NETJETS US VOLUME 9 2019

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artscape diverges most from more traditional mediums. Big-name artists like Marina Abramovic, Anish Kapoor, Olafur Eliasson and Antony Gormley have recently produced works that are freely accessible, not only at exhibitions but also online and in apps, so that anyone with a VR headset (or cardboard smartphone holder) can view the works for themselves. There is something almost revolutionary about this, and the man leading the democratic charge is Daniel Birnbaum, a longtime radical who shocked the art world last January when he left his eminent position directing the Moderna Museet in Stockholm to take the creative reins at London-based Acute Art, where most of the boldface names are producing their VR works. He has taken a serious gamble on VR as an art form, but he holds a remarkably long view of its potential: “There are some who say you could view art as a sort of service, not something you own or keep for yourself, but something you have access to—a little bit like Spotify or Netflix,” he says with a smile. “On the other hand, I’m not so sure. It’s a potential. There is something wrong if VR art is only collected like traditional art. There is potential for it to be distributed much more widely than that, so you don’t have to go to the Frieze Art Fair or to a big museum in Paris. You could be in a little suburb of Zagreb and see the exact same things. There is a sort of quasi-utopian aspect of this—that it could be everywhere—but I think it will take a while.” Birnbaum notes that some artists have shied away from the medium, not wanting to isolate the viewers so much, but even among those who have embraced it he sees a glimpse of that utopian spirit: “The people who want to try it are there because they are curious, not because they want to grow their audiences or make money.” It’s unusual in our age to see so much talk about art without foregrounding finance, which is why VR is so confounding—it is both democratic and cutting-edge, a pairing that has become exceptionally rare. But there is one place where this pairing is perfectly at home: Museums, which often have the same twin values. Even the Louvre, staid as it is, will offer the Mona Lisa VR experience to people not able to come to Paris during the exhibition on Viveport, the digital subscription service from HTC, the firm that makes the Vive headset. “Allowing visitors who may not be able to visit the exhibition in person to access this remarkable masterpiece by Leonardo da Vinci through our home version will give unprecedented access to da Vinci’s most celebrated painting,” says Victoria Chang, Director of Vive Arts at HTC. Chang’s pride in the democratization of the world’s most valuable painting is a far cry from the price-centric discussions of that other Leonardo masterwork, the Salvator Mundi, which sold for $450.3m in 2017. It might well be that in a few decades we will look back and see that VR’s biggest effect on the art world will not have been as a medium for artists, but as a means for making our artistic masterpieces more accessible to viewers across the globe. A starry sky in Olafur Eliasson’s Rainbow, 2017 XXXXXXXXXXXXX 70 NetJets
“There is something wrong if VR art is only collected like traditional art. There is potential for it to be distributed much more widely than that” XXXXXXXXXXXXX COURTESY ACUTE ART 71 NetJets
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