expanding realities: andrés reisinger

ever so often comes an artist that challenges the art world’s rigid boundaries. andrés reisinger, a multi-hyphenated conceptual digital artist and designer, has captivated a plethora of international galleries with his whimsical designs that consistently blur the lines of reality, vacillating between the conceptual and the physical in a most effective manner. whether collaborating on art projects with multinational brands, selling nfts for over half a million dollars or translating digital art into tangible designs for venues worldwide, reisinger is an artist intending on enhancing reality through art by all means necessary.

from virtual reality to augmented reality and everything in between, the concept of reality and truth is constantly being subjectivized with every technological advancement. what is reality for you?

“reality” is one of those terms that we are so attached to and at the same time so conditioned by. yet again, it is a word we have created that in some sense torments our existence: “what is real?”, “what isn’t real?”, “is social media fake?”, “are our relationships fake or real?”. in my opinion, reality encompasses everything we intimately and collectively perceive and experience, making it impossible to confine to a single definition. everything, and nothing, is real.

in 2023 you released a book entitled unclassifiable. was it challenging to feature your world-blending art in such a traditional format? 

i found it to be one of the most gratifying and enriching experiences of my career. it was a collaborative endeavor that brought together talents from various fields—graphic design, philosophy, writing—reflecting the entirety of my journey. in a way, it bestowed tangible shape and logic upon something i had been living, sometimes without even realizing it. it helped me to comprehend and find meaning in it all.

what is the biggest misconception about digital art? 

that it is not a human artistic expression, nor representative of human talent. i believe it is crucial to remember that the digital realm, while remarkable in its capabilities, is ultimately a creation of human ingenuity. it's not an autonomous entity, but rather a tool crafted by our hands. like a painter uses their brush to create art, we shape and mold the digital landscape. our creations in this realm are not merely outputs of automation, but reflections of our creativity, and as such, it is deeply human. 

art traditionalists are quick to label technological advancements in the art world, such as nfts, as fleeting trends. are nfts dead or the beginning of a new era? 

the digital realm has introduced a new era of temporal dynamics, characterized by speed and transience. while it may seem that everything within this space is ephemeral, not all outputs are destined for short-lived existence. despite the rapid pace of change and application, the impact of digital tools is undeniable and imperative, making it impossible to overlook their significance. these profound shifts require time for adaptation, often leading us to prematurely label them as failures when, in reality, they are still evolving.

many artists push back against technology. they see ai, for example, as a threat to their craft. where do you stand?

i perceive the digital realm as an augmentation of human creativity. a tool that expands our creative potential beyond what we could have imagined. in my career, it has been instrumental in unleashing expressions of creativity that have often transcended my own understanding. in this world of limitless development possibilities, the invitation to create knows no bounds, and surprisingly, this freedom has also led to breakthroughs in physical production processes that i once deemed unfeasible. this is the case of my hortensia chair. a creation initially conceived as a digital artwork. however, as demand grew for its physical manifestation, julia esque and i embarked on the seemingly impossible task of bringing it to life. despite our initial doubts, we discovered that the impossible was indeed achievable.

in your opinion, what is art’s biggest threat?

self-imposed limits and pre-conceptions, often determined by language. 

many reputable museums from around the world have exhibited your work. as augmented reality is becoming more accessible to consumers, will physical exhibitions become a thing of the past? 

humans crave the tangible, as they should. one of our biggest problems is in thinking that the world is determined by alternatives. we either live in the digital or the physical. if augmented reality becomes more widely accepted, then we won’t go to museums. I believe humans to be far more complex than that. we are not black and white. we are an infinite hue of grays and our experiences will always reflect that

"one of our biggest problems is in thinking that the world is determined by alternatives. we either live in the digital or the physical. if augmented reality becomes more widely accepted, then we won’t go to museums. I believe humans to be far more complex than that. we are not black and white. we are an infinite hue of grays and our experiences will always reflect that."

your series take over, a collection of visuals featuring real settings augmented with digital adornments, has enchanted people from around the world. have you ever considered recreating your visuals in real life? 

take over initially started as a digital art project that turned into physical installations. tangible public installations have appeared in miami, during the art week in december 2023, in jeddah’s al-balad festival, and in madrid during arco in 2024. it is funny, neither with take over nor the hortensia had i set myself the goal of making them physical when i first created them. i guess it was predestined that in my career i would work in that liminal space that exists between the digital and the physical. there exists a conversation, there exists a meeting point. at the end of the day, my work is focused on experiences, whether they are in the physical or digital realms. understanding their differences, similarities and points of contact and friction is fascinating to me. 

why is pink so powerful?

because all human beings are pink inside. our organs are pink. it is in this sense universal, and at the same time intimate. pink is soothing. it is comforting, it is ours.

big brands, ranging from the motor to the fashion industry, have commissioned your work. is your process different when dealing with the corporate world? 

i always choose partners that have profound respect for my practice and understand my creative being. from the get go, the collaboration is based on this and on engaging me as an artist and as an intrinsically free creative character. it is a matter of collaborating with brands that align with your values and your thoughts, and within that i have been tremendously happy with the results we achieved. 

remain true to your vision and accept its changes, while concurrently being very aware of the present and listening to its movement. i think it’s a blend of authenticity and relevance. the most interesting and compelling visions are the ones that communicate a genuine thought. 

what’s next for andrés reisinger?

milan design week with the collectible design gallery nilufar. i am exhibiting a large showcase called 12 chairs for meditation that i co-curated with nilufar’s founder nina yashar. i will then be at the vitra design museum, where i am curating the permanent collection, as well as at the denver art museum. the first quarter of 2024 has already been so filled and i expect the rest of it to be just as intense. 

interview by ralph arida