With cabin fever creeping in due to COVID, many people are looking for activities that are safe to GOGH to during the pandemic. Along comes the Vincent Van Gogh experience. Immersive Digital Art exhibitions are evolving increasingly with a modern twist on the traditional, fueled by new technologies and the explosion of crypto art as NFTs. Art shows are becoming more about an experience for people who are jaded by constantly consuming content at any time on screens. It’s about going through the mental or physical states of the art world. Plus if you don’t document that you were actually at the event for the Internet to see did it even happen? JK, The Van Gogh installation tour emerged with great timing and a good fit.
About Immersive Van Gogh Orlando
From creators of the blockbuster show in Paris seen by over 2 million visitors and still popular in Toronto, the premiere of the Immersive Van Gogh Exhibit brought the art of Vincent to life in Orlando, Florida. The show gained momentum during the Netflix series, Emily in Paris, and has since gone on to tour in 20 global cities. “Van Gogh: The Immersive Experience” exhibit has ended its Orlando run, but please check CDC guidelines to ensure proper COVID protocol before possibly attending in a different city.
Viewers of all ages were dazzled by the 360-degree digital projections and virtual reality experiences involving eight of Vincent Van Gogh’s most iconic works. The show touts 300,000 cubic feet of ultra-sharp projections animating Vincent Van Gogh’s oeuvre. You’re allowed to wander leisurely through the entrancing, moving images that highlight brush strokes, detail, and color — Spotlighting the achievements of an otherwise ignored master during his lifetime.
You genuinely are surrounded by Van Gogh’s works — from his vibrant landscapes and night scenes to his portraits and still life paintings. The installation includes the Mangeurs de Pommes de Terre (The Potato Eaters, 1885), the Nuit étoilée (Starry Night, 1889), Les Tournesols (Sunflowers, 1888), and La Chambre à coucher (The Bedroom, 1889).
The exhibit is designed and conceived by Massimiliano Siccardi, with a soundtrack by Luca Longobardi, both of whom pioneered immersive digital art experiences in France. This exhibition contains sequences of bright flashing lights which may affect visitors who are susceptible to photosensitive epilepsy, as well as others who are sensitive to moving lights. Viewer discretion is advised. The music is loud and powerful, much like a movie theater. I’m sure this is for emotional impact, but also to cover the constant shuffling, moving, and talking from attendees.
Stating safety as the number one priority for guests, the exhibit did take several enhanced safety steps from start to finish. Protocols were implemented to reduce the capacity in the lines, they provided touch-less hand sanitation stations, contactless payment options, face coverings were required for all staff and guests, 6ft. floor markings in traffic areas, even social distancing circles projected throughout the entire exhibit gallery space, and contact tracing for all staff and guests. These measures have aided in zero reported cases associated with the exhibit since opening.
The only thing you may not find yourself safe from is the onslaught of “dad joke tropes,” such as using the name “Gogh” in lieu of the word “go” everywhere you turn, which I secretly “enJOEyed.”
I have to mention no matter how many times signs were posted, guests were asked to wear masks and keep them on at all times, social distance, and follow guidelines, there were constantly inconsiderate and careless people ignoring the rules. This really ruins it for others by being a distraction, diverting attention from the experience, and putting others’ safety at risk. The same goes for those using flash photography and/or talking too loud during the event. Many people paid good money and waited a long time to try and enjoy some escapism, but I digress.
This art exhibit really is great for just about anyone — as a person with a disability in a powerchair, I found the exhibit to be truly accessible. The Orange County Convention Center is massive, so planning an extra 15 minutes for walking/rolling, parking, and finding elevators would have been a good idea in hindsight. The venue for Immersive Van Gogh Orlando is 100% ADA compliant. They have wheelchairs available for the use of patrons on a first-come-first-serve basis, free of charge. West Concourse Parking lot is a 10-minute walk from the exhibit space. Upon entering the lot we learned they will waive the parking fee for heavily modified mobility vehicles. There is a drop-off zone at the E/F Hall Entrance. Square seat cushions were available for rent since you are basically either sitting on the floor or standing. You are then incentivized to bring it back for a free Van Gogh poster. A few minimal benches were provided. Standing for about 30 minutes on concrete for this event is something to consider if you are limited physically. Several people did bring in their own chairs to use during the viewing.
To help reimagine this monolithic venue, Immersive Van Gogh joined up with Emmy Award-winning and Tony Award-nominated designer David Korins, known for his set design on many Broadway hits like Hamilton and Dear Evan Hansen. In scale and imagination, you will experience Van Gogh’s art in a completely new and memorable way. Vincent Van Gogh will come to life around you. But don’t take my word for it, GOGH see it for yourself!
Looking to explore more art genres? Head over to JoeLatimer.com for a multidisciplinary, visually stunning experience. ☮️❤️🎨
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