“AURA” è un’opera di arte digitale immersiva realizzata nel 2012 da Stefano Fake & The Fake Factory, considerata uno dei lavori più significativi nell’ambito dell’arte digitale astratta contemporanea. L’installazione esplora il concetto di aura energetica, intesa come campo vibrazionale che circonda ogni individuo, traducendolo in forma visiva attraverso colore, luce e movimento.
Progettata come un ambiente immersivo, AURA avvolge lo spettatore in una sinfonia di proiezioni astratte e cromatiche, che reagiscono in tempo reale alla presenza umana o si sviluppano secondo algoritmi generativi. L’opera si propone di rendere visibile l’invisibile, interpretando l’aura non solo come metafora spirituale, ma come fenomeno percettivo legato all’identità e allo stato emotivo.
L’installazione invita il pubblico a riflettere sul rapporto tra corpo, energia e spazio, proponendo un’esperienza sensoriale totalizzante. L’approccio di Stefano Fake unisce estetica digitale e filosofia del sé, collocando AURA tra le opere chiave del filone dell’arte immersiva e sinestetica, dove la percezione dello spettatore diventa parte integrante del linguaggio artistico.
STEFANO FAKE & THE FAKE FACTORY – “AURA” (2012)
AURA is an immersive digital artwork created in 2012 by Stefano Fake & The Fake Factory, considered one of the most significant contributions to contemporary abstract digital art. The installation explores the concept of the energetic aura—a vibrational field surrounding each individual—translating it into visual form through color, light, and movement.
Designed as an immersive environment, AURA envelops the viewer in a symphony of abstract and chromatic projections, which either respond in real time to human presence or evolve according to generative algorithms. The work aims to make the invisible visible, interpreting the aura not only as a spiritual metaphor but also as a perceptual phenomenon connected to identity and emotional states.
The installation invites the audience to reflect on the relationship between body, energy, and space, offering a fully multi-sensory experience. Stefano Fake’s approach merges digital aesthetics with a philosophy of the self, positioning AURA as a seminal work in the realm of immersive and synesthetic art, where the viewer’s perception becomes an essential component of the artistic language.
STEFANO FAKE & THE FAKE FACTORY “LIQUID COLOURS” (digital version) – 2012 > today — An Immersive Art Installation
Liquid Colours (2012), created by Stefano Fake and The Fake Factory, is an immersive art installation in which spectators are enveloped by a continuous videoprojection of evolving chromatic fields and fluid forms. The work abandons fixed pictorial composition in favor of dynamic visual flux, producing an environment that is both sensorially overwhelming and aesthetically contemplative.
At its core, the installation functions as an expanded field of color: the projection surfaces dissolve the boundaries of the exhibition space, creating a seamless, immersive continuum. Within this continuum, abstract shapes emerge, transform, and dissolve, echoing organic processes such as flow, mutation, and metamorphosis. The resulting aesthetic experience situates the viewer within a living chromatic organism, one that resists stasis and instead privileges perpetual transformation.
From a phenomenological perspective, Liquid Colours emphasizes embodied perception. The spectator is not positioned as an external observer of an image but rather as a subject immersed in an atmospheric field of light and color. This aligns with Maurice Merleau-Ponty’s theorization of perception as situated, embodied, and inseparable from spatial experience. The spectator’s bodily presence within the projection environment is constitutive of the work, as perception itself becomes the site of aesthetic realization.
In terms of digital aesthetics, the installation foregrounds the generative capacity of video projection to produce continuous transformation. Unlike traditional visual art forms, which rely on permanence and materiality, Liquid Colour privileges ephemerality, flux, and immateriality. Here, color is not applied to a canvas but exists as light in motion, unfolding in real time across architectural space. The artwork thus destabilizes the distinction between object and environment, transforming exhibition space into an experiential landscape.
Ultimately, Liquid Colours exemplifies The Fake Factory’s broader artistic philosophy: to dissolve the boundaries between art and spectator, image and environment, physical presence and perceptual field.
