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Art and cultural treasures

Art museums and other exhibition formats can be thought of freely and in new ways in virtual worlds. That has enormous appeal. Especially since there is a great need for new ideas. Innovative cultural managers are currently discussing the transformation process and the future of their institutions.

In virtual realities, scenes and their architecture as a spatial staging framework have different boundaries than in the analog. Exhibition concepts, mediation, art itself, everything is up for grabs. With NFTs, not only usage rights are renegotiated. The same is true for galleries, the independent scene or expositions. The web is now three-dimensional.

Outreach: exits from museums

Museums are places for self-reflection and social debate. The demand to open up more to the outside world and to involve the public more participatively in the museum's work is often on the table. This also involves target groups that are not normally museum visitors.

It's not only for them that it's worth taking a look at new exhibition concepts in VR. Especially since interaction with one's own face, via web cam and sound, can take place without any additionally required hardware.

Museum offerings belong where the new target groups feel comfortable, in the language they speak. In this way, you guide them into a world that appeals to them with the help of tools they know. We are convinced that outreach can be wonderfully realized in tuijo.

Archival documents come to light

Those in charge of archives can also rethink. They are the safekeepers and custodians of our cultural treasures, well documented and made available in a targeted manner. With 3D scanning technology, the way is already open to capture digitized material realistically in three dimensions.

They can now be presented and contextualized in virtual exhibition spaces. For collaborative scholarly exchange or for archival pedagogy. This is an important discipline in a digital world where proper management of sources is essential. 

Another benefit is that archival materials placed in a current context in virtual environments can be enhanced for audiences that otherwise lack direct access.

Completely new presentation formats are not only available to institutional cultural workers; the independent scene can also profit from them. How exactly they work, when and with what staging power they reach the audience, will be further explored.

What is already clear is that the virtual experimental field should remain human, and visitors should not be forced behind the facade of avatars. Because here, too, it is often a matter of open conversations and transparent discussions in which it is good to be able to look at faces with emotions.