Keywords: Immersive art, Interactive art, alternative art
Most Interesting Immersive Art Experiences Around the World.
Just a few years ago, we visited the museum to see the original artwork. As such, we visited the art A few years ago, we visited the museum to see the original work. So, we went to the art museum to experience the vividness of the original work, expecting something different from the images we saw on the internet. Perhaps John Berger, author of Ways of Seeing, also explained the power of the original work by explaining that what you see in real life is different from what you see in a copied image. Today, however, visitors pay expensive tickets to see the copied images, even though art galleries do not have original works. We call it interactive art. The experience of 3D artwork created by the fusion of art and new experiences has expanded since the Corona era.
Seeing John Berger’s comments on reproductions in which the work’s authenticity is distorted, I wondered if he could have imagined that we today take a replica product and fuse it with experience to approach the viewer from a different perspective. In the book “way of seeing p.24”, In the age of pictorial reproduction, the meaning of paintings is no longer attached to them; their meaning becomes transmittable: that is to say, it becomes information of a sort, and like all information, it is either put to use or ignored; information carries no special authority within itself. When a painting is put to use, its meaning is either modified or totally changed. One should be quite clear about what this involves. It is not a question of reproduction failing to reproduce certain aspects of an image faithfully; it is a question of reproduction making it possible, even inevitable, that an image will be used for many different purposes and that the reproduced image, unlike an original work, can lend itself to them all. Let us examine some of the ways in which the reproduced image lends itself to such usage. Reproduction isolates a detail of a painting from the whole. The detail is transformed. An allegorical figure becomes a portrait of a girl.
when a painting is reproduced by a film camera it inevitably becomes material for the filmmaker’s argument. A film that reproduces images of a painting leads the spectator, through the painting, to the filmmaker’s own conclusions. The painting lends authority to the filmmaker.
There is a museum for just about everything if you look hard enough, but these attractions take the traditional experience of passively viewing art and flip it on its head. They encourage visitors to interact with the exhibits—at a safe distance from others and with a variety of new safety measures in place such as disinfectants, one-way traffic plans, reduced visitor capacity and more—and experience art in a new way. As museums begin to open their doors after months of going dark, some of the most interesting immersive art experiences around the world.
Then, how about an immersive art museum that invites visitors into the painting? Does this distort the original artwork from the 3D creator’s point of view, just as it distorts the view of the painting through the eyes of a filmmaker? Or are you trying to calculate this distorted point of view and deliver it to the listener? This seems to be a question we will think about through the “Beyond Van Gogh” exhibition.
You will NOT see in “Beyond Van Gogh” are these kinds of original works. If you’re looking to connect with the artist by getting your eyes close to his brushstrokes on canvases he touched with his very hands; you won’t get that here.
Instead, the experience is a multimedia one that uses projection technology to insert you into those works in a way that almost no other experience can (except perhaps a visit to Arles).
“Beyond Van Gogh” was created by Director Mathieu St-Arnaud at Montreal’s Normal Studio.
ART & DESiGN JOURNAL 