Venice is a literary place, an anti-topos, because no other place in the world can offer the same experience of beauty and nostalgia at the same time. It is no coincidence that Venice is the protagonist of the first immersive exhibition in the first immersed space dedicated to digital art and (in the future) to artificial intelligence in Paris. Which bears a name with a great history.
Immersive Grand Palace
The brand new Grand Palais Immersif, inaugurated last week a few meters from the Place de la Bastille, currently in the modular hall of the Opera Bastille, is an example of architectural brutalism (raw concrete and no concessions to decorative embellishments) which leaves room for content only. The first is dedicated to the most magical city in the world, for which Parisians almost have a veneration. It is no coincidence that Palazzo Grassi (since 2006) and Punta della Dogana (since 2009) is home to the Pinault Collection, the main French private collection and perhaps the most important and transversal in the world. Venise révélée, curated by Gabriella Belli (Musei Civici di Venezia) and Yves Ubelmann (Iconem), seeks to change the perspective of a museum visit, inviting the visitor to become a spectator, even an explorer.
The walls of the rooms become windows for gigantic virtual flights over the city, faithfully reproduced with 3D mapping techniques. The four chapters of the exhibition are dedicated to San Marco, the Lagoon, the Gran Canal and the city in the making. The most interesting aspect, net of experience, is the (very French) ambition to make art a didactic-pedagogical and scientific vector: the virtual flight of the city is always accompanied by fact sheets on history, construction techniques, symbols of the palaces of the lagoon city and the 3D digital mapping (the first so complete) could be an example for other reconnaissance in fragile places for which it is necessary to keep a memory.
Immersive Grand Palais110, rue de Lyon 75012 ParisVenice revealed, end of February 19, 2023