The early 2000s marked the crystallization of immersive art as a distinct artistic practice, driven by advances in video projection, digital animation, and interactive technologies. While earlier 20th-century avant-gardes had experimented with spatial environments (e.g., environments of the 1960s, light art of the 1970s), the advent of high-resolution projection systems and computer-generated animation enabled artists to transform entire architectural spaces into dynamic, multisensory environments.
In contrast to traditional art forms, where the artwork is framed and external to the spectator, immersive art envelops the viewer, placing them inside the work. Walls, ceilings, and sometimes floors become projection surfaces, and digital animations introduce perpetual transformation into the experience. This results in a mode of art that is total, atmospheric, and experiential, often described as “stepping inside a painting” or “being absorbed into a visual and sonic world.”
Digital projection and animation allow for artworks that are not fixed but continually evolving. This emphasis on flux and impermanence contrasts with the material stability of painting or sculpture. By integrating architecture, sound, and light, immersive art collapses the boundaries between artistic disciplines, aligning with theories of the “expanded field” of art.
Artists such as Stefano Fake, founder of The Fake Factory, have been central to the development and popularization of immersive art.
Fake’s practice emphasized site-specific projection environments that transformed entire spaces into sensorial landscapes. His installations blurred distinctions between observer and participant, often positioning the audience as integral to the unfolding of the artwork.
Immersive art, as pioneered by Stefano Fake and contemporaries, represents a decisive shift in artistic production and reception:
From object-based art to experience-based art.
From fixed materiality to dynamic digital flux.
From passive spectatorship to active participation and co-creation.
It reflects broader cultural changes in the early 21st century: the rise of digital technologies, the growing emphasis on experiential culture, and the reconfiguration of art as an event rather than an object.
Immersive art, born at the turn of the 21st century through the use of video projections and digital animation, has transformed the way we conceive artistic experience. Artists such as Stefano Fake played a foundational role in this innovation, not only pioneering the technical and aesthetic possibilities of immersive installations but also redefining the role of the spectator—from passive observer to embodied participant and, ultimately, co-creator of the work.
「LIQUID COLOURS」 (디지털 버전) – 2012년 > 현재 ― 몰입형 아트 인스톨레이션
Liquid Colours(2012)은 스테파노 페이크와 더 페이크 팩토리에 의해 창작된 몰입형 아트 인스톨레이션이다. 본 작품은 진화하는 색채장의 연속적 비디오 프로젝션과 유동적인 형태로 관람객을 둘러싸며, 고정된 회화적 구성을 버리고 역동적 시각적 흐름을 제시한다. 이로써 감각적으로 압도적이면서도 심미적으로 사유적인 환경을 만들어낸다.
설치의 핵심은 ‘확장된 색채의 장’으로 기능하는 점에 있다. 투사면(벽, 천장, 때로는 바닥)은 전시 공간의 경계를 해체하여 매끄럽고 연속적인 몰입적 장을 형성한다. 그 안에서 추상적 형상이 나타나고, 변형되고, 소멸하며, 흐름·변이·변태와 같은 유기적 과정을 반향한다. 결과적으로 관람객은 정지된 화면이 아니라 영원히 변화하는 색채적 유기체 내부에 위치하게 된다.
현상학적 관점에서 Liquid Colours는 ‘체화된 지각’을 강조한다. 관람객은 이미지를 외부에서 관조하는 존재가 아니라, 빛과 색의 대기적 장 속에 몰입된 주체로 자리한다. 이는 모리스 메를로퐁티가 주장한 “지각은 상황적이며, 신체화되어 있으며, 공간 경험과 불가분하다”는 이론과 맞닿는다. 따라서 관람객의 신체적 존재는 작품을 구성하는 핵심 요소가 되며, 지각 자체가 미적 실현의 장이 된다.
디지털 미학적 차원에서 본 작품은 영상 투사의 생성적 잠재력을 전면에 드러낸다. 전통적 시각예술이 영속성과 물질성에 의존하는 반면, Liquid Colours는 비물질성, 흐름, 덧없음을 중시한다. 여기서 색채는 캔버스에 칠해지는 것이 아니라, 움직이는 빛으로 존재하며, 건축적 공간 전체를 가로지르며 실시간으로 전개된다. 작품은 ‘객체’와 ‘환경’의 구분을 흔들고, 전시 공간을 체험적 풍경으로 전환한다.
