No products in the cart.

About me


Volker Kuchelmeister is an award-winning media artist, researcher and digital media specialist. He is an expert in presence and place representation for immersive applications and has worked extensively in cinematography, interactive narrative, experimental imaging, spatial mapping, interactive systems, immersive visualisation and in the performing arts while exploring and exploding the boundaries of the cinematic image.

He has established and directed three leading media-art research labs (ZKM Centre for Art and Media Karlsruhe Germany – Multimedia Studio; UNSW iCinema Centre Media Lab and the UNSW National Institute for Experimental Art – Immersive Media Lab) and his interactive installations and experimental video projects are exhibited in museums, galleries and festivals around the world.


He lives in Sydney Australia and works at University of New South Wales, Art and Design.

Contact: volkerku(at)gmail.com

CV available on request.

Vimeo: https://vimeo.com/volkerku

Longer bio:

Kuchelmeister is currently in an academic position at University of New South Wales, Art and Design. Previous appointments include Research Staff at the UNSW iCinema Centre for Interactive Cinema Research (2002-2009) and Associated Researcher at the UNSW National Institute of Experimental Arts. Previous appointments include Visiting Research Fellow at ZKM | Centre for Art and Media, Karlsruhe, Germany and Visiting Fellow at the ALiVE – Applied Laboratory For Interactive Visualisation Embodiment, City University of Hong Kong. Before moving to Australia, Kuchelmeister established the renowned and multi-award-winning Multimedia Studio at the ZKM Centre for Art and Media Karlsruhe, Institute for Visual Media, where he worked as Head until 2002. Numerous interactive media projects, museum displays, European Union research project and an interactive art publication series, which have been produced over the years have earned the ZKM Multimedia Studio an outstanding international reputation.

Kuchelmeister has collaborated as Chief Investigator on multiple Australian Research Council and University grants (totalling more than AUD 2M), as Senior Research Associate on a number of groundbreaking immersive visualisation and artistic projects and as Co-Inventor and joint Intellectual Property holder on the development and implementation of key iCinema technologies and immersive visualisation systems. These platforms form the bases for various immersive applications in the area of interactive cinematic experiences, data visualisation, virtual heritage and VR training simulations.

He received international recognition through awards, invited presentations, keynotes and exhibitions in museums, galleries and festivals around the world. Amongst others: Centre Pompidou Paris; The Institute of Contemporary Art Boston; ZKM Center for Art and Media Karlsruhe; Applied Laboratory for Interactive Visualisation and Embodiment, City University Hong Kong; Powerhouse Museum Sydney; Museum Victoria; Back of Bourke Exhibition Centre; Un Volcan numérique II, Volcan Scène nationale du Havre, Le Havre; Matière-Lumière, Complexe EDF, Béthune; Shanghai eArts Festival; Experimental Media and Performing Arts Centre, Rensselaer Polytechnic Institute, Troy NY, SXSW Austin.

In the performing arts, Kuchelmeister has collaborated with theatre director Robert Lepage and choreographer/dancer Saburo Teshigawara on large scale multichannel stereoscopic video installations (Fragmentation 2011, Double District 2008), with Liz Lecompte and the New York City based experimental theatre company The Wooster Group on a 360 degree immersive theatre installation (There is still time … brother, 2007), with Mansaku and Mansai Nomura on a digital archive to preserve, learn and study the style of the traditional Japanese Kyogen theater (2001) and with choreographer William Forsythe on the multi award winning interactive publication and installation Improvisation Technologies, 1994-2011.

Recent projects include: Parragirls past, Present (2017) a landmark immersive narrative experience employing immersive media and visualisation technologies to produce appropriate subjectivities for painful memory and trauma and to transform the documentary genre to one of an affective experience.; Veloscape (2015) a participatory art research project about cycling in Sydney. An investigation of how the arts can generate environmentally beneficial behavioural change and influence the development of green infrastructure in urban environments;  The Virtual (Reality) Museum of Immersive Experiences (2018), an investigation to develop strategies to capture, simulate and reproduce experiences originally designed for large scale immersive architectures within Virtual Reality.  Catlin Seaview Survey – Underwater Earth (2014), an immersive visualisation of 360 degree imagery from the Great Barrier Reef in the hemispherical iDome, to rise awareness for the endangered reef in the context of climate change.