GENDER BENDER TIME TRAVELLER is a diverse collection of works by 21 globally-acclaimed artists using new media to challenge paradigms around gender, sexuality, race and culture.

Dennis Rudolph for Gender Bender Time Traveller

Trained in traditional painting and graphic arts Rudolph's practice before taking on Virtual and Augmented Reality used to be based in the old medium of etching and grisaille painting. He was most known for his body of works called "Deutsche Ahnengalerie", iconic oil portraits on wood of German soldiers from the second world war painted from photos he found on flea markets. In an artistic crisis, Dennis Rudolph set out to the Californian Desert to update Rodin’s Gates To Hell. He realized the work by painting DAS PORTAL in a 3D Virtual Reality program and placing it with a GPS based Augmented Reality App on the Desert Butte in California City to mark the end of the Western World. Thus, virtual and augmented reality became an inseparable part of his practice and completely changed his art. The new medium helped him overcome his crisis and he started to paint again but subsequently the question of the autonomy as an artist arose. Who is in charge – technology or the genius that is guiding the painterly hand? How do we cope with the totality of the technological development?

ORPHEUS (1. Gesang)

3D VR painting of the series "Messengers of the AI", 2019.

Trained in traditional painting and graphic arts Rudolph's practice before taking on Virtual and Augmented Reality used to be based in the old medium of etching and grisaille painting. He was most known for his body of works called "Deutsche Ahnengalerie", iconic oil portraits on wood of German soldiers from the second world war painted from photos he found on flea markets. In an artistic crisis, Dennis Rudolph set out to the Californian Desert to update Rodin’s Gates To Hell. He realized the work by painting DAS PORTAL in a 3D Virtual Reality program and placing it with a GPS based Augmented Reality App on the Desert Butte in California City to mark the end of the Western World. Thus, virtual and augmented reality became an inseparable part of his practice and completely changed his art. The new medium helped him overcome his crisis and he started to paint again but subsequently the question of the autonomy as an artist arose. Who is in charge – technology or the genius that is guiding the painterly hand? How do we cope with the totality of the technological development?