As a seasoned follower of immersive media and technology, I must say that Venice Immersive has become my favorite annual event, akin to a reunion with old friends who are constantly pushing boundaries and reinventing themselves. The ever-changing nature of this medium mirrors the unpredictable ebbs and flows of life itself, making it endlessly fascinating.
In its eighth installment, Venice Immersive continues to be the ever-mischievous black sheep of the larger Biennale clan.
The significance of that status isn’t tied closely to industry respect; instead, it’s found standing independently on its very own island of new media attention, which has transformed into an essential event for everyone, as prestigious as the original film festival – and all because it showcases a dynamic medium that is ever-changing.
According to Michel Reilhac, who is one of the co-curators at Venice Immersive, these artists are developing an entirely novel means of communication. They’re bringing to light what was previously unseen, and they’re discovering a fresh method to convey feelings that isn’t as direct or restricted as in other artistic mediums.
The immersive format is prone to sudden changes, fueled by a constant stream of seasoned artists seeking fresh opportunities, and shaken up by an unpredictable market still searching for a workable mass distribution solution.
Despite the frequent entry and exit of well-funded entities such as Meta and HTC, causing fluctuations between growth and decline on a rapid tech scale, Venice Immersive has established itself firmly. It leverages broader institutional backing to nurture a recurring group of creators, who consistently return to Venice. Interestingly, this assurance of safety and consistency has not only sustained the creative community but also propelled the overall art form forward.
“Reilhac noted that virtual reality (VR) is now advancing into a more sophisticated phase,” he said. “This year’s selections no longer aim to showcase technical prowess, but rather utilize the technology to create deeply impactful narratives capable of stirring strong emotional and spiritual responses. The artists are less enamored with the technology itself and more focused on its capacity for fostering empathy.”
For this year’s edition, co-curators Reilhac and Liz Rosenthal have observed an increase in large-scale installations incorporating sets, physical props, and live performances. This trend seems to be a response to the difficulties faced by projects that deviate significantly from gameplay, as they struggle to find distribution within the dominant online marketplaces that prioritize interactive experiences.
Concurrently, a greater emphasis on physicality has fueled artistic creativity, as numerous artists today are employing these tools to intertwine their bodies and spirits.
At this year’s Venice Immersive contest, the following projects will be debuting: “Impulse: Playing With Reality,” directed by Barry Gene Murphy and May Abdalla, “Mammary Mountain” from Tara Baoth Mooney, Camille C. Baker, and Maf’j Alvarez, and “Ceci Est Mon Coeur” (which means “Here Is My Heart” in French), directed by Stephane Hueber-Blies and Nicolas Blies. Each of these projects utilizes the physical immersion capabilities of XR to delve deeper into themes such as neurodivergence, breast cancer, and childhood abuse respectively.
Reilhac stated, “All these projects revolve around bodily injury. However, none of them approached this challenging and serious topic in a teaching manner. Instead, they employed visual and storytelling innovations to give it a poetic touch. This year, we’ve noticed that artistic tools have advanced to the point where artists can use them to transcend technology and reach poetry.”
“Rosenthal remarked, ‘We’re only about a decade into this innovative form.’ Given how swiftly this medium is changing, artists need to stay inquisitive, bold, motivated, and passionate because the ever-changing market poses a significant hurdle, with limited paths for distribution of their work,” says the paraphrased version.
Rosenthal added, “Everything we’re doing here is grounded in a tangible foundation.” He went on to say, “Technologies such as advanced headsets, like Apple’s Vision Pro, are advancing rapidly, and I find it fascinating that our medium hasn’t progressed even more swiftly.” However, he expressed that this very challenge is what drives his enthusiasm. He explained, “It takes time for fresh approaches to be established as accepted policies and acknowledged as art forms. That’s why our [Venice Immersive] island exists – to provide a platform for this evolution.”
“She mentioned that we were there to honor the art born from technology, as well as ensure its continued nurturing.”
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2024-08-30 21:17