Some describe it as an exciting and engaging experience, a new way to “immerse” oneself in art and to interact more directly with it. It is certain that productions are multiplying and becoming popular worldwide, increasingly involving large audiences. But what are immersive exhibitions, how do they work, and can they truly redefine the concept of an art exhibition?
“Have you ever dreamed of stepping inside a painting? With this exhibition, you can now do it,” is the tempting invitation that presents itself with Van Gogh: The Immersive Experience, one of the most popular immersive exhibitions of the moment, which, starting this month, will be staged in Milan at the Lampo Scalo Farini space. But what is it about, and why does this type of exhibition experience, which is gaining increasing favor from the public and on social media, trigger great enthusiasm on the one hand and strong criticism on the other?
Venturing into an immersive exhibition means living a different aesthetic-sensory experience, which some describe as sensational and which, in any case, constitutes a new way of relating to the work of art. To allow for complete immersion, large spaces are needed (up to 3000 square meters) and a combination of technologies that includes the use of powerful laser projectors to reproduce images on walls, ceilings, and floors, large screens, sound systems, and lighting sources. In many cases, there is also the possibility of accessing virtual reality experiences that simulate three-dimensional virtual situations inside the works themselves. In this way, supporters of the genre argue that art lovers of all ages have the opportunity to transform passive enjoyment into an active and engaging experience. But is it really so?
The widespread popularity of immersive exhibitions can, somewhat unexpectedly, be linked to the Netflix series Emily in Paris. In its first season, which aired in late 2020, the protagonist visits Van Gogh: Starry Night at L’Atelier des Lumières, a digital art center in Paris housed in a 19th-century foundry. This scene stirred significant public curiosity and highlighted a format that had already been gaining traction in France.
The immersive exhibition format, blending visuals and music, was produced by Culturespaces, a company founded in 2000 by Bruno Monnier. It had originally debuted in 2012 in Carrières des Lumières, a limestone quarry in the village of Les Baux-de-Provence. The show was curated by Italian creatives Gianfranco Iannuzzi, Renato Gatto, and Massimiliano Siccardi. Siccardi, a renowned digital artist, later parted ways with Culturespaces and joined the Canadian company Lighthouse Immersive. This new collaboration gave birth to Immersive Van Gogh Exhibit, a large-scale, multi-city project designed by Siccardi, with music composed by Luca Longobardi. The exhibition became a phenomenon across the United States, selling more than five million tickets in over twenty cities.
Following this massive success, immersive Van Gogh events multiplied, including shows like Imagine Van Gogh: The Exhibition, Van Gogh Alive, Van Gogh: The Immersive Experience, and Beyond Van Gogh. These productions, though similar in format, each offered their own visual and narrative interpretation of the Dutch artist’s life and works.
The immersive trend quickly moved beyond Van Gogh. Siccardi developed two new shows dedicated to Gustav Klimt and Frida Kahlo, titled Klimt: Revolution and Frida: Immersive Dream, which have toured extensively in Europe, Asia, and North America. Other experiences emerged as well, inspired by artists like Picasso, Monet, Gaudí, and Chagall. Even the Dalí Foundation authorized IDEAL, a digital cultural center in Barcelona, to use the artist’s work for Dalí Cybernetic, which reopened in May 2023 and offered an innovative, technology-driven journey through Dalí’s surreal world.
Although initially driven by private companies and independent creatives, immersive art experiences have now begun to involve major cultural institutions. A striking example is La Joconde: Exposition Immersive, a project co-produced by Grand Palais Immersif and the Louvre Museum. Presented in Marseille at the Palais de la Bourse, the exhibition invited viewers to rediscover the Mona Lisa through a sensory and interactive environment.
Grand Palais Immersif, a public institution specializing in the production of national and international digital exhibitions, operates as a subsidiary of La Réunion des Musées Nationaux–Grand Palais. With over 130 years of experience managing France’s cultural programming, it has recently launched Éternel Mucha, an immersive experience dedicated to the Art Nouveau master, produced in collaboration with the Mucha Foundation in Prague and on view until November 5, 2023.
As immersive art gains traction, not everyone is convinced of its merits. Many critics, journalists, and art historians argue that these experiences sacrifice artistic depth in favor of entertainment. The focus on spectacle and accessibility is, for some, a cause for concern, especially when exhibitions seem designed more for Instagram than introspection. There is also a growing unease about the commercial nature of these shows. Companies like teamLAB, Brain Hunter Co., and Fever Labs have become multimillion-dollar operations in a short time, leading some to believe that profit has taken precedence over cultural value.
Ticket prices are frequently cited as another point of contention, with many questioning whether the cost is justified by the experience. In contrast, traditional museums — like the National Gallery in London, where masterpieces can be seen in person and free of charge — are seen as undervalued in the race toward digitization.
Immersive exhibitions undoubtedly offer a fresh, accessible way to engage with art. But as the format expands and evolves, the conversation continues: are we witnessing a revolution in cultural experience or a repackaging of art for mass consumption?
