"The exhibition that takes art 200 years forward," is how Dedi Alofer - the artistic director and initiator of the "Tomorrow" exhibition in Israel - defines his current cultural production.
This is a multimedia exhibition spread over several floors and concepts: the first floor displays the works of Claude Monet and Vasily Kandinsky, the second is dedicated to Art Nouveau artists like Gustav Klimt, and the third features an NFT gallery featuring pop art from "kicking" women from all walks of life Wonder Woman - in the form of monkeys.
In short, this is an exhibition that presents the iconic and famous works of the great artists, including Picasso - but in their digital version.
Along with being impressed by elements of technological innovation, and a basic recognition of new concepts that have entered our lives in the last two years such as "NFT art", it is inevitable to grab a critical question: whether it is a flattening of works - , As Alofer argues, this is the natural evolutionary stage of the art and exhibition world.
"What led to the creation of this exhibition is the time of the Corona," says Alofer, a man who began his career in the world of dance, before moving into the field of local and international productions - in which he also initiated the exhibition.
"As a result of the closure of projects following the epidemic, equipment has been released that enables this activity. The difference between brush and canvas exhibitions and digital exhibitions is also reflected in their treasures. These are research groups called Team Labs, research laboratories that study the development of digital art. "For all intents and purposes. If, for that matter, in the 19th century the artist was a painter, then in the 21st century our artists are digital artists. These groups are constantly brilliant and come up with new ideas."
From the "Tomorrow" exhibition, Photo: Desperate-ApeWives
For families with children and light art lovers this is an impressive and quite light visual educational experience.
It presents the struggle of painters and the need to reinvent themselves in the 19th century, with the advent of painting in the world of photography in 1837.
Alongside this, she also goes through the Art Nouveau period, and later focuses on ten years of Van Gogh's life, the period in which he worked from Paris.
It features 80 laser projectors, a 360-degree technique, wireless headphones that tell the story of each era and also beanbags for sitting.
On the one hand, it is the accessibility of important works, which has educational value.
On the other hand, there is a legitimate claim that technological adaptation makes the real thing cheaper.
"Does a digital exhibition make art cheaper? The answer is no," he says.
"What will revive the museums is digital, because classical art already exists in them. If you want to see a Van Gogh exhibition in the Netherlands - go once, you will not come to see it again. The same goes for Picasso in Spain.
Therefore, a combination of these worlds is a winning combination.
He always plays on the new and futuristic versus the classic.
It is already seen in the world.
Exhibitions in New York have floors that combine digital and classical art, even in Germany.
"People really like this exhibition, and the average length of stay is between three and four hours," he adds.
"The responses are great and commendable, and I can understand from that that the work of the research labs has simply succeeded. It's a different experience, to sit on sofas and consume art in a museum."
The multimedia exhibition Tomorrow is on display at the Ramat Gan Museum until October 17.
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