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Arts & Communication Reflecting on art through virtual exhibitions

Space movement, which started in the 1950s and lasted experiences that enhance and stimulate the understanding
through the 1970s. This group of artists mixed psychology of the ideas and emotions that the artist intends to convey,
and technology, uniting the exploration of materiality enriching user experiences with new technologies. 17
and human perception throughout their distinct bodies Marín-Morales et al. compared VR’s ability to transform
of work. This movement’s art experiences evoked a human behavior and evoke emotional responses that
strong reaction in the viewer and required their active mirror those experienced in real-world scenarios. Their
participation. This movement includes various artists, with findings strongly suggest that VR can significantly influence
perhaps the best known among them being Robert Irwin human emotions. This line of research is fascinating,
and James Turrel. 13
as understanding psychophysiological changes means
The business impact of this new form of art display objectively knowing the impact of these manifestations on
has been reviewed by some authors, who considered the viewer. 22
that commercial services seek to engage people “at an
emotional, physical, intellectual, or even spiritual level.” 5. Discussion
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Combining this business philosophy with such art creates Several artists are in favor of new modes of viewing and
an interesting dynamic as people viewing famous paintings experiencing art because of the complexity it presents.
are naturally predisposed to admire them. 15 It is interesting to consider the origin of the criticism of
Another approach considers technology to have new forms of art exhibition, namely the theory of Walter
facilitated a movement toward “pop art,” and some Benjamin (1892 – 1940), a philosopher and cultural
ambivalence exists regarding how to frame this theorist who argued that the artwork’s authenticity is lost
development. While it is good if this brings transcendental in its reproduction. He wrote the following in “The Work of
experiences to millions of people, if one considers that it Art in the Age of Mechanical Reproduction,” a seminal text
could become a populist spectacle, it sounds less good, as from 1936: “The technique of mass reproduction separates
noted by Marc Glimcher, an influential curator. Nikita the artwork from its aura.” 23
15
Mathias adopted an interesting approach to the evolution of In the early 1990s, prominent figures like art critic
the effect exerted by different immersive digital exhibitions Rosalind Krauss expressed surprise at new ways of
on the viewer throughout history. 16 exhibiting artworks in certain spaces, where the pieces on
Furthermore, research that explores the importance of display took a back seat to the architecture that housed
the viewer’s perceptual medium in an artistic manifestation them, filled with light effects and spatial designs. As she
from a physiological point of view presents fascinating put it: “We are having this experience, then, not in front of
insights. Traditionally, the use of vision and hearing as what could be called the art, but in the midst of an oddly
interactive means has dominated the field of exhibitions emptied yet grandiloquent space of which the museum
(it is no wonder that they have been called “audiovisual itself—as a building—is somehow the object.” 24
media” for decades), despite the fact that we have other New immersive art also reflects the rise of digital
senses to perceive and interact with the world around consumer technologies and the preference for personalized
us. Moreover, some authors have described the rest of experiences they cultivate. Janet Kraynak, an art historian,
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our senses (i.e., touch, taste, and smell) as secondary or explains that museums now treat visitors as if they were
lower senses. However, researchers and professionals “users” of a consumer product and, therefore, cater to their
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in immersive experiences are increasingly fascinated by preferences, creating “pleasant and non-confrontational”
the opportunities that touch, smell, and taste can offer environments and emphasizing interactivity. She suggests
to enrich user experiences. Thus, through novel artistic
manifestations, museums, and art galleries focus on that rather than striving to be places of pedagogy, museums
integrating and stimulating multiple senses, not only to are becoming “indistinguishable from any other number of
represent new forms of art but also to increase public interest cultural sites and experiences, as they all become vehicles
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in these manifestations. Examples of such experiences for the delivery of ‘content’.”
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include olfactory displays in exhibitions, interaction with Some artists claim that technology uses their work without
the sense of taste, and interesting experiences of haptic their consent, while others see it as a powerful tool. These
20
stimulation. 21 tools can significantly accelerate and reduce the cost of the
“brain-to-canvas connection,” opening new doors for artistic
Despite the growing interest in different senses as
interaction modalities between viewers and exhibition expression; however, they also raise important questions.
creators, researchers consider only a limited understanding Hans Haacke, a German artist known for his critique of
to exist of how to systematically design multisensory artistic art institutions, has expressed concern about the growing

Volume 3 Issue 1 (2025) 4 doi: 10.36922/ac.3688