As a child, many of us dreamed of stepping inside a Mary Poppins-like drawing to step into a world of chalk, or tracing Harold’s purple crayon doodles. Since there is no portal yet, the next best thing has started. An immersive art exhibition.
As you walk into these exhibitions, likely housed in old warehouses, the ceiling lights go out and the surrounding walls reveal famous art such as Vincent van Gogh’s ‘Sunflowers’ and the Sistine Chapel. Work illuminated. Why not turn Van Gogh, Monet and Kahlo into a sort of Walt Disney world with an interactive playground made of their art? Maybe even Zuckerberg’s metaverse spin? Any artist’s original These art-based, multi-sensory, immersive experiences loom larger than life.
Immersive van Gogh’s premiere, in particular, spread like wildfire, just like “cool finds” on TikTok. In 2020, Netflix released an episode of the hit show Emily in Paris. This episode features a glowing-eyed Emily wandering through his Van Gogh original exhibition in Paris Immersive. It was the perfect idea for a (somewhat) post-pandemic, impatient lifestyle. It’s exciting, fast-paced, and lots of screens.
After Immersive Van Gogh’s successful debut in Paris, the media turned its attention to exhibitions in major American cities. The grandeur and constant stimulation feel appropriately American, especially for American children (the generation of “iPad kids”) and adults who find the art world inaccessible due to its ties to wealth and elite education. The immersive art exhibition succeeds in bringing the notoriously unattainable closer to the audience who must fly to experience the art. However, this point is warned by the special location of the exhibition in the big city.
The main attraction of these shows becomes apparent when you watch “Emily in Paris” or scroll through social media. These immersive shows are aesthetically stunning. On Instagram, they’re not only fun and artistic, but they convey an image of the educated person.Undeniably, a large part of Immersive Van Gogh’s success comes from posting colorful, flashy posts to his feed. It appealed to his teens and youngsters, who like to play.
This immersive art trend is not unique to the current generation. Shakespearean plays at the Globe Theater and choral singing in medieval Gothic churches have historically been similar to these exhibits, but to analog and immersive effect. Recent examples include the work of contemporary artist Yayoi Kusama, and works presented at the Venice Biennale, which require the viewer to walk through a physical space to experience art on a multidimensional level.
Of course, seeing the original Kusama installation is very different from seeing a Frida Kahlo reproduction, but when participating in Immersive Frida Kahlo, Immersive Van Gogh, Klimt, Monet and Massimiliano, who was also Monet’s artist Original work by Siccardi. Impressionism. Siccardi has an established reputation in the art world, having studied dance and winning awards in photography and scenography for over 30 years. As the mastermind behind these installations, Siccardi dominates the magnificent digital world of his art, whose scope spans continents and genres.
The artists at the center of the immersive exhibition, many of whom are long gone, never imagined that their work would take on this digital age twist. What they did with oil paints, brushes and canvas can now be revived by Siccardi and other digital his artists. They certainly had to jump the hurdles of copyright law to use this art, but so did artists like Warhol. In 1984, Warhol transformed Lynn Goldsmith’s Prince portrait into a Vanity Fair piece. A series of arguments followed about his rights. Warhol argued that his interpretation changed the meaning of the photograph and gave it new life, as these Impressionist animated interpretations claim. , most artists are working with a grasp of their time and the art that preceded them.
Impressionism grew out of Romanticism with a twist on the works of Ancient Greece. It’s a completely new contemporary genre, and it’s actually positioned in the canon of Western art. Immersive Exhibition Artists use digital tools to take advantage of what they learn from the art in front of them. This is similar to how the Romans used more modern tools to accurately copy Greek sculpture. Should these Roman sculptures face the same controversy as immersive exhibits?
Perhaps the crux of the problem is not just keeping up with a social media-centric generation, but that when digital artists use this famous art, they strip the original art of its “aura.” Walter Benjamin, the 20th century aesthetic and social philosopher, in one of his most influential essays, Artworks in the Age of Mechanical Reproduction, described the aura as “in the age of mechanical reproduction.” It is defined as withering. Thus, copies or originals of ancient Roman art have an aura that Siccardi’s “mechanical reproductions” of Impressionist works do not. The original art he shows does not retain an “aura,” but for Kusama, walking across mirrored floors is experiencing her art in its most fruitful, lasting form.
When you go to Immersive Van Gogh, you don’t see a collection of Van Gogh’s finest works. You will see a digital interpretation of Van Gogh. Van Gogh was animated in his Tribeca warehouse for over $25 to see the real thing in his MET.
