Hanna Haaslahti

Captured is a participatory installation that captures your likeness to release it as an autonomous avatar into a virtual crowd. You become an actor and spectator in a scenario where individual freedom is taken over by collective instincts. The doubles are avatars in a simulation depicting an unsettling cyclical performance of ritualized social humiliation, each becoming a character in one of the groups making up the bullying triangle: the Bully, the Target or the Bystander. How does the behaviour of the virtual collective affect the relationships in the audience in the real world?


Visitor type


Director Hanna Haaslahti
Animation Mike Robbins
Creative Technologist Alap Parikh
Facial Scanning Tyler Henry
Music Jamie Perera
Produced by Fantomatico Oy and High Road Stories
Distributed by Diversion Cinema

Mentor Anouk van Dijk

Joan Soler-Adillon, Uwe Brunner,
Bettina Katja Lange

Our houses are as much anthologies of stories and precious memories, as they are places of rest and comfort. Since these unprecedented weeks of isolation and home quarantine, our domestic spaces have been given high priority; they became indispensable places of safe refuge that we could hardly leave. Either alone or with those with whom we live, we engaged into new spatial relationships. We dedicated ourselves to new routines, needs, and activities, we found new niches and corners to come to rest, to rethink, to speculate and contemplate.
This moment connects us everywhere and since we still can’t get together, we invite you to merge our places of seclusion.

As an immersive experience and interactive archive, The Smallest of Worlds unfolds a shared domestic landscape; an expanding, virtual diorama representing fragments of our everyday life in times of social distance and self-separation. It invites everyone to participate and to share their personal memories and subjective perspectives.

The team of The smallest of Worlds – A Social Landscape of collected Privacy has found together during the IMMENSIVA VR/AI Residence 2020 at ESPRONCEDA – Institute of Art & Culture, an innovative platform for contemporary art, education and cultural distribution in Barcelona.


Visitor type


Joan Soler-Adillon
Uwe Brunner
Bettina Katja Lange

Mentor Fabien Siouffi

In Virtual Reality, sound plays a decisive role for an emotional and immersive experience. But how are virtual sound worlds created and what sets them apart from traditional formats such as cinema? Daniel Deboy (Co-founder of DELTA Soundworks, Kultur- und Kreativpiloten 2016) gives an insight into sound and music design for VR productions of various kinds.

This keynote is kindly supported by Initiative Kultur- und Kreativpiloten Deutschland 2019


Daniel Deboy (Co-founder of DELTA Soundworks, Kultur- und Kreativpiloten 2016)

Virtual Reality enables a change of perspective: How can the use of Virtual and Augmented Reality in artistic non-fictional works contribute to a different access to crises, terror and fears? Documentary formats in Virtual or Augmented Reality create an immediacy beyond fiction which makes events almost tangible – and allow us to get a feel for what it can mean to spend everyday life in fear and terror.

We talk to Dani Ploeger (SMART FENCE) and Ricarda Saleh (PARIS TERROR) about their artistic approach to political events, about what is the driving force behind their projects and how immersive media such as Augmented and Virtual Reality offer new possibilities.


Dani Ploeger (SMART FENCE)



Melanie Stein


The digital media of the future and the traditional music business: two areas that seem incompatible at first glance. How can the digital future be shaped to incorporate Virtual, Augmented and Mixed Reality formats into classical music and music theatre? How can traditional formats thus be experienced in a different way? What significance does music have for the immersive arts?

VRHAM! 2019 focuses on musical immersive formats. Ulrich Schrauth (Artistic Director VRHAM!) talks to Peter Maniura (Director IMZ Academy) and Annastina Haapasaari (Project Manger Opera Beyond, Finnish National Opera) about artistic possibilities and strategic potentials of immersive media in the musical arts.


Annastina Haapasaari (Project Manager Opera Beyond, Finnish National Opera)
Peter Maniura (Director IMZ Academy)


Ulrich Schrauth (Artistic Director VRHAM!)

For a long time Virtual Reality was regarded as a niche domain of the gaming industry. But in recent years the technology has found its way into more and more areas of life: Not only artists of different creative genres are inspired by the wide range of possibilities of artificial reality, the business world also realises the vast potential of digital transformation and VR.

Digital change generally runs the risk of focussing on new technology and processes, leaving the human being out of view. For Virtual Reality, there is one constant in the various and changing fields of its application, and it forms the bridge: Here, the human being is in the centre and focus of experience. Viewers are involved, they interact, they control, the content is generated around them.

Whether as part of an artistic experience or as hands-on training in the business world, the focus is on the individual human being. We discuss with experts from industry, art and science, trying to find out what the introduction of Virtual Reality as a Leading Technology means for its various areas of application.

