Immerse Yourself in a World of Digital Art with Basel Tourism

Nederlandse versie

Famed for being home to an abundance of architectural treasures, from historical landmarks such as the Basler Münster, the city gate ‘Spalentor’ and the former brewery Werkraum Warteck to modern architecture such as The Kunstmuseum Basel’s new building (by Christ & Gantenbein), Fondation Beyeler (by Renzo Piano), Museum Tinguely (by Mario Botta) and Vitra Design Museum (by Frank O. Gehry). Basel, also proved to be full of character, contrast and fountains.

Basel, the cultural capital of Switzerland, has long been a hub for dynamic contemporary art and has recently initiated projects that demonstrate its status as a city for cutting-edge digital art. In special collaboration with Basel Tourism and Switzerland Tourism, at the fair you can explore  ARTour Basel, an interactive augmented reality (AR) exhibition curated by Sabine Himmelsbach, director of the HEK in Basel. All eleven installations within the exhibition embrace the ’Celebrate Life’ theme, each offering diverse perspectives on topics such as biodiversity, identity, and digital life. 

One of the artists featured in this exhibition is Erika Marthins, who focuses on examining our interaction with new technologies and envisioning the future by developing innovative solutions for upcoming challenges. You’re invited to experience ‘Omnipulse’ by Erika at the fair.

We spoke with her to give you a glimpse into her augmented reality work.

Interview with Erika Marthins

How would you describe the city of Basel?

Basel is a city that resonates with history and creativity. It’s a place where the old and the new coexist creating a unique cultural tapestry. The mix of art and architectural heritage with innovation makes it a fertile ground for artistic expression. It’s a city that preserves its past and embraces forward-thinking ideas, making it a perfect canvas for projects like ARTour.

Can you tell us why you chose Totentanz as the location for ‘Omnipulse’? And how do you think Totentanz and Basel have influenced or inspired the AR work?

The choice of Totentanz for ‘Omnipulse’ was intentional and symbolic. The site’s historical significance as a memento mori—a reminder that death is a universal experience—perfectly aligns with the themes I wanted to explore, the celebration of life but also the inevitability of death. In ‘Omnipulse’ I aimed to reflect on the cyclical nature of life, to “hear” the souls of the past, and the Totentanz mural, with its depictions of the Dance of Death, offered a poignant context for this exploration. 

In a way, Basel and Totentanz are not just backdrops for ‘Omnipulse’ but are integral to its conceptual framework.

Can you describe what it was like to create ‘Omnipulse,’ and how the idea for it first came to you?

Creating ‘Omnipulse’ was an introspective journey that began with Roche’s 125th anniversary theme—Celebrate Life. This naturally led me to consider the duality of life and death and how one cannot exist without the other. The visual representation of the five platonic solids—symbolising earth, air, fire, water, and the universe—came as a way to connect the physical elements of life with the digital. These pulsating forms, animated to the rhythm of a heartbeat, represent the vibrancy of life within the context of its inevitable end. Placing these objects within the Totentanz location was deliberate, merging digital art with a site that has long reflected on the transient nature of human existence.

In collaboration with musician Florin Büchel you have added a sound structure to the piece. Can you tell us more about the decision to add a sound element to ‘Omnipulse’ ? How are the different sounds activated when viewing the AR work and how do you think the sound transforms the viewer’s experience in relation to the AR piece?

The decision was rooted in the desire to create a fully immersive experience that goes beyond the visual. Working with Florin Büchel, also known as CCO, we developed a soundscape inspired by the human heartbeat — a universal symbol of life — and the earth’s rhythms. We used an analogue modular synthesizer to give the sounds a raw, organic quality that complements the digital visuals. It reflects the cyclical nature of existence.

These sounds are activated by the viewer’s proximity to the AR objects. As you move closer to the pulsating platonic solids, you hear different layers — starting with a heartbeat, followed by a high drone, and then a baseline. These crossfading sound layers transform the viewer’s role from a passive observer to an active participant.

They are reminiscent of echoes from the past, evoking the sense of hearing the souls “of those who” once lived, reinforcing the idea that life and death are inseparable. Such an experience, especially within the historically charged setting of Totentanz, deepens the viewer’s connection to the artwork and the location, bridging the gap between the viewer’s digital present and the historical reflections on mortality.

We can’t wait to learn more about ARTour Basel and to experience Erika’s AR work at the fair. Book tickets now and join us for this year’s 18th edition of Affordable Art Fair Amsterdam from 9 – 13 October at De Kromhouthal.