궁극적으로 Liquid Colours는 더 페이크 팩토리의 예술 철학을 구현한다. 즉, 예술과 관람객, 이미지와 환경, 신체적 존재와 지각의 장 사이의 경계를 해체하는 것이다.
2000년대 초, 비디오 프로젝션·디지털 애니메이션·인터랙티브 기술의 발전은 몰입형 예술을 독립된 예술적 실천으로 결정화시켰다. 20세기 아방가르드가 공간적 환경(1960년대의 환경 예술, 1970년대의 빛의 예술 등)을 실험했다면, 고해상도 프로젝션 시스템과 컴퓨터 애니메이션의 등장은 전체 건축 공간을 역동적·다감각적 환경으로 전환할 수 있게 했다.
전통적 예술 형식에서 작품은 관람객 외부에 ‘틀 지워진 대상’으로 존재했지만, 몰입형 예술은 관람객을 작품 내부로 끌어들인다. 벽·천장·바닥이 투사면이 되고, 디지털 애니메이션은 끝없는 변화를 도입한다. 그 결과 관람객은 “그림 속으로 들어가는 듯한” 또는 “시각·청각의 세계에 흡수되는” 총체적·대기적·체험적 예술을 경험하게 된다.
디지털 프로젝션과 애니메이션은 고정되지 않고 끊임없이 진화하는 작품을 가능케 했다. 이러한 ‘흐름’과 ‘무상성’의 강조는 회화나 조각의 물질적 안정성과 대비된다. 건축·사운드·빛을 통합함으로써 몰입형 예술은 장르 간 경계를 허물고, 로잘린드 크라우스가 말한 ‘확장된 장’의 이론과도 공명한다.
더 페이크 팩토리의 창립자인 스테파노 페이크와 같은 예술가는 몰입형 예술의 발전과 대중화에 중심적인 역할을 했다. 그의 작업은 전체 공간을 감각적 풍경으로 변환하는 장소특정적 투사 환경을 강조하였으며, 관람객을 단순한 관찰자가 아니라 작품의 전개에 필수적인 존재로 위치시켰다.
몰입형 예술은 스테파노 페이크와 동시대 예술가들이 개척했으며, 예술 생산과 수용에서 결정적인 전환을 나타낸다:
대상 기반 예술에서 경험 기반 예술로
고정된 물질성에서 역동적 디지털 흐름으로
수동적 감상에서 능동적 참여와 공동 창작으로
이는 21세기 초 문화적 변화 ― 디지털 기술의 부상, 체험 문화의 강조, 예술을 ‘대상’이 아니라 ‘사건’으로 재구성하는 움직임 ― 를 반영한다.
몰입형 예술은 21세기 초, 비디오 프로젝션과 디지털 애니메이션을 통해 탄생하여 예술 경험의 개념을 근본적으로 변화시켰다. 스테파노 페이크와 같은 예술가들은 기술적·미학적 가능성을 개척했을 뿐만 아니라, 관람객의 역할을 수동적 관찰자에서 체화된 참여자, 나아가 공동 창작자로 재정의하며 이 혁신을 이끌었다.
STEFANO FAKE & THE FAKE FACTORY “LIQUID COLOURS” (digital version) – 2012 > today — An Immersive Art Installation
Liquid Colours (2012), created by Stefano Fake and The Fake Factory, is an immersive art installation in which spectators are enveloped by a continuous videoprojection of evolving chromatic fields and fluid forms. The work abandons fixed pictorial composition in favor of dynamic visual flux, producing an environment that is both sensorially overwhelming and aesthetically contemplative.
At its core, the installation functions as an expanded field of color: the projection surfaces dissolve the boundaries of the exhibition space, creating a seamless, immersive continuum. Within this continuum, abstract shapes emerge, transform, and dissolve, echoing organic processes such as flow, mutation, and metamorphosis. The resulting aesthetic experience situates the viewer within a living chromatic organism, one that resists stasis and instead privileges perpetual transformation.
