Connection: Digitally Representing Australian Aboriginal Art through the Immersive Virtual Museum Exhibition
4.1. Grande Experiences’ Related Works
Connection: Songlines from Australia’s First Peoples represents the 250th immersive experience brought to life by Grande Experiences. As the owners and operators of THE LUME Melbourne and a renowned touring company behind successful exhibitions such as Van Gogh Alive, Monet and Friends, and Da Vinci Alive, the Grande Experiences company has been captivating audiences worldwide since its establishment in 2006. With a remarkable track record, they have provided unforgettable experiences to over 23 million visitors across the globe. In 2020, the company underwent a name change, transitioning from Grande Exhibitions to Grande Experiences. This new name reflects their evolving focus, which extends beyond enhancing the presentation of art, culture, and science, to fully integrating innovative narratives, digital technology, interactive elements, and immersive sensory experiences. This change also underscores the company’s renewed guiding principles, which prioritize audience-centric on-site experiences while bridging the realms of art and entertainment.
Pan (2021) categorizes three types of curatorial approaches that the Grande Experiences company has conducted in few different exhibition activities (see Table 1).
The Grande Experiences company’s high-tech display systems can be installed efficiently to adapt to various spatial conditions, making their digitized immersive environment distinctive and highly competitive in the commercial realm (Pan 2021). Technology-driven multisensory design has emerged as an innovative approach to delivering narrative content through immersive experiences (Dal Falco and Vassos 2017). According to Collin-Lachaud and Passebois (2008), immersive technologies play a significant role in visitor participation in museum activities. By allowing visitors to choose their own path through an exhibition, immersive technologies enable greater independence and the creation of personalized learning experiences. Within immersive museum exhibitions, visitors engage in a captivating and multisensory experience that stimulates various channels of the human brain (Pascual-Leone and Hamilton 2001). Sensory engagement in museums typically involves touch, sound, smell, and taste as visitors interact with the collections. Dudley (2011) expanded our understanding of museum artifacts by emphasizing the importance of aesthetics in shaping the sensory experiences and cognitive engagement of visitors. Pallasmaa (2014) demonstrated that exhibition design can influence visitors’ perceptions and emotions towards museum collections. Immersive exhibitions leverage digital technology to deliver synthetic immersion and novel experiences to visitors in virtual spaces, using multiple devices to interpret signals and recreate the original exhibits (Kim et al. 2022). Through technology, exhibition elements are interconnected in a cyclical structure, providing expanded and intensified sensory experiences for visitors (Lee et al. 2021). In immersive exhibitions, visitors become integrated with the artwork, experiencing a given worldview through real imitations and metaphorical image formation within a liberated environment (Lee et al. 2019).
Immersive technologies place a strong emphasis on the body, incorporating body motion into the functionality of devices (Grammatikopoulou 2017). By observing how visitors interact with artworks in immersive environments, we can observe the adoption of new roles that are more playful, active, and open to communication within museum settings (Grammatikopoulou 2017). Falk et al. (2004) use the term “whole body” to describe immersive replicas of objects or phenomena that are larger than life, allowing visitors to physically enter and engage with the replicas, resulting in a multisensory and kinesthetic experience (Dancstep et al. 2015). Immersive art exhibitions, by encouraging visitors to engage in an experiential process of physical exploration and discovery, can be seen as an extension of the real-world experience of observing artworks in physical spaces. By presenting artworks in an immersive space that requires physical movement or poses a challenge to visitors’ physical abilities, the digital experience embodies visitors’ core cognition in perceiving the value of artworks. Visitors have diverse needs, and even the same individual can experience the same exhibition multiple times, each with a different approach and varying expectations. The most satisfying exhibitions for visitors are those that resonate with their experiences and provide information in ways that validate and enhance their worldview (Doering and Pekarik 1996). According to Kelly (2003), visitors enter exhibitions with their own agenda and perspectives, particularly if the subject matter is current and significant. Some individuals seek affirmation of their existing views, while others are more open to exploring different perspectives and reconsidering their opinions. However, it is essential to acknowledge that visitors maintain control over their viewpoints and the willingness to change, rather than placing that responsibility on the museum.
One of the intriguing discussions in immersive virtual museum exhibitions revolves around striking a balance between visitor entertainment and educational experiences. Museums must effectively utilize their collections to both educate and entertain their audiences, recognizing that entertainment can be a means to facilitate education (Beeho and Prentice 1995). Much of the literature exploring education and entertainment within the museum context emphasizes the differing perspectives of adult museum visitors regarding learning, education, and entertainment (Kelly 2003; Roppola 2012). Visitors possess the autonomy to freely choose their learning experiences, selecting and controlling content and learning methods based on their interests and needs (Falk and Dierking 2013). Hall and Bannon (2006) suggest that museum-based exhibitions are characterized by various factors, such as materiality, narration, sociality, activity, and multimodality. Studies have demonstrated that these factors enable visitors to engage with the exhibits while appreciating the provided context and knowledge actively and meaningfully (Perry 2012).
