INTRODUCTION With the rapid evolution of holographic technology and its increasing importance in democratizing access to art, we can contemplate its influence on the creation of communities and connections in an increasingly fluid and interconnected world, in light of Zygmunt Bauman’s theory of the liquidity of modern times. Just as holographic art challenges physical and temporal boundaries, Bauman invites us to reflect on how human relationships and social structures transform in a context of accelerated globalization and constant change. In this sense, holographic art becomes a powerful means to promote interaction and connectivity in a liquid society, where communities are increasingly fluid and transient. Unlike traditional 2D displays, a 3D hologram creates a three-dimensional image that appears to float in space and can be viewed from multiple angles without the need for special glasses or equipment. Laser beams penetrate the object’s interference pattern, assimilating its attributes to create the hologram’s illusion. By inspiring the creation of bonds and relationships in a constantly moving world, holographic art not only entertains but also challenges and enriches human experiences, stimulating new forms of engagement and collaboration in a cultural landscape in constant flux. Salvador Dalí, the iconic surrealist painter of the 20th century, was known for his vivid imagination and unbounded creativity. Yet even he couldn’t help but be awed by the potential of holography, which he once famously declared as his “second option for immortality.” With a single atom of holographic emulsion, Dalí saw the opportunity to capture an entire threedimensional image, including the beloved figures of his life like his wife Gala and pet squirrel Belka. He envisioned a world where information in a holographic form could be ingested and digested by humans, giving them a shot at eternal life. While Dalí’s ideas may have seemed fanciful at the time, they now serve as a testament to the visionary nature of art. Such is the case of the 3D holography project developed by São Rafael Galleries.

The field research conducted over six months, from October 11 to 15 at the Saatchi Gallery in London, United Kingdom, from October 19 to 21 at the Armazém das Artes in Alcobaça, Portugal, and from November 2023 to the present for an exhibition in Japan in November 2024, followed the process of holographic creation and investigated the curation, production, and development of 3D holography projects by São Rafael Galleries. During the research, it was possible to identify themes such as social inclusion and the democratization of access to art through holographic artworks, as well as their implications on our conceptions of social self in an increasingly interconnected and ever-changing society (Bauman, 2000) THE CASE STUDY The potential of 3D holography within the realm of art is immeasurable, encircling the very senses to engage and ensnare the imagination. The very fiber of a hologram is malleable allowing for dynamic sculptures that mirror the viewer’s movements, thus creating a portal to another dimension in which the rules of physics and geometry are deviant, echoing the transformative nature of social structures in a fluid world. The use of lighting and acoustics gives forth a canvas of endless possibilities in which textures, patterns, and rhythms merge to create a harmonious embellishment to our heightened state of being, mirroring the adaptive and ever-changing nature of contemporary society (Bauman, 2000). There exists versatility and scalability beyond what our canvas ever afforded us. Regardless of the expanse of the venue, a hologram can be carefully tailored to fit the architectural set up. Photographs of past works of art now become feasible to reproduce and circulate at an unprecedented level with no loss to quality or impact, a testament to the ever-evolving nature of cultural dissemination in the digital age. Other technologies like artificial intelligence, blockchain, and augmented reality used in tandem with holography give rise to more complex and meaningful experiences. It can be both a tool and a subject of artistic creation, inspiring new forms of expression and reflection in a fluid and interconnected world. It can also foster crossdisciplinary collaborations and dialogues, as well as engage diverse communities and audiences. As such, a 3D hologram can be not only a work of art but also a catalyst for social and cultural change. The interview conducted with the responsible parties and artists involved in the project presented important elements about the relationship between social-self and social inclusion in the world of holographic art. For curator Mónica Kahlo, the interest in holography dates back to the covid-19 pandemic and isolation times when she began exploring possibilities for display within this new technology at home: “I remember I got a transparent rigid PVC film and put it in a triangular shape on an android to recreate a very basic hologram. I got a small prism that reflected the photograph on the phone, creating a three-dimensional effect very similar to a real hologram. We started with a small prism, then scaled up and to our surprise it worked.”