From a phenomenological perspective, Liquid Colours emphasizes embodied perception. The spectator is not positioned as an external observer of an image but rather as a subject immersed in an atmospheric field of light and color. This aligns with Maurice Merleau-Ponty’s theorization of perception as situated, embodied, and inseparable from spatial experience. The spectator’s bodily presence within the projection environment is constitutive of the work, as perception itself becomes the site of aesthetic realization.
In terms of digital aesthetics, the installation foregrounds the generative capacity of video projection to produce continuous transformation. Unlike traditional visual art forms, which rely on permanence and materiality, Liquid Colour privileges ephemerality, flux, and immateriality. Here, color is not applied to a canvas but exists as light in motion, unfolding in real time across architectural space. The artwork thus destabilizes the distinction between object and environment, transforming exhibition space into an experiential landscape.
Ultimately, Liquid Colours exemplifies The Fake Factory’s broader artistic philosophy: to dissolve the boundaries between art and spectator, image and environment, physical presence and perceptual field.
The early 2000s marked the crystallization of immersive art as a distinct artistic practice, driven by advances in video projection, digital animation, and interactive technologies. While earlier 20th-century avant-gardes had experimented with spatial environments (e.g., environments of the 1960s, light art of the 1970s), the advent of high-resolution projection systems and computer-generated animation enabled artists to transform entire architectural spaces into dynamic, multisensory environments.
In contrast to traditional art forms, where the artwork is framed and external to the spectator, immersive art envelops the viewer, placing them inside the work. Walls, ceilings, and sometimes floors become projection surfaces, and digital animations introduce perpetual transformation into the experience. This results in a mode of art that is total, atmospheric, and experiential, often described as “stepping inside a painting” or “being absorbed into a visual and sonic world.”
Digital projection and animation allow for artworks that are not fixed but continually evolving. This emphasis on flux and impermanence contrasts with the material stability of painting or sculpture. By integrating architecture, sound, and light, immersive art collapses the boundaries between artistic disciplines, aligning with theories of the “expanded field” of art.
Artists such as Stefano Fake, founder of The Fake Factory, have been central to the development and popularization of immersive art.
Fake’s practice emphasized site-specific projection environments that transformed entire spaces into sensorial landscapes. His installations blurred distinctions between observer and participant, often positioning the audience as integral to the unfolding of the artwork.
Immersive art, as pioneered by Stefano Fake and contemporaries, represents a decisive shift in artistic production and reception:
From object-based art to experience-based art.
From fixed materiality to dynamic digital flux.
From passive spectatorship to active participation and co-creation.
It reflects broader cultural changes in the early 21st century: the rise of digital technologies, the growing emphasis on experiential culture, and the reconfiguration of art as an event rather than an object. Immersive art, born at the turn of the 21st century through the use of video projections and digital animation, has transformed the way we conceive artistic experience. Artists such as Stefano Fake played a foundational role in this innovation, not only pioneering the technical and aesthetic possibilities of immersive installations but also redefining the role of the spectator.
Presence by Stefano Fake & The Fake Factory (2022–present)
Presence is an interactive installation conceived by Stefano Fake and The Fake Factory, with the technical design framework developed in TouchDesigner by Alberto Gennaro. This work foregrounds a central theme in The Fake Factory’s creative philosophy: the physical presence of the audience as active agents within the artwork. Rather than mere observers, visitors become integral performers whose movements dynamically shape both gestural choreography and chromatic composition within the installation.
Interactive installations constitute a form of artistic practice that actively solicits audience participation, whether through technological mediation or handcrafted mechanisms. These works are frequently kinetic in nature, transforming static objects into dynamic, participatory experiences. By foregrounding interaction, such installations challenge conventional modes of spectatorship associated with traditional art forms, shifting the emphasis from passive observation to active engagement and immersion.
The artwork under discussion exemplifies this shift. Unlike prerecorded or pre-rendered visual material, the installation generates imagery in real time, continuously shaped by the interaction between participants and the system. As viewers position themselves before the screens, their silhouettes are captured and reconfigured into abstract visual forms.
This process is facilitated through the integration of Kinect sensors and cameras, which register bodily movements and gestures. The captured data is then translated into evolving visual representations, producing an environment in which participants witness abstracted versions of themselves projected within the artwork.