Indeed, visitors’ preferences vary when it comes to exploring exhibits from diverse cultural backgrounds. Some individuals enjoy spending extended periods of time delving into specific exhibits, while others prefer a more concise tour, sampling a little bit of everything. It is crucial to consider how to encourage active participation in immersive exhibitions and how to engage visitors on a deeper level than ever experienced before within physical spaces. The philosophy guiding the design of immersive exhibits revolves around understanding visitors’ needs and expectations. It is also essential to recognize the evolution of visitors’ expectations, transitioning from a static viewing experience to immersive interactions within the context of a museum.
The Grande Experiences company’s projects explore the conceptual intersections of art, nature, technology, and human experiences. They offer a prototype that utilizes immersive technologies to push the boundaries of artistic presentations. In turn, this prototype showcases the potential of integrating technology with digitized art, expanding the possibilities for immersive and innovative displays. The Grande Experiences company’s projects not only showcase the close connection between artworks and humans but also demonstrate that reciprocal sensory interactions can be achieved without relying solely on immersive technologies. Through unique curatorial designs, the Grande Experiences company explores ways to create immersive experiences where visitors can engage with artworks and their surroundings, fostering a deeper connection and interaction that goes beyond the digital realm. Generally, the Grande Experiences company pioneers a new frontier in virtual museum exhibitions, pushing the boundaries of immersive and multisensory experiences to unprecedented levels. From the logical and conceptual aspects of the creation process to the exhibition of its final form, the Grande Experiences company introduces innovative strategies and models that have served as inspiration for key arguments presented in this study. The groundbreaking work of Grande Experiences redefines the possibilities of art, opening up new spaces for exploration and challenging traditional notions of artistic expression.
4.2. Connections between Grande Experiences and the Immersive Exhibition of Australian Aboriginal Art
Grande Experiences is one of a few Australian companies specializing in immersive exhibitions, with a proven track record of producing immersive experiences in collaboration with various cultural institutions around the world, including the National Museum of Australia, Kensington Gardens in UK, and Dewey Centre in China.
4.2.1. Contributions of Grande Experiences
Grande Experiences’ selection was attributed to their extensive expertise and experience in creating immersive exhibitions of Australian Aboriginal art. Their prior projects and partnerships have showcased their capacity to handle intricate and culturally sensitive materials, establishing them as a reliable partner. Additionally, Grande Experiences’ advanced technological capabilities and innovative solutions align well with the National Museum of Australia’s vision. Their proficiency in immersive technologies allowed them to provide visitors with a cutting-edge and immersive experience. Furthermore, Grande Experiences have demonstrated a collaborative and consultative approach in their work with Aboriginal communities, artists, and cultural experts in Connection: Songlines from Australia’s First Peoples. This approach ensured the direct involvement of Aboriginal communities in the creation process, helping to prevent any misinterpretation of cultural materials.
4.2.2. Risks Aversion
There were risks associated with the immersive exhibition that Grande Experiences might inadvertently sensationalize or misinterpret cultural material. To mitigate the risks, it was imperative to conduct thorough research and engage in collaboration with Aboriginal communities. This ensured that the representations were both respectful and accurate. Moreover, questions pertaining to the ownership and utilization of cultural materials, as well as the fair compensation of Aboriginal artists and communities, should be addressed transparently (Yerkovich 2016).
Furthermore, it is of utmost importance to actively seek critical reviews of the exhibition, especially from Aboriginal communities and cultural experts. This provides valuable insights into whether the immersive experience aligns with their cultural values and expectations. Beyond the launch of the exhibition, the collaboration between the National Museum of Australia and Grande Experiences should be ongoing. This includes the establishment of continuous dialogues and feedback mechanisms to address concerns, implement necessary adjustments, and uphold the long-term integrity of the exhibition (Museums Australia 2005).
While Grande Experiences has a commendable track record, the selection of any company to produce immersive exhibitions of Aboriginal art should be based on a combination of factors, including expertise, technological capabilities, collaborative approaches, and a commitment to cultural sensitivity. It is of paramount importance to consider the potential impact and implications of these exhibitions and engage in ongoing dialogues and critical discussions to ensure the respectful representation of Aboriginal cultures. Critical reviews and feedback from Aboriginal communities and cultural experts play a significant role in this process.
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