Architecture News

The LAS Art Foundation (formerly Light Art Space), based in Berlin, is a pioneering organization dedicated to creating art at the forefront of technological innovation. Known for transforming iconic venues like Halle am Berghain and Kraftwerk into mesmerizing artistic spaces, LAS challenges traditional gallery formats. Their exhibitions are characterized by monumental soundscapes, dynamic light installations, and moving digital imagery, offering an immersive experience that transcends the conventional 'white cube' setting. LAS CEO and co-founder Bettina Kames recently discussed the foundation's vision, highlighting their collaborations with artists such as Refik Anadol and their unique integration of new media, artificial intelligence, and quantum computing into artistic practice.

LAS Art Foundation: A Nomad's Quest for Future Art

In a discussion with designboom, Bettina Kames shed light on the foundation’s journey and its future-forward philosophy. Since its inception in 2016, LAS has embraced a nomadic identity, moving beyond its Berlin roots to present compelling works in diverse locations, including Venice, a city synonymous with contemporary art biennales. Recent installations feature artists like Josèfa Ntjam and Natasha Tontey, alongside an online residency supporting talents such as Xin Liu and Eunjo Lee. Kames emphasized that regardless of physical or virtual presence, a LAS exhibition is instantly recognizable for its bold use of advanced technologies. Reflecting on the foundation's origins, Kames recalled asking with co-founder Jan Fischer, 'why another art foundation?' The answer solidified their mission: to be an art foundation focused on the future, deeply rooted in the intersection of art, technology, and scientific breakthroughs. A prime example is Laure Prouvost’s forthcoming 2025 exhibition, “WE FELT A STAR DYING,” which delves into the complexities of quantum computing through a multisensory journey. To ensure broad understanding, LAS provides accessible explanations of quantum concepts, bridging the gap for non-technical audiences.

Kames views this educational approach as crucial for demystifying rapidly evolving technologies like AI, which can often seem daunting. By presenting these subjects through art, LAS creates 'door openers' for society to engage with and understand complex ideas. Furthermore, accessibility extends to the exhibition experience itself. LAS offers guided tours and engages high school students, and even adapts sensory-rich shows with muted lights and sounds for those with specific needs. The choice of venue plays a significant role in breaking down barriers; utilizing spaces like Berghain and Kraftwerk, which lack the intimidating aura of traditional museums, encourages a wider and more diverse audience to explore art. This innovative approach also pushes both artists and audiences to reconsider the very definition of 'art.'

Kames noted that while LAS shows, such as those by Anadol or Cheng, might resemble a vibrant nightclub experience, their engaging nature does not diminish their artistic depth or theoretical rigor. She stressed that LAS maintains the highest curatorial standards, showcasing leading contemporary artists. The sensory richness extends beyond flashy LED screens, incorporating elements like scent and sculpture, proving that digital content can be part of a broader, multi-sensory artistic vocabulary.

At its core, LAS is a hub for technological collaboration. Kames highlighted the quantum sensing program, a joint effort with Google AI quantum’s lead scientist for Laure Prouvost’s exhibition. This collaboration led to the development of a novel quantum AI diffusion model for moving images, demonstrating LAS’s commitment to pushing creative boundaries. Amidst ongoing debates surrounding AI in art, Kames positions LAS as a neutral platform for discourse, experimentation, and constructive debate. By fostering an environment that counteracts polarization, LAS continues to contribute to conversations about technology and its impact on culture, building on past explorations, such as Refik Anadol’s 2019 exhibition “Latent Being,” which grappled with machine learning—a technology now central to contemporary discussions.

The LAS Art Foundation stands as a beacon of innovation in the art world, fearlessly embracing the future by integrating advanced technologies like AI and quantum computing into its exhibitions. By transforming unconventional spaces and prioritizing accessibility, LAS not only presents groundbreaking works but also fosters a critical dialogue about the intersection of art, science, and society. Their commitment to making complex technological concepts approachable through immersive, multi-sensory experiences sets a new standard for engaging diverse audiences and redefining the boundaries of artistic expression.

Fabio Cherstich, a theater director based in Milan, transcends conventional definitions of his profession, engaging with a dynamic spectrum of artistic expressions. His productions often feature innovative elements such as projected imagery dominating stage backdrops and large-scale spectacles that animate public spaces, as seen in his work for Louis Vuitton's Classic Run. In an insightful conversation held in his Milan studio, Cherstich delves into the intricacies of integrating art both on and off stage, his distinctive collection of Alessi moka pots, and the personal challenges he faces in consolidating his diverse portfolio into a singular online presence.

Cherstich's extensive work, which effortlessly bridges the realms of painting, cinema, and live performance, strains the confines of a simple 'theater director' label. He candidly shares his struggle with self-definition, a topic deeply explored in his personal reflections. He acknowledges that while he functions as a director, this role only partially encapsulates his identity. This internal debate underscores his fluid approach to creativity, which embraces opera, contemporary art, and literature, extending into what he describes as 'territories not always easy to name.'

Cherstich profoundly believes in the vital role of live performance in an increasingly digital world, emphasizing the shared responsibility between performers and the audience. He views theater as a powerful antidote to the flatness of digital media, offering an authentic, embodied experience that demands active engagement and a personal viewpoint from spectators. This philosophy is evident in groundbreaking projects like Operacamion, which transformed urban streets into stages, and his curatorial work for The Estate of Larry Stanton, reflecting his deep interest in diverse art scenes and narratives. Through his continuous exploration of new artistic frontiers, Cherstich exemplifies an artist who not only challenges established norms but also fosters a more immersive and meaningful connection between art and its observers.

Fabio Cherstich's artistic journey is a testament to the power of boundless creativity and the courage to redefine professional identities. His dedication to interactive and expansive forms of art encourages a deeper appreciation for live experiences and challenges us to look beyond conventional boundaries, enriching our collective cultural landscape.