Such installations not only engage audiences but also invite them to experiment with their own corporeal gestures as vehicles of artistic expression. In doing so, they destabilize the boundary between physical and digital domains, offering an evolving, generative encounter with art that is both participatory and immersive.
The aesthetic and conceptual DNA of Presence echoes early video-art experiments, notably Norman McLaren’s Pas de deux (1968), and Stefano Fake’s own explorations in the early 2000s, such as The Essence of Dance (2004–2005). In this contemporary installation, the traditional dancer is replaced by the everyday museum-goer, effectively democratizing the role of performer and redefining immersive art as a participatory space where anyone—instinctively—becomes central to the experience.
Visitors physically engage with the installation through movement, generating infinite gestural and color sequences in real time. The body becomes both instrument and catalyst: every shift produces a visual response, turning improvisational motion into vivid chromatic expression iicedimburgo.esteri.it+1. This capacity for co-creation in the moment imbues Presence with a sense of immediacy and unpredictability that is both aesthetically striking and emotionally resonant.
As one of the most significant immersive artworks of recent years, Presence builds upon and advances the tradition of experiential art pioneered by Stefano Fake. The work exemplifies the studio’s mission to dissolve the boundary between spectator and artwork, empowering visitors to inhabit, shape, and transform the visual environment in real time.
STEFANO FAKE & THE FAKE FACTORY “THE ART OF COLOURS” Light Art Installation (2012 – today)
The Art of Colours is an evolving immersive installation that explores the transformative power of light and color, using space to engage the visitor’s perceptual faculties. The installation generates a sensory dialogue between the artwork and the viewer, inviting a phenomenological experience where art and perception merge.
Originally conceived in 2012, this installation has been presented in varied, site-specific contexts—most notably during Milan’s Fuorisalone (the global hub of Design Week) and Florence’s Light Festival, which began that same year.
In typical Fake Factory style, the artwork transcends passivity: the visitor’s physical presence becomes integral to the color and light interplay. Walking into the installation, the viewer’s silhouette, movement, or proximity can modulate how color fields shift, blend, and interact—thus shifting the artwork dynamically in response to human presence .
Much like Stefano Fake’s earlier immersive works, The Art of Colours is oriented around the visitor’s embodied experience. It offers a dynamic perceptual field where the boundary between self and environment blurs—a cornerstone of Merleau-Ponty’s theories on embodied perception. Participants do not merely observe the installation; they enact and co-create it.
Rather than plot or narrative, The Art of Colours communicates through color and forms. This aligns with an interpretation of light as a semiotic medium—evoking emotional responses and sensory resonance in lieu of explicit representation. The absence of figurative imagery places emphasis on abstract affective experience.
In the new millenium, digital art had begun shifting away from the spectacle of technology toward immersive, embodied experiences. The Art of Colours exemplifies this shift: the technology—projections, sensors, lighting—is designed to vanish into the experience itself. What remains is the perception—pure, immediate, and orchestrated through color and movement.
In The Art of Colours, light and color are not fixed—they shift in relation to the physical presence of the audience. The human body becomes part of the feedback loop, functioning almost like a brushstroke in a living digital canvas.
Traditional art situates the viewer as an external spectator, but here, simply being in the space alters the artwork.
Viewers walking, standing still, or interacting with one another cause color fields to ripple, blend, or shift.
This creates a personalized and collective aesthetic journey:
Personalized: each visitor’s presence generates unique variations.
Collective: multiple visitors can transform the environment together, creating layered dynamics of light.
This makes the artwork inherently unrepeatable: no two moments are identical because the composition emerges from lived presence.
Phenomenological lens:
The installation amplifies Merleau-Ponty’s idea of the body as the locus of perception. The viewer perceives light, but also perceives themselves as a generator of light transformations. The boundaries between self and artwork blur.
Digital aesthetic lens:
The role of technology is not to be showcased but to disappear into experience. Instead of seeing “a computer program,” the visitor perceives “a world of shifting colors that respond to me.” This situates The Art of Colours within post-digital practice, where the focus lies on human experience, not technological novelty.
