The Bardo: Unpacking the Real is an exhibition that quantifies the ephemeral as it relates to the liminal landscape of sculptural art in the digital age. The exhibition examines the real and (un)real in digital sculpture; questions what it means to view and collect digital sculptures; and investigates the role of NFTs in the creation of the featured artists' work. Named after an afterlife concept in the The Tibetan Book of the Dead, The Bardo explores the possibilities of what sculpture can be, and how it can be viewed. The exhibition takes the idea of a sculpture to the next level by reinventing how sculpture can be seen and collected, and featuring different innovations around the notion of ownership. The Bardo: Unpacking the Real exemplifies the creativity, enthusiasm, and energy (both human and electromagnetic) that reflects this historic time in art history. Julie Walsh

Feral File  The Bardo: Unpacking the Real

What happens to the human body when it is digitized and transmitted into other spaces? That is the question Sophie Kahn has been asking for years, as she's experimented with scanning bodies in order to create 3D printed sculpture. In particular, Kahn has been fascinated by what the 3D scanner leaves out in the process of recording a model's body. Kahn intentionally misuses a 3D laser scanner to generate fragmented forms. &ldquo;Spectrality (from The Divers, IX)&rdquo; grapples with the concept of virtual sculpture, and takes inspiration from Victorian spirit photography. With its mixture of eeriness and obvious simulation, the piece takes the form of a digital ghost. In a browser, the artwork can be viewed in 360 degrees; it can also be viewed in augmented reality within the viewer's own space. Either way, it is best seen in a dark room, at night, when it glows softly. Her figures are suspended in a sort of digital purgatory, caught between life (the physical world) and death (the internet).