EY Ernst & Young GmbH Wirtschaftsprüfungsgesellschaft is presenting the panel VR Connected – The Human Perspective


Stephan Biallas (Partner EY)

Dr. Thilo Hagendorff (Media and Technology Ethicist, University of Tübingen)

Diana Schniedermeier (Executive Producer)


Jennifer Sarah Boone (www.jennifersarahboone.com)


VRHAM! Virtual Reality & Arts Festival Hamburg and the Danish CPH:DOX Festival start an exchange: Within this year’s edition VRHAM! invites a project which was already presented in Copenhagen a few weeks before: RE-ANIMATED by Jakob Kudsk Steensen. We don’t want to let art speak for itself alone, we want to discuss with each other: What artistic possibilities does the Virtual Reality scene offer in Denmark and Hamburg? What are the differences in project realization? How well connected is Hamburg’s VR scene in international comparison from a curatorial and artistic point of view?

We talk to curators and artists from Denmark and Hamburg.

In cooperation with the CPH:DOX Festival (Copenhagen)
Kindly supported by the Department of Culture and Media


Casper Andersen (Programmer / Film & Inter:Active CPH:DOX)
Mads Damsbo (Founder and Producer Makropol, Director)
Ilja Mirsky (KollektivMosaik, VRHAM! Hamburg Emerging Artist)
Ulrich Schrauth (Artistic Director VRHAM! Festival)


Melanie Stein

Theater, Tanz, Performance arbeiten mit dem Körper im Raum, mit dem Live-Moment. In der virtuellen Realität ist der Körper jedoch Fiktion, ein Avatar, die Umgebung ist vorproduziert. Wie lassen sich diese beiden Welten vereinbaren?

Ganz neu in der diesjährigen Ausgabe des VRHAM! Festivals zeigen wir euch verschiedene virtuelle Live-Formate und möchten herausfinden, wie die Kombination aus performativen Live-Projekten und der Virtuellen Realität den Künstler*innen neue Wege der Kreation aufzeigt, um das Publikum als aktiven Teil der Vorstellung einzubinden. Was für neue Erfahrungshorizonte öffnen sich für die Zuschauer*innen? Sind Virtual und Augmented Reality nur additive Bruchstücke der Live-Show oder kann durch die Verbindung von beiden eine ganz neue performative Form entstehen?

Wir sprechen mit Marcus Lobbes, Künstlerischer Leiter der Akademie für Theater und Digitalität, sowie Marcel Karnapke von den CyberRäubern, deren Arbeiten MEET JULIET, MEET ROMEO und FRAGMENTE – EIN DIGITALER FREISCHÜTZ ihr bei VRHAM! 2019 sehen könnt.


Marcus Lobbes (Künstlerischer Leiter der Akademie für Theater und Digitalität)

Marcel Karnapke (CyberRäuber – MEET JULIET, MEET ROMEO)


Ulrike Fischer (Kommunikation/Pressearbeit VRHAM!)


Virtual Reality – das ist die Welt, die in der Brille existiert. Ob auf der Couch, im Museum oder am Strand: Ist der Ort, von dem aus wir uns in die Virtuelle Realität begeben nicht irrelevant für die

Virtual Reality – this is the world that exists in VR glasses. Whether on the couch, in the museum or on the beach: isn’t the place from which we enter Virtual Reality irrelevant for the actual experience? What does this mean for the exhibition of artistic VR works?

Virtual Reality now inspires artists of various genres. When experiencing art, viewers are always at the centre of the artistic experience. How can VR art be presented to the visitors? How can the physical environment be related to the virtual artwork, and does this create an additional quality of perception for the audience? What does the extended spectrum mean for the artistic work?

After a short keynote by Julie Walsh about exhibiting Virtual Reality art we will open the panel for discussion with Gabrielle Roque, Ulrich Schrauth and Julie Walsh, moderated by Tina Sauerländer.


Gabrielle Roque (Director COCOTTE-MINUTE, winner of the international Residency VRHAM! 2019)

Ulrich Schrauth (Artistic Director VRHAM! Virtual Reality & Arts Festival)

Julie Walsh (freelance curator for VR & AR, founder of Walsh Projects)


Tina Sauerländer (founder and director of peer to space)

with The Glad Scientist as part of the VRhammy Awards

The Glad Scientist is the pseudonym of Puerto-Rican artist Daniel Eric Carlos Hector Alberto Sabio. He utilizes VR technology to create stunning live audiovisual performances, at times making use of brain machine interfaces, projection mapping, and always sharing a direct line of consciousness with his audiences to be a part of both process and experience simultaneously.