The era ofimmersive art began. New artistic creation tools make it possible to build new imaginations. A world of skills and knowledge, which evolves at the same time as technology, and which goes hand in hand with an aesthetic diversity highlighted in theArtificial Dreams exhibition.

French Touch: Can you tell us about the new exhibition offered at the Grand Palais Immersif, Artificial Dreams?
Roei Amit: This exhibition/experience is entirely dedicated to artistic creation assisted byartificial intelligence. It is an immersion in a poetic universe where man and machine collaborate. Until then we had seen, in exhibitions, certain works created using artificial intelligence, but not such a wide range of contemporary creations, this is a first. 14 artists, who come from all over the world, have come to enrich this exhibition. This shows both the momentum around AI-assisted creation, and the creativity it inspires.

FT: How is the immersive experience constructed?
RA: The Grand Palais Immersif allows you to be surrounded by large formats, associated with music, a specific soundtrack which allows you to discover the journey in this place which has existed for a year and a half now and is totally adapted to this type of event. experiences thanks to our video mapping infrastructures, our media servers… The works presented, which were the subject of curation work by Charles Carcopino, our exhibition curator, were chosen largely for their spectacular dimension , which contributes to making this exhibition unique.

FT: How did you discover the artists who brought this exhibition to life?
RA: We have long been connected to emerging forms of artistic creation, and currently artistic creation supported by artificial intelligence is booming. There is a history to this, algorithmic works created by artists and collectives such as Visual System, preceded the works that we discover today. But the recent evolution of artistic creation tools, closely linked to improving computing capabilities, allows the emergence of more and more artists, who have already created with digital technology and are gradually moving towards these new practices, such as Sabrina Ratte, Andy Thomas and many others... In the future, I think we will even see artists who will start creating with artificial intelligence tools, and will only create with that, which opens new horizons of creation.

FT: This emergence of know-how and artists from very varied backgrounds who come together at the Grand Palais Immersif also makes it possible to promote international synergy?
RA: Yes, this allows us to create connections and showcase a very dynamic scene in France with artists like Justine Emard, Trypheme & Ulysse Lefort, very active. But it is also an opportunity to welcome a global phenomenon through artists from Montreal, Tokyo, Germany...

FT: Is it in the nature of professionals in the cultural and creative industries and entertainment to take a close interest in AI and tech in general?
RA: What is interesting is to see how technologies act as a catalyst for new expressions and create new ecosystems of expression, ideation and sharing. These new artists are also project managers, producers, they collaborate to integrate very high-level technique, engineering... a multitude of skills into their process. The evolution of machines and interfaces is changing the relationship with art and artistic creation, which is often at the forefront.