Artificial Intelligence in Arts and Exhibition Design: Imagineers and Ultra-technologists and Interactive Art
Date and Time: 14/10/2022 (12:00-14:00)
Marianna Charitonidou
Keywords: Interactive digital interfaces, Ultra-technologist, Immersive arts, Augmented reality, Refik Anadol, Superblue, Exhibition design, Interactive art, Reflexive experience, Immersion

The paper aims to explore how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. The current trends in immersive art are characterised by the tendency to prioritise augmented reality over virtual reality. The main objective of the paper is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The paper intends to explore an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. At the centre of this paper is the role of extended reality technologies in designing immersive experiences in the case of art practices that place particular emphasis on participation, interaction, technology and digital media. Of great importance for understanding what is at stake in the case of the design of exhibition spaces that use augmented and virtual reality and interactive digital interfaces are the differences between real environment, augmented reality, pure mixed reality, augmented virtuality and virtual environment. A noteworthy case of immersive art centre that is analysed in this paper is “Mori Building Digital Art Museum: teamLab Borderless” in Odaiba district of Tokyo, which opened its doors in June 2018 and received approximately 2.2 million visitors in 2019. The size of the aforementioned digital art museum, which hosts 50 artworks, is monumental: 10,000 square metres. Another example of immersive art exhibition that is noteworthy is Machine Memories: Space, which was inaugurated on March 19, 2021 at Pilevneli Gallery in Istanbul, Turkey. This exhibition included an ensemble of artworks of media artist Refik Anadol. In spring 2021, an immersive art experience centre opened its doors in Miami, Florida. Its name is Superblue and it contains 31,000 square feet (2787 square metres) of exhibition space. In its foundation, apart from Pace Gallery, Laurene Powell Jobs was also involved. The inauguration of Superblue was accompanied by the opening of an exhibition entitled "Every Wall is a Door". The paper places particular emphasis on the analysis of this exhibition. An important distinction that is examined in the paper is that between interactivity and immersion. Two aspects of interactive art on which the paper pays special attention are the following: firstly, the capacity of interactive art to enhance a reflexive experience vis-à-vis the immersion of technologies in our quotidian life; and secondly, the intention of interactive art to trigger interactions among the visitors to exhibition displays.


EUTIC 2022

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