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    Immersive Art in the Heights

    New art venue lights up the Heights with immersive technology

    Tarra Gaines
    Jun 26, 2024 | 10:30 am

    When art and technology meet, they’ll find a dazzling new find a home at Artechouse, the 26,000-square-foot exhibition space that just landed in Houston. The name gives many clues to the concept that's both a production studio that brings art and technology together to create digital experimental exhibitions and a high tech venue to show these groundbreaking artworks that simply can’t be hung on a traditional gallery wall.

    During a preview of the space, co-founder and chief creative officer Sandro Kereselidze tell CultureMap he believes one of the latest and perhaps greatest tools for the 21st century artist is technology. While this Houston Artechouse isn’t the first of its kind — it joins the Washington D.C, New York City and Miami venues — it is the biggest, according to Kereselidze and can support multiple exhibitions at the same time.

    For their inaugural presentation, Artechouse unveils three distinct exhibitions into one show they're calling "Time and Space," as each one explores in its own unique way one of the most integral inspirations of artists throughout time, light.

    Kereselidze explains that when we view the exhibitions together, they do tell a story.

    “The story is of our relationship with light. Sometimes we don’t appreciate the light, but without light, life doesn’t exist. We would not be able to survive,” he says.

    Intangible Forms by Shohei Fujimoto

    Photo by Tarra Gaines

    "Intangible Forms" by Shohei Fujimoto is one of the inaugural exhibitions at Artechouse Houston.

    And while in the past artists took up paintbrushes to try to capture light, contemporary artists can use images of galactic nurseries nurturing new born stars or even a programmed array of lasers to explore the many dimensions of light.

    “It’s exciting when we’re using the latest technology to tell that story,” Kereselidze says.

    Once entering the exhibition space, the first immersive art piece visitors will encounter is “Eternal Life.” Designed by Artechouse Studio, the installation was originally commissioned by the Nobel Prize Museum in Stockholm and makes its U.S debut in Houston. Inspired by T.S. Eliot’s Four Quartets and touching on Nobel Prize winning discoveries from gene-editing technology to the physics of cosmic orbits, the audio-visual work screened on a large, circular, overhead canvas draws viewers into an abstract realm that feels like it holds the patterns of creation.

    The second and largest of the exhibitions is “Beyond the Light,” another Artechouse Studio creation that was made in collaboration with NASA. Here, the designers and artists translate real NASA data and technology into multimedia exhibits and installations. For example, 20 years of data on global chlorophyll concentration (a.k.a the stuff of plant photosynthesis) becomes OLED screens of swirling leaf-like patterns. Nearby in the same gallery, a dynamic hanging LED light sculpture represents the balance between light and gravity in the cosmos.

    The centerpiece of “Beyond the Light" is an immersive cinematic room of the same name that takes travelers on a journey through space-time, beginning with the latest images from the James Webb Space and Hubble Space Telescopes and diving into the vastness of human imagination.

    The third exhibition, “Intangible Forms” is a survey of work from award-winning Japanese multimedia artist Shohei Fujimoto. Using choreographed lasers, strobes and moving lights, Fujimoto seems to have discovered ways to sculpt light itself into tangible shapes and objects. Fujimoto’s artworks play with our understanding of solid matter, light, the real and illusionary.

    Kereselidze describes“Intangible Forms” as a kind of performance of lasers. “It’s a beautiful experience of seeing how an artist uses light to create these types of forms. The intangible becomes tangible in a sense.”

    While all three exhibitions use the latest tools in sensory and especially visually technology to create kinetic art pieces and sometimes even installations filled with wild motion, they also paradoxically invite viewers to slow down and contemplate. The floor of the “Eternal Life” space is littered with comfortable beanbag chairs to hold the body as the video takes the mind on a journey. Visitors are also encouraged to sit on the floor or on a viewing platform to watch the 26 minutes immersive “Beyond the Light” cinematic piece. And the large room housing Fujimoto’s monumental laser installation “Intangible #Array,” provides long benches for us to sit and experience the work almost as a meditation on light and darkness.

    While Kereselidze wasn’t prepared to give a timeframe on how long the three exhibitions will be in place, he explains that Artechouse Houston will host many shows in this new Houston home.

    “Artechouse is a space where we dynamically change exhibits all the time,” he asserts and adds that they already have many plans for future shows to bring to Houston.

    “As we speak we’re creating another 12 exhibits that we’re going to bring here. That’s what makes me excited that now we have another home to bring these exhibits to the public. When we create them, it’s sad when it’s not seen. This something like a print or a painting that be hung just on a wall. It has to be put together as a show.”

