Multimedia Exhibitions: Pros and Cons Explored by Italian Art Professionals
A gathering of Italian art experts convenes to explore multimedia exhibitions. Fabio Roversi Monaco emphasizes the Macchina del Tempo at Museo della Storia di Bologna, which features a 3D VR experience via HTC VIVE. Giordano Bruno Guerri contends that while multimedia can enhance, it cannot substitute for direct interactions with art. Bruno Di Marino cautions about the diminishing aura associated with immersive technologies. Leonardo Sangiorgi shares positive feedback regarding Il tredicesimo testimone, focused on Leonardo's Cenacolo. Sara Pallavicini views multimedia as a means to navigate art's emotional aspects. Renato Parascandalo introduces Le mostre impossibili, which has drawn over a million attendees. Maria Cristina Rodeschini presents Viaggi d’acqua, an ARtGlass® initiative. Angela Memola highlights technology's role in a Quayola exhibition, while critic Lia De Venere expresses concerns over recent shows prioritizing visual appeal. This article is curated by Santa Nastro in Artribune Magazine #37.
Key facts
- Fabio Roversi Monaco describes the Macchina del Tempo at Museo della Storia di Bologna, a 3D VR tour of medieval Bologna using HTC VIVE.
- Giordano Bruno Guerri states multimedia can integrate with but not replace direct art experience.
- Bruno Di Marino warns that immersive shows can annihilate an artwork's aura.
- Leonardo Sangiorgi cites Studio Azzurro's Il tredicesimo testimone on Leonardo's Cenacolo as a positive didactic example.
- Renato Parascandalo's Le mostre impossibili uses 1:1 high-definition reproductions without special effects, supported by Bologna, Mahon, Settis, and Strinati.
- Le mostre impossibili has had over one million visitors across thirty shows in Italy, Chicago, Malta, Mexico City, and Östersund.
- Maria Cristina Rodeschini presents Viaggi d’acqua at Accademia Carrara, an AR project on water in 16 paintings using ARtGlass®.
- Angela Memola mentions CUBO presented a Quayola digital art show in January 2017.
- Lia De Venere criticizes recent Caravaggio, van Gogh, and Klimt multimedia shows for being superficial and expensive.
- Federica Franceschini distinguishes fully multimedia events from exhibitions supplemented by digital content.
- The article is curated by Santa Nastro and published in Artribune Magazine #37.
Entities
Artists
- Fabio Roversi Monaco
- Giordano Bruno Guerri
- Bruno Di Marino
- Leonardo Sangiorgi
- Sara Pallavicini
- Renato Parascandalo
- Maria Cristina Rodeschini
- Angela Memola
- Lia De Venere
- Gianluca Lo Presti
- Giulio Masotti
- Marco Falatti
- Federico Della Putta
- Ettore Tripodi
- Federica Franceschini
- Santa Nastro
- Caravaggio
- Vincent van Gogh
- Gustav Klimt
- Bill Viola
- Quayola
- Leonardo da Vinci
- Paul Valéry
- Walter Benjamin
- André Malraux
- Francesco Arcangeli
- Emanuela Daffra
- Daria Tonzig
- Bologna
- Mahon
- Settis
- Strinati
Institutions
- Genus Bononiae
- Museo della Storia di Bologna
- Musa – Museo di Salò
- Accademia di Belle Arti di Frosinone
- Studio Azzurro
- Museo della Follia
- Accademia Carrara di Bergamo
- CUBO – Centro Unipol Bologna
- Fondazione Palazzo Magnani
- Artribune
- Artribune Magazine
- UniAcque
- HTC
- ARtGlass
Locations
- Bologna
- Italy
- Salò
- Frosinone
- Bergamo
- Reggio Emilia
- Chicago
- United States
- Malta
- Mexico City
- Mexico
- Östersund
- Sweden
- China
- Naples