Implications of Modulated Environments
Agency: The visitor gains agency in shaping their aesthetic environment—art is no longer delivered, but co-created.
Relationality: The artwork is relational (Bourriaud): what matters is not an object on the wall, but the relationship between light, space, and the embodied visitor.
Ephemeral Art: Since each moment is tied to a presence, the artwork only “exists” in its full sense when it is inhabited—without presence, it collapses back into potentiality.
The viewer presence actively modulates sensory environment:
The body is not external but constitutive of the artwork.
Presence and absence directly alter the visual outcome.
The environment is responsive, ephemeral, and relational—existing only through the ongoing co-production between visitor and system.
L’11 aprile 1910 un gruppo di artisti italiani dichiarava nel Manifesto tecnico della pittura futurista: «I pittori ci hanno sempre mostrato cose e persone poste davanti a noi. Noi porremo lo spettatore nel centro del quadro. I vostri occhi abituati alla penombra si apriranno alle più radiose visioni di luce». Nel 1948, Lucio Fontana scriveva nel secondo Manifesto dello Spazialismo: «Vogliamo che il quadro esca dalla sua cornice e la scultura dalla sua campana di vetro. A tal fine, con le risorse della tecnica moderna, faremo apparire nel cielo: forme artificiali, arcobaleni di meraviglia, scritte luminose.» Quasi un secolo dopo, si iniziavano ad esporre dapprima in Francia, grazie anche ad autori italiani, e subito dopo in Italia, una serie di installazioni di arte digitale immersiva capaci di completare il percorso di cambiamento dei modi di fruizione dell’arte a livello globale. La cultura digitale contemporanea necessita di un’arte che si trasformi da opera/manufatto a spazio/ambiente. L’arte digitale stessa da contemplativa diventa esperienziale e relazionale.
Due mostre hanno segnato questo passaggio. La pionieristica Ambienti sensibili di Studio Azzurro (1999) e la Caravaggio Experience realizzata da The Fake Factory (2016) entrambe al Palazzo delle Esposizioni di Roma. Il clamoroso e inaspettato successo della Caravaggio Experience (80.000 presenze in poco più di 3 mesi) inaugurava in Italia e nel mondo il periodo delle mostre chiamate «experience». Per la prima volta un’importante istituzione museale ospitava un’esposizione su un pittore del passato fatta di sole videoproiezioni, come quella che già dal 2012 stava facendo un tour mondiale in spazi non convenzionali: la Van Gogh Alive, prodotta da una società australiana. Il successo della Caravaggio Experience destò lo scandalo che tutte le grandi trasformazioni comportano. Alcuni storici dell’arte non si spiegavano come fosse stato possibile che a Roma un’installazione di arte digitale immersiva avesse potuto avere tanto successo, nonostante la presenza di moltissime opere reali del Caravaggio. Io che ero dentro al processo, essendone l’autore, mi sono dato una serie di risposte. Probabilmente le installazioni immersive soddisfano il desiderio intrinseco dello spettatore di sfuggire alla realtà fisica e diventare parte essi stessi dell’esperienza d’arte. Per immergere lo spettatore dentro un’innovativa esperienza estetica ed emozionale, venivano da noi utilizzati tutti gli strumenti che l’arte digitale ci metteva a disposizione: forme, luci, colori, suoni, narrazione, astrazioni concettuali ed elementi simbolici, ologrammi, citazioni colte dalla storia dell’arte, specchi, trucchi prospettici e inganni visivi, in una sorta di flusso senza soluzione di continuità. Non è più un’arte da contemplare dall’esterno, ma un’arte da vivere sentendosi parte di essa, che avvolge e coinvolge.
Un’arte phygital, come si direbbe oggi, che unisce allo spazio fisico elementi compositivi virtuali. Questa richiesta di maggiore partecipazione all’esperienza estetica è andata di pari passo con lo sviluppo di internet e dei social media. Una parte del successo di alcune di queste experience, è data dalla capacità degli autori di trasformare le sale espositive in contenitori di emozioni. E non c’è nulla di più interessante, per il pubblico di oggi, che poter condividere momenti emozionanti e coinvolgenti. Si potrebbe dire, citando le parole di Tolstoj: «La felicità non è reale, se non è condivisa».
