Meta-artistic immersion in digital exhibitions. History - mobilization - spectatorship
In the recent decade, the works of canonical visual artists have been presented as immersive multimedia attractions in venues worldwide. Performed in all-encompassing screen spaces and put into motion, this otherwise static and spatially confined imagery has been turned into mobilizing and seemingly...
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| Published in: | Journal of aesthetics & culture 2022-12, Vol.14 (1) |
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| Main Author: | |
| Format: | Article |
| Language: | eng |
| Subjects: | |
| Online Access: | Get full text |
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| Summary: | In the recent decade, the works of canonical visual artists have been presented as immersive multimedia attractions in venues worldwide. Performed in all-encompassing screen spaces and put into motion, this otherwise static and spatially confined imagery has been turned into mobilizing and seemingly boundless visual experiences. What are the aesthetic-receptive characteristics of such immersive digital exhibitions (IDE) centered around art history? To give an answer, this article takes a closer look at one of the IDE's prominent predecessors, the Panorama, in order to identify moments of continuity and difference. Through a comparative analysis, I gain a nuanced understanding of the IDE's experiential premises: its tactics and techniques of mobilization, its relation to its classical art historical content matter as well as its aesthetic core-a meta-artistic immersion that moves artistic practice and identity into the center of the experience. |
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| ISSN: | 2000-4214 2000-4214 |