Alchemy and collective energy: vibrate together in a large museum universe, interact with works of art that mysteriously take shape in space during a walk guided by smartphone … This alchemy is in the heart of the 2th edition of Augmented Palace, a festival dedicated to creations made using immersive technologies. It reflects the intention of the designers of the event – of which Sciences et Avenir-La Recherche is a partner – open at the Grand Palais Éphémère in Paris from 17 to 19 June 2022 *. Co-produced by Fisheye, a modern photography magazine that incubates cultural start-ups, and the Réunion des Musées Nationaux-Grand Palais (RMN), Palais Augmented 2 invites you to discover a universe teeming with ingenuity. Original artistic orders, collaboration with students from Gobelin’s l’école de l’image, and ECAL, Cantonal School of Lausanne, meetings with players in new technologies, complemented by a cycle of conferences exploring the applications of digital: digitized heritage, cryptocurrencies, metavers, NFTs (non-fungible tokens, non-replaceable deeds) … But specifically, To allow the creations to come alive before your eyes, and to enjoy an immersive experience where intangible works will populate the space you want to walk through, bring your own smartphone and headphones.
© Julien Creuzet / Augmented Palace / Fisheye / RMN
Interactions between sounds
The expanded spatio-musical creation proposed by the French-Lebanese Mouawad + Laurier, soundscape, arises from the interplay of the sounds emitted by the visitors, aggregated in real time in a kind of chorus that echoes of a poetic light dance. IN Never the same sea, the French-Japanese duo Ittah Yoda envision, by virtue of a collaboration with scientists, underwater creatures in the form of animated sculptures inspired by phytoplankton and zooplankton. Can dogs save the world? by the French Gourau Phong plays the card in our relationship of camaraderie with dogs, transformed into funny hovering figures! Finally also French, invents Julien Creuzet in Ogun and Mars for a cosmogony of the invisible a gigantic creature that makes the book a reminder of our multicultural horizon: with gestures repeated over and over again, it removes from its own head works from Pan-African, French-speaking, English-speaking, Portuguese-speaking and Spanish-speaking productions.
© Ittah Yoda / Augmented Palace / Fisheye / RMN
Underlying this festival, which met with high turnout when it started in 2021, is the line between the visions of its initiators, Benoît Baume, editor-in-chief of Fisheye, and Roei Amit, general manager of the Grand Palais Immersive Institution, a subsidiary of RMN. Asked on this occasion, the first highlights the unshakable desire of his magazine to support the new facets of artistic creation and explains to us that ” immersive media offers a renewed experience of cultural dissemination that is able to attract new audiences to museums and institutions. The ridiculous and technological dimensions help to convey basic societal messages and serve the goals of education and dissemination. I believe museums need to seize the tools at their disposal to reinvent visitor experiences that put experience at the heart of their concept. “.
© © Mouawad + Laurier / Augmented Palace / Fisheye / RMN
Immersive media completes the traditional offering
As for Roei Amit, he says that ” For a generalist institution like RMN, which embraces all currents of artistic expression and whose mission is to make art and culture accessible to as many people as possible, sharing these new creative forms with the public has become a kind of proof. The Covid crisis has caused an acceleration in interest in digital works, as we have seen streams of social networks in a kind of inventive flare-up. Combined with technological maturity, this has created the conditions to encourage us to follow in the footsteps of this development and to invest with the festival in the magnificent space of the Grand Palais Ephémère. Family participation in Augmented Palace 2021 has taught us that showing works in augmented reality does not encounter a technological barrier, that digital technology is transgenerational today. I often summarize this observation with the comparison between pigments and pixels: some are spread out on a canvas, others appear on screens! “. The subsidiary Grand Palais Immersif already includes the exhibition among its initiatives Pompeii (2020, Paris) and The immersive Mona Lisa * (Marseille, until 21 August 2022, so traveling) and opens a new dedicated space in the south wing of the Opéra Bastille in Paris at the start of the school year, which is inaugurated with an event that is sure to be a success: Venice revealed. This is a project to create a digital twin for the city, carried out for years in collaboration with the company Iconem, which specializes in digitization and 3D restoration of endangered world heritage. Which does not shake Roei Amit’s conviction: Traditional museums will not disappear, they will simply live with other proposals in an ecosystem where the acquisition and use of new technologies will be an integral part of the landscape. cultural“.
* Augmented Palace 2, information and reservations https:// ticketsie.grandpalais.fr/palais-augmente-2-expo-art-contemporain-css5-rmn-pg51-ei857869.html
The event application needed to view the works can be downloaded in advance on Android and Apple platforms.
* Mona Lisa Immersive information https://grandpalais-immersif.fr/la-joconde-exposition-immersive?gclid=Cj0KCQjw-pCVBhCFARIsAGMxhAdPmSFxPYhRKcGgeU1Wmrx7_ohyqET836PJavGzR9FeVzEca_AR