardJeff Koons, KAWS and more. The artworks are accessible through our creative collaborations with recent exhibitions taking place in Basel, London, Moscow, New York and Venice.

Discover AR artworks within the comfort of your own home by downloading the free Acute Art app available on the App Store and Google Play.

Acute Art is directed and curated by Daniel Birnbaum. He was most recently Director of Moderna Museet in Stockholm before joining Acute Art in January 2019. Previously, Birnbaum curated the 1st Moscow Biennale (2005), “Airs de Paris” (with Christine Macel) at the Centre Pompidou (2007) the 2nd Yokohama Triennial (2008), and “Zero” (with Tijs Visser) at Martin-Gropius-Bau in Berlin (2015). In 2009 he was director of the 53rd Venice Biennale.

Birnbaum co-authored ‘Spacing Philosophy: Lyotard and the Idea of the Exhibition’ with Swedish philosopher and professor Sven-Olov Wallenstein published by Sternberg Press in September 2019.

Virtual Reality & Augmented Reality Art Production


-Interest in accessibility

-Interested in accessible figurative imagery

-Saw the graffiti worked as quite niche, wanted to make work that spoke to more then just those in the graphite world – this is why he started branching our from tagging to creating characters.

-Looking for mechanisms to display his ideas

-Accepting partnerships/ collaborations with brands very early

-A question of what is real/fake, original/commissioned begins

-Commercial v “Fine Art”

-Took an opportunity to make toys – brought him into 3D and economic viability

-Not a fine art background

-Pop culture figure before a fine artist

-He doesn’t like being in one box

-Interested in working in new medium ect.

Excellences & Perfections  – Amalia Ulman

Making work online so as to comment on online culture.

  • She pretended to have a breast augmentation, posting images of herself in a hospital gown and with a bandaged chest, using a padded bra and Photoshop to manipulate her image. Other elements of the makeover were not feigned; she followed the Zao Dha Diet strictly, for example, and went to pole-dancing lessons often.
  • Through judicious use of sets, props, and locations, Excellences & Perfections evoked a consumerist fantasy lifestyle. Ulman’s Instagram account is a parade of carefully arranged flowers and expensive lingerie and highly groomed interiors and perfectly plated brunches. These images are excessive, but also believable—because they’re so familiar. For many privileged users, social media is a way of selling one’s lifestyle, of building one’s brand. And Ulman went to great lengths to replicate the narrative conventions of these privileged feeds, from her use of captions and hashtags (#simple, #cutegasm), to the pace and timing of uploads, to the discerning inclusion of “authentic” intimate or emotional content (a photo of a lover or a moment of despair).

 Making art online because they are interested in the technicality’s of the internet and computers.

  • “Jodi are thus stubbornly out of step with the dominant rhythms of contemporary art. Less obsessed with the cultural or social effects of new media, Jodi orient themselves toward the specificities of hardware and software. The resulting aesthetic is, in this way, not entirely specified by the artists’ subjective impulses. Instead, the texture of code and computation takes over, and computing itself—its strange logic, its grammar and structure, and often its shape and color—produces the aesthetic.”
  • “In the end, I suspect that Jodi are more interested in the web than Unicode, more interested in the structure of infinity than the classification of universality. The glyphs are adjunct here, a needed ingredient perhaps, but only necessary to facilitate animation and pattern. The true subject of the work is infrastructure—the cables and lines, the standards and protocols, all the industrial transfer technologies that reside in the space beyond the screen.”
  • “Where does the work reside? Two places. First, Jodi seem interested in isolating certain parts of the screen, even certain parts of the browser. The browser’s address bar, for instance, is treated here as a kind of miniature canvas for slow-motion animation. Like the structural films of Tony Conrad, Jodi create each animation frame by frame from discontinuous elements. A glyph becomes a single frame in a slow-motion film. When the glyphs combine in series, they give the illusion of movement. Like a form of primitive cinema, entire animations appear solely inside the address bar.
  • But the work resides in a second place as well. The projects in IDN are assembled not so much from discrete web pages as from the negative space existing between such pages. Jodi are interested in HTML, to be sure, but here they also display a penchant for the very standards and protocols of the web itself—how pages are assigned addresses and how servers transfer pages to clients. The “infrastructure” in this infrastructure poetry is thus the agglomeration of server software (Apache), addressing technologies (IDN and DNS), transfer protocols (HTTP), and finally, web browsers and the HTML they are designed to display.”


This seems to be a new service for people wanting to buy/ sell art.

I think the idea is it 3d scans artworks and helps curators/ art dealers curate the work in a digital gallery?

It seems to be not ready yet.

Could I do something similar with my work? or do i want to try and dimply it in a more abstract digital space?

initial research into 3d modeling/printing – Wikipedia

  • 3D scanningis the process of analysing a real-world object or environment to collect data on its shape and possibly its appearance (e.g. colour). The collected data can then be used to construct digital 3D models.
  • 3D scannercan be based on many different technologies, each with its own limitations, advantages and costs. Many limitations in the kind of objects that can be digitisedare still present. For example, optical technology may encounter many difficulties with shiny, reflective or transparent objects. For example, industrial computed tomography scanning and structured-light 3D scanners can be used to construct digital 3D models, without destructive testing.
  • Collected 3D data is useful for a wide variety of applications. These devices are used extensively by the entertainment industry in the production of movies and video games, including virtual reality. Other common applications of this technology include augmented reality,[1]motion capture,[2][3]gesture recognition,[4] robotic mapping,[5] industrial designorthotics and prosthetics,[6] reverse engineering and prototypingquality control/inspection and the digitization of cultural artifacts.[7]
  • 3D scanners are used to capture the 3D shape of a patient in orthoticsand dentistry. It gradually supplants tedious plaster cast. CAD/CAM software are then used to design and manufacture the orthosisprosthesisor dental implants.
  • Many Chairside dental CAD/CAM systems and Dental Laboratory CAD/CAM systems use 3D Scanner technologies to capture the 3D surface of a dental preparation (either in vivoor in vitro), in order to produce a restoration digitally using CAD software and ultimately produce the final restoration using a CAM technology (such as a CNC milling machine, or 3D printer). The chairside systems are designed to facilitate the 3D scanning of a preparation in vivoand produce the restoration (such as a Crown, Onlay, Inlay or Veneer).

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