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Vincent van Gogh. Salvador Dalí. Frida Kahlo. Casual perusers
of ads everywhere would be forgiven for thinking that art
galleries are enjoying some sort of golden age. The truth is less
exciting, more expensive and certainly more depressing. For
this is no ordinary art on offer; this art is “immersive”, the
latest lovechild of TikTok and enterprising warehouse
landlords. The first problem with immersive art? It's not
actually very immersive. A common trope of “immersive”
retrospectives is to recreate original pieces using gimmicky
tech. But merely aiming a projector at a blank canvas doesn’t
do much in the way of sensory stimulation. My favourite
element of an “immersive” show I have been to was their
faithful recreation of Van Gogh’s bedroom. An ambitious feat,
executed with some furniture and, of course, mutilated
pastiches of his paintings. While projectors, surround sound
and uncomfortably wacky seating are mainstays of immersive
art, there are also the VR headsets. But many exhibitions don’t
even include these with the standard ticket, so my return to
reality has twice been accompanied by an usher brandishing
a credit card machine. Sometimes these installations are so
banal and depthless, visitors have often walked through
installations entirely oblivious to whatever is happening
around them. Despite the fixation “immersive experiences”
have with novelty, the products of their labours are
remarkably similar: disappointing light shows punctuated by a
few gamified set pieces.
O texto apresenta uma crítica às exposições de arte imersivas
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