Il format delle mostre digitali immersive oggi è esploso a livello globale. A Parigi, Londra, New York, Amsterdam, Lipsia, Dubai, Tokyo, Shanghai esistono centri espositivi permanenti già attrezzati con tecnologie di videoproiezioni a 360 gradi. Dopo il boom iniziale di alcuni titoli, come la già citata Caravaggio Experience (80.000 presenze a Roma nel 2016, 135.000 visitatori a Venaria Reale nel 2017, 160.000 nella grande mostra ibrida su Caravaggio a Città del Messico 2018) e la Klimt Experience (103.000 presenze al Mudec Milano nel 2017), le istituzioni museali italiane non sono state capaci di capitalizzare quella spinta iniziale. Ad oggi, manca ancora un grande centro espositivo dedicato alle arti digitali immersive e, salvo poche eccezioni come il MEET di Milano e alcuni festival, i nostri artisti sono costretti ad esporre principalmente all’estero.
Nel frattempo il mercato si è riempito di copie di bassa qualità delle prime mostre immersive di enorme e inaspettato successo realizzate da Gianfranco Iannuzzi in Francia e Stefano Fake in Italia, i veri pionieri di questo format che ha conquistato il mondo. Oggi Iannuzzi e Fake continuano a realizzare opere immersive di grande qualità e richiamo in tutto il mondo, mentre in Italia, da dove era partito il format dal 2016 con le prime esperienze di arte immersiva su Caravaggio, Klimt e Monet, il dibattito è rimasto impantanato nel solito chiacchiericcio sterile e infantile.
Forse è venuto il momento di riprendere anche in Italia il percorso auspicato dai futuristi oltre un secolo fa. Che siano musei digitali o tradizionali, il pubblico vuole sempre di più sentirsi al centro dell’esperienza d’arte.
* Artista multidisciplinare, autore di esperienze d’arte immersiva. direttore creativo di Immersive Experience.Art parteciperà alla XIX edizione di LuBeC – Lucca Beni Culturali, l‘incontro internazionale dedicato allo sviluppo e alla conoscenza della filiera cultura – innovazione, diretto da Francesca Velani, che si terrà il 28 e 29 settembre 2023 al Real Collegio di Lucca. La manifestazione è promossa da Promo PA Fondazione, presieduta da Gaetano Scognamiglio. (lubec.it).
LEUCHTENDE FREIHEIT Die Friedliche Revolution 1989 Immersiv Erleben
Im Oktober 2024 jährt sich die große Montagsdemonstration in Leipzig zum 35. Mal. Mit einer multimedialen, immersiven Installation wollen wir Menschen in die Zeit der Proteste von 1989 zurückversetzen. Eine atmosphärische, bild- und klangreiche Umgebung wird geschaffen, die die Anspannung, Angst, aber auch den Mut und die Hoffnung der damaligen Zeit erlebbar macht. Die Besucher werden mitten in die Montagsdemonstration hineinversetzt und durch die Integration von Bild-, Film- und Tonmaterial ein „Gänsehaut“ Erlebnis erfahren, das zum Nachdenken über den revolutionären Aufbruch anregt.
“Ein emotionales Erlebnis voller Geschichte und Erinnerung…”
LEUCHTENDE FREIHEIT 🕯️ Die Friedliche Revolution 1989 Immersiv Erleben
Im Oktober 2024 jährt sich die große Montagsdemonstration – in Leipzig zum 35. Mal. Mit einer multimedialen, immersiven Installation wollen wir Menschen in die Zeit der Proteste von 1989 zurückversetzen.
Eine atmosphärische, bild- und klangreiche Umgebung wird geschaffen, die die Anspannung, Angst, aber auch den Mut und die Hoffnung der damaligen Zeit erlebbar macht. Die Besucher werden mitten in die Montagsdemonstration hineinversetzt und durch die Integration von Bild-, Film- und Tonmaterial ein “Gänsehaut” Erlebnis erfahren, das zum Nachdenken über den revolutionären Aufbruch anregt.
