Gustav Klimt 'Experience'- Italy, Florence
Italy
Florence
Gustav Klimt 'Experience'
09/02/17
A multimedia Exhibition
http://www.klimtexperience.com/?lang=en
http://www.theflorentine.net/art-culture/2016/11/klimt-experience/
This exhibition was not like any I have attended before. within the Historic and creative city of Florence this exhibition clearly took the attention of many visitors. Set in an old church, the entrance spoke of 'a new way to view art'. Various information boards surrounded the room with gowns mimicking Klimt's person style and the garments he made for his lovers.
The extensive information wrote of the figures within the work, the significance of such and also his own life history.
The exhibition then lead to virtual reality head sets. When the head set is placed on, part of the 'experience' begins. I found myself within a gallery, Klimt's work hung clearly around the room, when you looked toward a work a new world opened. The work came to life with music that fitted the mood well. Each aspect of the painting was investigated as it separated and moved together once more.
This aspect of the exhibition was very interesting and really made me think of the setting in which work is viewed. This new virtual reality that I was seeing the work shaped how you felt. It differed greatly from a white wall and a silent audience. The experience provided a safe environment to react to the work as no-one can see your facial expression. The virtual experience continued highlighting key symbols within the work and emphasizing colour and shape. Once the virtual reality had finished, a set of steps brought you into the main church (or what used to be used as a church) complete with a hanging cross and stain glass. There stood a very large projection of Klimt's work. Every wall of the space was filled with projection and speakers played classical, instrumental and progressive music. Seating was situated in the middle of this allowing the audience to see and hear the work clearly. Each projection zoomed into a new type of paint stroke or colour combinations. Accompanied by genuine photographs of Klimt and his female companions, parallels began to draw regarding subjects of his work.
The only issue I had with this exhibition was the fact that the latter section (and the music within the first) truly shaped how you viewed the work. Works that I always viewed as positive and nurturing suddenly became laced with negative undertones of foreboding or death. This was possibly how the curator interpreted them, however to chose music that is very specifically evoking does not allow viewers to freely interpret.
I attended the exhibition with someone who is less accustom to the art world and the differing settings of works. They, however, spoke openly about how much better the exhibition was due to the music and interesting setting. This lead them to read into the works and the artist. This made me think, therefore, about how my own work may be more effective in a similar way, larger works with poetry readings or music. As mentioned before, if the viewer enjoys the experience then future interaction, research and involvement is more likely. Not only was this exhibition enjoyable and modern, it also led me to consider my own practice and the need to overwhelm the viewer to encourage interaction.
Florence
Gustav Klimt 'Experience'
09/02/17
A multimedia Exhibition
http://www.klimtexperience.com/?lang=en
http://www.theflorentine.net/art-culture/2016/11/klimt-experience/
The exhibition then lead to virtual reality head sets. When the head set is placed on, part of the 'experience' begins. I found myself within a gallery, Klimt's work hung clearly around the room, when you looked toward a work a new world opened. The work came to life with music that fitted the mood well. Each aspect of the painting was investigated as it separated and moved together once more.
This aspect of the exhibition was very interesting and really made me think of the setting in which work is viewed. This new virtual reality that I was seeing the work shaped how you felt. It differed greatly from a white wall and a silent audience. The experience provided a safe environment to react to the work as no-one can see your facial expression. The virtual experience continued highlighting key symbols within the work and emphasizing colour and shape. Once the virtual reality had finished, a set of steps brought you into the main church (or what used to be used as a church) complete with a hanging cross and stain glass. There stood a very large projection of Klimt's work. Every wall of the space was filled with projection and speakers played classical, instrumental and progressive music. Seating was situated in the middle of this allowing the audience to see and hear the work clearly. Each projection zoomed into a new type of paint stroke or colour combinations. Accompanied by genuine photographs of Klimt and his female companions, parallels began to draw regarding subjects of his work.
The only issue I had with this exhibition was the fact that the latter section (and the music within the first) truly shaped how you viewed the work. Works that I always viewed as positive and nurturing suddenly became laced with negative undertones of foreboding or death. This was possibly how the curator interpreted them, however to chose music that is very specifically evoking does not allow viewers to freely interpret.
I attended the exhibition with someone who is less accustom to the art world and the differing settings of works. They, however, spoke openly about how much better the exhibition was due to the music and interesting setting. This lead them to read into the works and the artist. This made me think, therefore, about how my own work may be more effective in a similar way, larger works with poetry readings or music. As mentioned before, if the viewer enjoys the experience then future interaction, research and involvement is more likely. Not only was this exhibition enjoyable and modern, it also led me to consider my own practice and the need to overwhelm the viewer to encourage interaction.
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