This first holographic experience joined the desire to explore the technology to bring Salvador Dalí’s works to life in hologram after the pandemic, demonstrating how iconic art figures can be adapted and reproduced to reach new audiences and democratize access to art. The recovery of holography projects after the halt of cultural activities due to the pandemic demonstrates resilience and effort to keep artistic expression alive and promote cultural inclusion even in challenging times. Moreover, technological adaptation to enable exhibition in remote locations, overcoming geographical barriers, reinforces the idea of democratization of art and culture. The ability to reproduce large artworks in holograms was combined with a desire to give a new shine to contemporary art works and artists, facilitating the exhibition of their artistic works in various locations, including remote areas, without the need for internet access, contributing to social inclusion by bringing art to different communities and changing dynamics of human connections in a globalized and ever-shifting landscape. I followed the process of exhibiting the 3D hologram in different locations, from the famous Saatchi Gallery in London to a small cultural center in a locality on the outskirts of the municipality of Alcobaça, Portugal. For the exhibitions in London and Portugal, the team reproduced holographic works of artists Marina Emphietzi, Kevin Trinh, Ildikó Baranyi, Niko Kapa, Chien-Hua Huang, Harry Clinch, Catarina Diaz, and Ashima Kumar. The hologram thus reflects a wide range of influences and artistic approaches, from Emphietzi’s abstract representation of marine landscapes, to Diaz’s elegant story of ascension and serenity, to Kumar’s innovative fusion of traditional methods with modern technology. This diverse group of artists also includes influential digital artists, such as Baranyi and Trinh, who explore the intersection between art and artificial intelligence, as well as Kapa’s approach to exploring cultural and individual identity through video art. Huang, on the other hand, focuses on finding alternative perspectives for circular strategies and contemporary human environments through cutting-edge technologies like machine learning, while Clinch uniquely combines video, audio, painting, and sculpture to captivate audiences with his 4D creations. The hologram seeks to exemplify the diversity and innovation present in the contemporary art scene, demonstrating the wealth of creative possibilities for holographic art and its ability to inspire and move diverse audiences. For curator Mónica Kahlo, “the biggest challenge is to translate a work from a physical medium to hologram in a way that doesn’t lose its essence or devirtualize the artist’s concept.” Throughout my research, I came across the team’s concern to ensure the authenticity and fidelity of holographic works, reflecting a quest to preserve the artistic identity and value the integrity of creations in the digital reproduction era, making them as faithfully accessible to the public. The curator also adds that holography “In terms of opportunities, it undoubtedly offers a whole new possibility of display and interaction that was not previously available and significantly contributes to minimizing the risks and costs of traditional exhibition processes, democratizing it.” The curator’s statement is based on the idea that holography can provide significant advantages to visual artists who may not have the financial means to cover expensive shipping costs and logistics associated with physical art exhibitions. Being featured in holographic art, artists can present their work in a digital format that can be easily transported to art fairs and worldwide exhibitions. This enables artists to reach a larger audience without the limitations of physical transportation and exhibition expenses. Additionally, holographic art can offer viewers a unique and immersive viewing experience, creating a dynamic and interactive presentation that enhances the impact and engagement of the artwork.

It is clear that 3D holographic technology still presents unique challenges and opportunities for artistic curation, involving the adaptation of physical works to the holographic medium without losing their essence, and exploring new possibilities for interaction and creative expression. According to the curator, “We believe that our mission as human beings should be to invest in mixed reality and guide technology ourselves rather than letting technology guide us.” The projection of hologram as a tool and a catalyst for social and cultural change highlights the transformative potential of holographic art in contemporary society and how the art scene is changing and adapting to different realities and becoming more accessible, reflecting the importance of human agency in shaping the technological landscape and its impact on social dynamics. The challenges and solutions found in social inclusion through holography include concerns about the authenticity and fidelity of works reproduced in holography, the ease of transporting the holographic machine to any location, and the possibility of holding exhibitions in more remote areas through the creation of an integrated lithium battery. The latter was developed for an exhibition in Japan to be held in November, which raised some issues of access to electricity: “we have an exhibition in Japan and we have been creating holographic materials, but we did not yet know how to overcome the constraint of not having access to an electrical outlet, so a team member remembered this week to create a lithium battery so that the hologram would work with its own power source,” says Mónica Kahlo. This specific experience described by the curator allowed us to understand how new technological solutions solve logistical and accessibility challenges, providing a genuine artistic experience accessible to all audiences, regardless of their geographical location or access to services. The future of holographic art presents itself as an increasingly integration of interdisciplinary technologies and a lot of creativity, whether in the scope of artistic creation or in the resolution and overcoming of barriers, in a scenario of convergence between traditional forms of expression and technological innovation, pointing to a complex and diversified world of artistic possibilities. The evolution of holographic art requires a balance between the traditional roots of art and technological innovations, reflecting the search for harmony between traditional means and the forefront of technology. The balance between technology and art in hologram exhibition reflects the pursuit of an immersive and authentic experience, maintaining the integrity of the original works and contributing to an accessible and inclusive appreciation of artistic creations, echoing the belief in the importance of preserving human connections and traditions in the face of technological advancements and societal changes (Bauman, 2000).

CONCLUSION The combination of technological innovation in holography with concerns about social inclusion and the democratization of access to art demonstrates the importance of enhancing cultural accessibility and promoting artistic diversity in an increasingly interconnected and globalized environment, reflecting the fluid and adaptive nature of contemporary society. Holographic art has the potential to break physical and social barriers, fostering a diversified appreciation of art and strengthening ties between different communities through artistic expression. This article highlights the importance of using technology as a means to promote cultural inclusion and ensure that art is truly accessible to all, aligning with the concept of fluidity and transformation in the digital age. However, while holographic technology presents numerous opportunities for social inclusion and cultural accessibility, it also brings challenges and potential risks. One of the main challenges is the authenticity of holographic representations and the preservation of the artist’s original intent and creative integrity when translating physical works into holographic form. Ensuring that the essence of the artwork is maintained in the virtual realm is crucial to avoid devirtualization and loss of artistic value. Additionally, with the increasing introduction of 3D holography, people may become more reliant on technology to consume art, leading to a decrease in the appreciation of traditional works and a distancing from the more conventional artistic experience. Despite these challenges, the potential of holography to serve as a powerful tool for promoting social, cultural, and creative inclusion remains significant. By addressing these challenges thoughtfully and proactively, holographic art can continue to bridge gaps, spark dialogues, and empower communities, ultimately fostering a more inclusive and interconnected society where art is truly accessible to all. In embracing the transformative potential of holographic technology, we can strive towards a more diverse, equitable, and culturally enriched world.

BAUMAN, Zygmunt, 1925-2017. (2000). Liquid modernity. Cambridge, UK : Malden, MA:Polity Press; Blackwell. KAHLO, Mónica. Mind-blowing 3D holographic exhibition. London, Saatchi Gallery, October 15, 2023. 2 .MOV files (42 min.). Interview given to Sílvia Raposo.