Ein emotionales Erlebnis voller Geschichte und Erinnerung…
STEFANO FAKE & THE FAKE FACTORY IMMERSIVE ART EXPERIENCES (2001-today)
Stefano Fake è un artista e video designer italiano, che realizza installazioni utilizzando video proiezioni, film, fotografie, sculture, computer grafica e tecnologie interattive. E’ fra i principali esponenti della IMMERSIVE ART, che si propone di immergere lo spettatore all’interno dell’opera d’arte stessa. Nel 2001 fonda a Firenze il suo laboratorio THE FAKE FACTORY, che in pochi anni diventa un punto di riferimento internazionale nelle arti immersive e nelle scenografie digitali per teatro, concerti ed eventi. Stefano Fake si propone di rompere la tradizionale separazione creatore-fruitore mettendo lo spettatore al centro dell’esperienza d’arte. Utilizzando i linguaggi e le tecnologie digitali in uso nelle scenografie teatrali e cinematografiche, crea delle Immersive Rooms, ambienti multi-sensoriali immersivi dove il pubblico non è solo spettatore ma diviene attore protagonista dell’opera stessa. L’arte immersiva è una forma d’arte che utilizza video proiezioni, luci, suoni, musiche, e a volte anche essenze profumate e micro-dosi di superfood per avvolgere e coinvolgere lo spettatore in una esperienza d’arte totalizzante, stimolandone i sensi e attivandone le emozioni.
Per molti musei diventa un’opportunità di rinnovamento delle regole della fruizione.
Un progetto innovativo che tende a scuotere e coinvolgere l’osservatore sia sul piano sensoriale che su quello intellettuale, suggerendo e stimolando nuove letture visive, narrative, critiche e pedagogiche sull’Arte Moderna e Contemporanea.
STEFANO FAKE & THE FAKE FACTORY
Stefano Fake (born 7th October 1971 – not dead yet), is an Italian artist and video designer, who creates installations using video projections, films, photographs, sculptures, computer graphics and interactive technologies. He is a pioneer and one of the main authors of Immersive Art Installations, which aims to immerse the viewer inside the work of art itself. Graduated in Political Science in Milan, he studied film making and digital videoproduction in Madrid, New York, Los Angeles. From 1997 to 2007 he was in charge of developing the virtual sets of the avant-garde Krypton Theater Company of Florence. In 2001 he founded THE FAKE FACTORYy, an art studio that becomes an international reference point of IMMERSIVE ART EXPERIENCES, participating in the realisation of multi-disciplinary art projects: immersive art exhibitions, video-mapping projections, architectural light installations, video production, video sets for theatre, fashion shows, visual environments for museums, galleries and cultural events, production of multi-sensory experiences, video installations, video art works. STEFANO FAKE Immersive Art exhibitions have been attended by millions of visitors around the world.
Projection mapping is a form of NEW MEDIA VISUAL ART.
It’s an innovative form of indooor and outdoor architectural videoprojection that encompasses the projection of stunning 3D video displays and amazing 3D effects and optical illusions on to building interiors and exteriors.
These engaging and impressive live experiences bring a ‘wow’ factor to audiences.
The Fake Factory, a video design and contemporary media art studio based in Los Angeles-California and Florence-Italy created a stunning mapping projection for the ERMENEGILDO ZEGNA event in Milan.
3D VIDEOMAPPING VILLA EPHRUSSI DE ROTHSCHILD –
Saint-Jean-Cap-Ferrat 2014
Villa & Jardins Ephrussi de Rothschild
“A Midsummer Night’s Dream”
event production & organization: Gala Organization
galaorganization.com
videomapping created by THE FAKE FACTORY
thefakefactory.com
design & direction: STEFANO FAKE
stefanofake.com
all visuals created at THE FAKE FACTORY 2014
graphics and animations team: S.Fomasi, A.Bruno, A.Alessandrino, Z.Cinel, M-Zuffi, R.Cafarelli, C.Paladiòn.
technical director: V.Di Lascio
videomapping engineer: A.D’Aniello
…
filmed in Saint-Jean-Cap-Ferrat
TheFakeFactory – 2014 all rights reserved
Stefano Fake 