Abstract
This paper aims to report the experience and challenges of the research group Laboratory of Front Poetics (LabFront, CNPq/UEMG) in exhibiting an immersive virtual reality installation during events and festivals of digital arts in Brazil. In this article, questions are raised regarding traditional exhibition processes and those where digital technologies are used. Although our focus is on the Brazilian context, similar difficulties and problems in exhibition design can be seen in other places, such as Latin American and European countries. We will base the discussion on our experience of exhibiting Olhe para você (2016) [Look at yourself], an immersive virtual reality work developed by one of the teams of the research group LabFront.
Highlights
This paper aims to report the experience and challenges of the research group Laboratory of Front Poetics (LabFront) — certified by the State University of Minas Gerais and registered in the CNPq group directory — in exhibiting an immersive virtual reality installation during events and festivals of digital arts in Brazil
Many traditional exhibition spaces are unsuitable for digital art, imposing barriers to its institutionalization
This paper aims to think about exhibition design in places where digital technologies are present, taking into account possible criticisms of contemporary exhibition processes
Summary
This paper aims to report the experience and challenges of the research group Laboratory of Front Poetics (LabFront) — certified by the State University of Minas Gerais and registered in the CNPq group directory — in exhibiting an immersive virtual reality installation during events and festivals of digital arts in Brazil. Many traditional exhibition spaces are unsuitable for digital art, imposing barriers to its institutionalization Because it is not immediately accepted by legitimating art institutions in the contemporary context, new exhibition circuits emerge aiming to spread, exhibit, discuss, and legitimize the production of digital artworks. This can be seen in Débora Gasparetto’s O “curto-circuito” da arte digital no Brasil [The “Short-Circuit” of digital art in Brazil], in which she offers an overview of the small and faulty circuit of digital arts in the Brazilian scene. We will base our discussion on our experience of exhibiting Olhe para você (2016) [Look at yourself], an immersive virtual reality work developed by one of the teams of the research group LabFront
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