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Venice Immersive Offers Space for VR and Other New Media Artists to Grow and Expand on Technology
Venice Immersive gives VR and new media artists a space to grow and expand on evolving technologies.
That status has little to do with industry esteem — unfurling on its own dedicated island, the new media spotlight has become a can’t miss rendezvous every bit as prestigious as the parent film festival — and everything to do with a protean medium that stays perpetually unfixed. The immersive form is liable to change on a whim, buoyed by a steady influx of established artists eager for a new challenge, and jolted by an unsteady market that has yet to find a scalable distribution model. Premiering at this year’s Venice Immersive competition, projects like “Impulse: Playing With Reality,” from directors Barry Gene Murphy and May Abdalla, “Mammary Mountain” from Tara Baoth Mooney, Camille C. Baker and Maf’j Alvarez, and “Ceci Est Mon Coeur” (French for “Here Is My Heart”), pictured, from Stephane Hueber-Blies and Nicolas Blies, all use XR’s capacity for physical embodiment to better explore respective themes of neurodivergence, breast cancer and childhood abuse.
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