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Leaders of the
Immersive Revolution

by Sherene Almjawer and Michael Zarathus-Cook | January 31

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Massimiliano Siccardi by Jeremy Lewis

A conversation with Lighthouse Immersive’s Italian team

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Vittorio Guidotti



Massimiliano Siccardi, the Art Director behind many of Lighthouse Immersive’s exhibits, takes it upon himself to revive the works of artists like Vincent van Gogh, Gustav Klimt, and Frida Kahlo in new multi-sensory experiences. Massimiliano spent time studying contemporary dance in London before transitioning to video arts where he created mise-en-scènes for choreographers and theatre performances. He went on to become a renowned photographer and now incorporates all his experience into a stunning and immersive marriage between various forms of art.

What’s your experience watching the success of Immersive Van Gogh and how well it was received by the public?

MS - I think that this work on van Gogh was painful, in a way, because this was my third time doing an immersive exhibit. And this time, I decided to speak of van Gogh as a man. I think that what I was surprised about was that people actually understood and realized that I was talking about presenting van Gogh as a man.

What are other concepts, artists, or ideas that you would like to translate into the immersive space?

MS - Frida is a very interesting artist because she experienced the Russian Revolution and the Industrial Revolution in the United States. She became an icon because she was the first to give her body to the service of her own art and was the first performer in the traditional arts. That’s why she’s still appreciated. So I worked on her being a pop artist—surreal, but also human. I think she is the first female artist shown in an immersive space in North America.

In Klimt’s exhibit, there’s a scene in a painting where two people are trying to kiss but they never connect. I inserted a piece of choreographed dance in the show. These dancers represent what happens in the body the moment you’re going to kiss. There, my background in dance and theatre is being represented in how I make the images dance.






A Very Fine Art

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Hayao Miyazaki



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Emily D'Angelo

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Anthony Barfield

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For Immersive Klimt, what did you want to do differently from IVG? And how did your team at Visioni Eccentriche continue to push boundaries with this project? 

VG - Immersive Van Gogh and Immersive Klimt are stylistically two very different pieces.

Van Gogh has purely an emotional approach. Our efforts focused on enhancing the emotions evoked by the paintings. The concept behind Klimt is the idea of Revolution. The Viennese Secessionist painters challenged the art conventions of their time. We wanted to do the same, experimenting with new animation techniques and approach the graphic work from a more contemporary perspective, to give back to these paintings their meanings, but in a modern context.

Another novelty was shooting a dance-video that I had the pleasure of directing. We filmed a choreography created by Marco Realino that reinterprets Klimt’s most famous work, The Kiss. This piece evokes the painting’s sensations and creates a harmonic contrast between past and present. Immersive Klimt is a revolution that starts quietly and ends thunderously. Our work is almost invisible at the beginning of the show, but increasingly more evident toward the end, when it completely upsets the nature of the paintings in a climax of minimalistic deconstruction where everything becomes a pure equilibrium of shapes and colors.

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