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Future

How Digital Technology Is Revolutionizing Art Exhibitions

Audiovisual spectacles like Imagine Van Gogh offer a completely new way to experience art. But as museums embrace digital tools, what does that mean for the physical work of art.

How Digital Technology Is Revolutionizing Art Exhibitions

At the Imagine Van Gogh Immersive Exhibition in Edmonton, Canada

Verónica Abdala

BUENOS AIRES — The Imagine Van Gogh event touring cities is an immersive art experience in which visitors walk through unusually large projections of the artist's works. Currently on show at the PROA Foundation, in Buenos Aires, it offers more than the reality of Van Gogh's paintings: viewers are constantly surprised by objects and works, including holograms, visual or sound effects, or projection mapping, which combine the real and virtual.

Screens, QR codes, mobile applications, augmented or virtual reality and holography are increasingly mixing with art and how it's displayed.


So far, this hasn't disrupted visiting habits or upset the public, as Imagine Van Gogh's sales figures have shown. In Buenos Aires, it sold 147,000 tickets before opening.

Museums are using digital tools to enrich the presentation of their contents

Imagine Van Gogh

A sensory experience

In a world and at a time when social media, streaming platforms and mass spectacles are stimulating our senses to excess, museums have turned to them to update their presentation format and language. It is a Darwinian leap meant to ensure survival and a creative response to changes imposed by technology.

Virtual visuals have thus reached a new paradigm: the institution of the museum and other spaces typically used to entertain. Museums are using digital tools to enrich the presentation of their contents, while spaces are using them to make visits a sensory experience beyond mere viewing.

But will it turn art into a show and detach exhibitions from physical works of art? And is that good or bad? These are debatable points, unlike the changes already underway. The future is now and inviting us to envisage the unpredictable. Curiosity, after all, is nothing but the intention and need to discover the unknown.


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Geopolitics

Kissinger, The European Roots Of Pure American Cynicism

A diplomatic genius for some, a war criminal for others, Henry Kissinger has just turned 100. An opportunity for Dominique Moïsi, who has known him well, to reflect on the German-born U.S. diplomat's roots and driving raison d'être.

A portrait of Doctor Henry A. Kissinger behind a desk in Washington, D.C

Photo of Kissinger as National Security Advisor the day before being sworn-in as United States Secretary of State.

Dominique Moïsi

-Analysis-

PARIS — My first contacts — by letter — with the "diplomat of the century" date back to the autumn of 1971. As a Sachs scholar at Harvard University, my teacher, renowned French philosopher Raymond Aron, had written me a letter of introduction to the man who was then President Richard Nixon's National Security Advisor.

Aron's letter opened all the doors. Kissinger invited me to meet him in Washington, before canceling our appointment due to "last-minute constraints." I later learned that these constraints were nothing less than his travels in preparation for Washington's historic opening to China.

In the five decades since that first contact, I've met Kissinger regularly, at the Trilateral Commission, Bilderberg conference, Davos Forum or, more intimately, at his home in New York. As a young student of international relations, I was fascinated to read his doctoral thesis on the Congress of Vienna: "A World Restored."

Kissinger's fascination with the great diplomats who shaped European history — from Austria's Klemens von Metternich to Britain's Castlereagh — was already present in this book. He clearly dreamed of joining their club in the pantheon of world diplomacy. Was his ambition to "civilize" his adopted country, by introducing the subtleties of Ancien Régime diplomacy?

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