Explore Swiss painting with Virtual Reality

Virtual reality headsets are a dream come true for gamers around the world and VR technology never ceases to amaze with the breadth of possibilities it offers. Its ability to create a virtual environment to simulate different situations or locations has made it indispensable as it increases efficiency, reduces costs and risks of production and training in many industries such as healthcare, automotive or real estate, to name a few

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1. Introduction
2. Why did you choose to use VR for this project?

Introduction

Virtual reality headsets are a dream come true for gamers around the world and VR technology never ceases to amaze with the breadth of possibilities it offers. Its ability to create a virtual environment to simulate different situations or locations has made it indispensable as it increases efficiency, reduces costs and risks of production and training in many industries such as healthcare, automotive or real estate, to name a few

VR can be used for a variety of purposes such as prototype visualization in the automotive industry or simulation-based learning in medicine for surgical cases. It is also practical for more immersive travel experiences in tourism. The reconstruction of historical monuments in VR allows visitors to better imagine each building they visit.

The field of art is also interested in VR. This is the case of “Hors cadre”, a project realized in 2016 by Yves de Met in collaboration with “DNA Studio” and the Swiss radio and television “RTS” around Swiss paintings and painters in Swiss museums. The project is a series of four films, each dedicated to a different artist and approached in a different way. Arnold Böcklin with “The Island of the Dead”, Félix Valloton with his series of engravings “Les intimités”, Ferdinand Hodler with two of his paintings entitled “The Night” and “The Woodcutter”, and finally Paul Klee and the puppet theater. The innovative technology allows to dive into a new experience in museums and galleries.

Why did you choose to use VR for this project?

Museums are sometimes very succinct in the information made available to the novice public. With Hors-Cadre, we wanted to allow the visitor to immerse himself in the painting and to obtain essential information to understand the work, while having fun.

It is often thought that Swiss classical painting is not very extensive or rich, whereas it is in fact full of splendid works with fascinating stories. By selecting Swiss paintings from different periods and styles, we want to offer the audience a sample of this cultural wealth. We hope to help viewers discover other Swiss artists for themselves.

We believe that virtual reality is capable of bringing Swiss art and culture closer to the people, and in particular to young people, helping to maintain (or even expand) the visibility of these great national artists. It is not just a matter of transferring these works into virtual reality, but of explaining them and proposing a reimagined version.

It was very important for us that people experience them. Experiences that are as immersive as possible in the work of painters that they knew but did not necessarily know very well. This allows them to better imagine the artist’s universe.

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Each film has a different angle of approach. “Böcklin’s is a journey through the painting, Valloton’s is a three-dimensional journey directly into his studio, Hodler’s is based on a game where it is possible to move around, and finally Paul Klee’s is probably the most accomplished within the limits of current VR technology and tells the story of the artist’s life in 11 minutes.

It’s an assembly of different talents that led to the creation of these films. Our “DNA” team was composed of people for both digital development, graphics and sound design but we obviously received artistic advice from the artists’ foundations involved.

DNA Studios is a company based in Switzerland and founded by 4 friends in 2013 with the aim of creating digital projects. Video games, virtual reality, serious games, e-learning. They collaborate with many companies and associations also based in Switzerland. Novartis, Nestlé, Richemont or Raiffeisen have worked with them.

The producer adds: “The collection out of frame has 4 paintings 4 painters. If you make the relation, they are all dead for a long time. We would love to work with a woman, a contemporary artist and do something completely different because the title of the project is called hors cadre, that’s the beauty of it is that we can do whatever we want with this project. We have contact with two very big contemporary artists whose names I can’t share with you right now.”

“The feedback we’ve received is more positive. Between 80 and 90%, which is very high. I think it’s because people are also discovering VR through this.”

Conclusion

VR is mainly aimed at the new generations and museums are drawing the right conclusions in order to attract this new population to their establishments or to create a means of identification with these places. The feedback is very positive and the development continues to progress.

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