    And as these shows go on they will continue to take art into a technological future.

    “It’s a new medium. That’s what Artechouse is. We try to inspire the next generation. We try to empower the artists and educate the public.”

    ----

    Artechouse is located in the Heights at 600 W. 6th Street. For tickets and more information, visit the Artechouse website.

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    let's dance

    Houston Ballet leaps into 2026-2027 with world premieres and Swan Lake

    Tarra Gaines
    Feb 17, 2026 | 10:30 am
    Artists of Houston Ballet in Stanton Welch’s Swan Lake
    Photo by Lawrence Elizabeth Knox
    Artists of Houston Ballet in Stanton Welch’s Swan Lake.

    Announcing its 2026-2027 season, Houston Ballet leaps into an immersive wonderland with the world premiere ballet Where’s Alice? from co-artistic director Stanton Welch. This is just one of many dance adventures set for a season filled with spectacular story ballets, cutting edge contemporary dances, and world premieres.

    “This season reflects the full breadth of what Houston Ballet is — and where we’re going,” Houston Ballet co-artistic director Julie Kent said in a statement. “We are honoring the great choreographic voices that have shaped our art form, from Balanchine and MacMillan to Lubovitch and Peck, while simultaneously opening the door to new creative possibilities through world premieres and bold collaborations.”

    The season begins September 11 through 20 with a classic Texas twang for Pecos Bill, the title production of an eclectic mixed repertory program. Stanton Welch’s fun and rollicking dance follows the adventures of the folklore cowboy, Pecos Bill. The program also showcases a work from 20th century dance master, George Balanchine, with the elegant and dynamic Symphonie Concertante. And for the first time, the company will perform celebrated choreographer Lar Lubovitch’s Meadow, a piece Julie Kent herself once danced when it first debuted.

    Sir Kenneth MacMillan’s Manon returns September 24 through October 4. First performed by the company in 1994, the doomed love story between irresistibly beautiful femme fatale, Manon, and impoverished student, Des Grieux, has had audiences swooning for decades.

    Of course, it wouldn’t be a Houston Ballet season without the annual Margaret Alkek Williams Jubilee of Dance. And then closing out 2026, the company gifts Houston with Welch’s delightful and delectable Nutcracker Ballet.

    The new year premieres Where's Alice? , Welch’s brand new work will be a re-envisioning of Lewis Carroll’s Alice in Wonderland, February 25 through March 7. Describing it as one of the most ambitious undertakings in HB’s recent history, the company plans for Alice to become a fully immersive theater experience that incorporates cutting-edge audio and visual effects that will take audience down the rabbit hole into a living, breathing, wondrous world.

    Keeping with what looks to be the 26-27 season’s theme of blockbuster ballets from Welch, the company floats into spring, March 11 through 21, with the classic story of Madam Butterfly, a dramatic exploration of love, sacrifice, and cultural collision danced to Puccini’s heartbreaking score.

    Beginning May 27 through June 6, HB offers the second mixed repertory program of the season, The Rite of Spring, and with it another world premiere. First, the company brings back the hypnotic, contemporary ballet, Reflections, a piece it originally debuted by the dance world’s reigning rock star, Justin Peck. Company member and up-and-coming choreographer Jacquelyn Long will create a new ballet for the program. Another highlight of the evening and the title work, Welch’s The Rite of Spring, offers a a visceral and elemental reimagining of dance for Stravinsky’s score that shocked the music world when it first debuted.

    Artists of Houston Ballet in Stanton Welch\u2019s Swan Lake

    Photo by Lawrence Elizabeth Knox

    Artists of Houston Ballet in Stanton Welch’s Swan Lake.

    The season ends June 10 through 27 with one of ballet’s most beloved stories, Swan Lake. Stanton Welch’s celebrated production was first staged by the company in 2006 and has gone on to become an audience favorite. Inspired by Pre-Raphaelite painter John William Waterhouse’s painting “The Lady of Shalott,” the production features lavish sets and costumes.

    Reflecting on the whole season and his Alice in particular, Welch echo’s Kent’s belief that the programming offers a vision that connects the company’s history, present, and future.

    “Where’s Alice? is an example of that vision – a production that pushes the boundaries of ballet through immersive sets and thought-provoking storytelling that makes you question, 'Who in the world am I?' as Alice did, creating an entirely new world audiences can step into,” Welch said. “It’s work like this that allows us to welcome new audiences into the theater while continuing to challenge and inspire our longtime supporters.”

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