The exhibition took a closer look at the European particle physics laboratory CERN, covering its history, daily activities and the ambitious goals of the global research project.
At the Ars Electronica Center’s VRLab, it was possible to immerse yourself in virtual worlds and superimpose data on our reality.
In 2006, the Ars Electronica Futurelab collaborated with media artist Klaus Obermaier on a unique production of Igor Stravinsky’s Le Sacre du Printemps.
From September 2 to 11, 2010, the Ars Electronica Festival “REPAIR – Ready to pull the lifeline” took place on the grounds of the former tobacco factory in Linz
The exhibition “Creative Robotics” traced how industrial robots, outside their original use, became a medium of artistic and creative expression and a catalyst for the implementation of innovative ideas.
The exhibition “The World in 100 Years” paid tribute to great thinkers and activists who were ahead of their time and worked for a vision of the future.
In 2017, Ars Electronica Solutions was engaged by ARTDELUXE Kunst- und Kulturmanagement to stage the new foyer at Vienna’s Giant Ferris Wheel.
The exhibition “Spaceship Earth” dealt with the question of what we can learn about our planet by observing it.
“From Austria to the World” – under this motto, the Austrian Star Alliance Terminal Check-in 3 at Vienna Airport featured five unique gigapixel images of New York City in 2013.
Innocence was a 2013 work by the Ars Electronica Futurelab dedicated to Linz’s childhood memories of the Passage shopping center.
Deep Space EVOLUTION marks the start of Ars Electronica’s next chapter when it comes to immersive visual worlds. But how did the story of the giant projection room in the Ars Electronica Center begin?
An oversized computer keyboard as a climbing wall on the facade of the Linz Art University. That was the teleclimbing garden.
During the Ars Electronica Festival in 1996, the indoor pool of the Parkbad Linz transformed into a fluid interactive 3D space.
The exhibition Mirages & miracles at the Ars Electronica Center staged augmented reality in a virtuoso and imaginative way.
GeoPulse opened up an interactive experience space for visitors of the Ars Electronica Center that compiled multi-layered data about our world and made it possible to experience it in a playful way.
In 2004, the Ars Electronica Futurelab designed an interactive computer-controlled visualization for the opera “Das Rheingold” by Richard Wagner.
In a glass pyramid, 30 meters above the Danube, Isao Tomita enchanted the visitors of the Klangwolke 1984.
Robert Moog is considered a pioneer of the synthesizer. In the 80s, the American inventor honored us twice in Linz.
Spaxels are autonomous drones that can be moved freely in space to form dynamic, three-dimensional figures in the night sky.
City Puzzle by the Ars Electronica Futurelab was an interactive simulation environment that let you create virtual urban landscapes.
In 1990 the time was ripe to take the next evolutionary step in the development of Prix Ars Electronica by adding a new category for “Interactive Art”.
The Morphovision image processing system worked with real objects and opened up new possibilities for plastic design.
Paro, an assistant robot with the appearance of a seal, was a visitor magnet at the Ars Electronica Center for years.
Gulliver’s World, the further development of Gulliver’s Box, was a multi-user mixed reality system developed by the Ars Electronica Futurelab.
In Gulliver’s Box, the process of creative design, display and perception were brought together in a single environment.
On the occasion of its 25th anniversary in 2004, the time seemed ripe for Ars Electronica to finally go global.
The new Ars Electronica Center in 2009 had not only gained more exhibition space and urban visibility, but had also used the opportunity to completely reinvent itself.
In 1980, electronic music pioneer Klaus Schulze opened the Ars Electronica Festival with a concert of live recorded sounds from the Linz steelworks voestalpine.