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Arts & Communication Reflecting on art through virtual exhibitions

commercialization of art and the possibility that virtual distraction from the true importance of art: “Virtual art is
exhibitions perpetuate this trend. He stated the following: a distraction, a way of avoiding the true importance of art
“What concerns me is that if everything becomes an and the human experience it can provide.” Writer and art
30
exhibition of experiences and becomes more commercial, critic Nora Khan, on the other hand, has argued that digital
then the connection with reality is lost.” This artist is part of a technology and virtual exhibitions can help democratize
movement known today as “institutional critique,” in which access to art. 31
Haacke accused government authorities of selling their Numerous artists have also acknowledged the
political, cultural, and artistic interests to the highest bidder. 26 advantages of virtual and immersive exhibitions, such as
Other artists who were part of the Institutional Critique the philosopher and cultural theorist Jean Baudrillard,
movement, such as Mierle Laderman and Fred Wilson, who wrote about simulation and reality. He argued that
have denounced racial and class prejudices by museum digital technology and virtual simulations can open up
owners. They have not only denounced abusive practices new possibilities for understanding the world: “Simulation
by museums but also those of other institutions and social is not the opposite of reality, but it is reality itself that has
structures, defending movements such as British Anti- become hyperreality.” He commented the following in his
Apartheid. These artists who seek provocation can do little lecture “The Simulation of Art” in 1985: “Consequently, I
against immersive experiences that have inundated viewers do not speak for any individual work, for any particular
with images integrated into pop culture for over 70 years artist, and I do not comment on the lived experience of
(today, painters, such as Picasso, Van Gogh, Modigliani, or the artist, on the existential mode that may have today in
Renoir are considered part of our modern visual culture). creating something. I will not comment on it at all. I do
Of course, these are means that an artist could use as not ask how art is produced or the esthetic value of the
protest, just as Haacke constructed his “Gift Horse” in the game of differences, the supply and demand in the art
middle of Trafalgar Square in London, he could probably market, the fluctuation of value judgments, the artistic
use digital media to provoke sensations in viewers. requirement, and even sociology of art to the extent that
social differentiation of esthetic pleasure can be made,
Another critic of virtual exhibitions is Nicholas Serota, esthetic judgment, etc.” (Baudrillard, 1985). 2
former director of the Tate Gallery in London, who has
expressed concern about the lack of personal interaction The artist Yayoi Kusama expressed her enthusiasm
in virtual exhibitions and the possibility that this may for digital technology and the possibility of creating new
negatively affect the art experience: “The art exhibition art experiences through interaction with technology: “I
is a personal experience; one must be in the same room like technology because I can do things that were never
as the works of art.” What could be inferred from this is a possible before.” 32
veiled criticism of immersive exhibitions, in which there is The artist Olafur Eliasson, known for his work in
always music or sounds of some kind, purposely to evoke light and space installations, has used digital technology
certain specific sensations, and no others, in the viewer, so in many of his works and expressed excitement about
freedom is already restricted. 27 the possibility of creating new art experiences through
Art critic and writer Jerry Saltz argued that virtual technology: “Technology is not just a tool, but it is
exhibitions cannot replace the profound impact of also a means to experience the world and art.” While
experiencing artwork in person: “Nothing replaces the technology is undoubtedly a tool for art, can it also be a
real experience of being in the presence of a work of art. way to create versions of a work like someone making a
copy of a painting? Is most art as we perceive it not just
Technology can be a useful tool, but it cannot replace the an image captured at a given moment that leads us, more
real experience.” 28
or less intentionally, to a certain interpretation? How does
Serbian artist Marina Abramovic expressed concern a virtual exhibition on Van Gogh differ from a photo of
that virtual art and virtual exhibitions perpetuate the the floor plan of the Seville Cathedral or the lighting of the
shallowness and lack of commitment often associated Alhambra in Granada as we know it today? These are some
with technology culture: “My concern is that virtual questions that the artist raises. 33
art perpetuates the culture of shallowness and lack of The digital artist Rachel Rossin argued that digital
commitment often associated with technology.” They technology and virtual exhibitions can create new ways
then added the following complaint: “I don’t want them to of experiencing and understanding art: “I believe that
replicate my work.” 29
technology can be a powerful tool for exploring new forms
Art critic and writer Jed Perl, on one hand, has of human experience, and that includes art.” She continued:
argued that virtual art and virtual exhibitions can be a “We already live to a degree in VR with our experiences

Volume 3 Issue 1 (2025) 5 doi: 10.36922/ac.3688