Introduction

Recently, galleries and artists are involved in multisensory projects that cross 3D modeling, sound, two-dimensional images, animation, augmented reality, holography and virtual reality, associated with artworks. But what is virtual reality? Virtual reality has as its main characteristic the sensation of immersion and resorts to an interface that promotes access to applications executed by the computer or similar through multisensory devices. This characteristic is possible thanks to the existence of 3D virtual environments that provide sensations that these spaces are being visited in real-time. The greater the hyperrealism in these virtual worlds, as well as their visualization capacity and speed of feedback by the technological devices used, the greater the sensation of immersion. Virtual reality glasses allow you to detect changes in user behavior, such as head position, gaze position, movement, height, etc. But what does this have to do with the art world? The virtual reality experience could recreate a fully three-dimensional virtual gallery environment, making it possible for us to become part of its context as active agents capable of performing actions that allow interaction with the artworks and total immersion in space. Using interfaces for interaction with the artworks, such as the hand controls that appear as an extension of the human body that promotes the artist/spectator’s approach to the technological and artistic domain, as well as allowing the direct purchase of artworks during the experience, a new way of experiencing the art world has emerged. Through virtual reality technology, it is possible to transport people to an immersive artistic world, where they can experience different forms of artistic expression such as paintings, sculptures, installations, and performances. This virtual experience provides an opportunity to explore artistic diversity without the physical and geographical barriers that often hinder access to traditional art.

Overall, virtual reality promises to be a vanguard in the art world, providing artists with a new set of tools and audiences with a fresh perspective on the creative process. With this in mind, it is an exciting time to be involved in this rapidly evolving field. I will use the case study of the Artbox VR project to consider the potential for VR technology to transform the way that art is consumed, experienced, and created, and to question how the creation of a virtual reality gallery can have a significant impact on the fight against inequality and the promotion of social inclusion.

The Artbox VR project started during the Covid-19 pandemic in Portugal as a way to bring art to people who no longer had access to cultural centers and galleries. It continued to develop in the post-pandemic era by bringing art to isolated regions where there are no cultural centers or galleries, as well as to an older population through partnerships with senior associations. Additionally, it aims to bring art to schools where museum field trips are not possible due to their remote locations. This raises relevant questions about how cultural institutions can promote accessibility and democratization of culture, both of which are essential for equal opportunities.

It also presents itself as a way to eliminate barriers in certain creative processes. With the ability to create fully immersive three-dimensional worlds, artists can bring new dimensions to their works previously impossible to achieve. This presents a unique opportunity for artists to explore and express themselves in new and innovative ways. The future of virtual reality in art is exciting and unpredictable in equal measure. With advances in technology, we can expect virtual reality experiences to become more sophisticated and realistic, offering ever-greater levels of immersion. Developments in AI and machine learning will also likely play a role, providing new opportunities for artists to expand the boundaries of interactivity and engagement in their works. In terms of the impact of virtual reality on the art world, the potential is vast. Virtual reality has the power to democratize art by providing greater accessibility for audiences around the globe. It also creates opportunities for new and diverse forms of art that can be created and appreciated in real-time and in 3D from remote locations.

My goal is to question the role of a virtual gallery in overcoming barriers and challenges to ensure cultural accessibility during the Covid-19 pandemic in Portugal and how that continues to be a challenge after the end of the social isolation associated with the health crisis. I believe that virtual galleries have been developing innovative strategies, such as the recreation of exhibition spaces and dynamics in virtual reality and augmented reality, in order to democratize access to culture, value local cultural expressions, and combat inequality of cultural opportunities in isolated areas or during periods of social isolation and among different population groups. This was a particularly relevant issue during the Covid-19 pandemic, but the underlying problem regarding this issue is the challenge of maintaining cultural accessibility after the end of the social isolation caused by the pandemic in Portugal. The objective is to question the role of virtual galleries in overcoming barriers and challenges to ensure access to culture and how this continues to be a challenge even after returning to normalcy, starting with presenting the project targeted in the case study.

ABOUT ARTBOX VR PROJECT

São Rafael Galleries is revolutionizing the way we experience art in the 21st century. With the belief that computer vision is the future of preserving and exhibiting heritage art, they have launched a groundbreaking project that aims to bring technological sophistication to the Portuguese and global art market. The Artbox VR mission is to leverage the latest advancements in virtual and augmented reality to create immersive heritage experiences that raise the bar of exhibition standards and offer unparalleled access to exclusive artworks from national and international artists. By leading the normalization and expansion of digital markets, the project seeks to protect the next generation of museums and galleries while scaling new heights in art innovation, creativity, and passion. São Rafael Galleries invite us to a journey that ignites our imagination, fires our passion, and explores the limitless potential of technology. Artbox VR is a step ahead; it’s a huge artistic production that fits into a 30cm technological box. More than an exhibition, Artbox VR is an innovative immersive cultural center in motion. The works jump out of the frames, and the paintings come to life in an innovative experience that allows us to appreciate real works of art enhanced through a virtual environment. Also, inside the Artbox VR, the spectator can move through the exhibition rooms and interact with the works of art, immersed in the pictorial universe of contemporary art, crossing different rooms where in some cases huge projections of the works allow him to feel completely immersed in the works painted by the artists that are animated and interact in a second plastic dimension, a vibrant, and unforgettable sensory experience with an audio description narrated in voice-over.

Inside Artbox VR, the spectator will be able to choose between several experiences in the field of plastic and visual arts, with options that range from classical to contemporary art. Artbox VR, using virtual reality, manages to turn the two-dimensional into threedimensional with the possibility, through the Artbox VR pack, to be accessible and experienced not only in the presentation space but also from home. The insertion of hyper-realism in virtual environments differentiates this project from any other existing nationally and internationally, having been distinguished with the Best Use of Technology in Portugal by the Iberian Festival Awards ’23.

By providing a platform for artists to experiment and explore new possibilities in a virtual environment, Artbox VR has made waves in the art world. The project represents the forefront of this rapidly evolving field, utilizing cutting-edge technology to offer viewers a truly immersive and interactive experience. By creating experiences that are both sophisticated and realistic, the project is tapping into the full potential of this technology and providing a glimpse at what the future of virtual reality art could look like.

Nevertheless, virtual reality holds great promise as a new medium and form of art. It can be both a tool and a subject of artistic creation, inspiring new forms of expression and reflection. It can also foster cross disciplinary collaborations and dialogues, as well as engage diverse communities and audiences, who usually do not have easy access to cultural facilities. As such, a virtual reality gallery can be not only a work of art but also a catalyst for social and cultural change.

Case Study: AR Experience in Private Space and VR Experience in Public Space

I began following the project in 2019 when it emerged during the Covid-19 pandemic as a way to combat social isolation by providing access to culture, inclusion, engagement, and encouragement of creativity within the cultural sector.

The augmented reality gallery created a three-dimensional interaction model that functioned as a virtual visit to the artwork, interacting with various devices, especially with the advent of 5G, such as projectors, 3D glasses, and computational systems. Artworks could be explored through an online virtual tour, and this experience could be enjoyed in private spaces, ensuring free access to culture and heritage even during health crises and expanding the exhibition space beyond the physical realm.

The main insights I obtained during this period regarding the implementation of the project revolved around understanding how a virtual gallery allowed people to access exhibitions and artworks without leaving their homes. This enabled individuals in social isolation to appreciate and explore different forms of art, expanding their cultural horizons even when physically restricted. Inclusion and accessibility became fundamental concerns during the pandemic, and the virtual gallery made art more accessible to a diverse audience. By being able to explore exhibitions virtually, physical and economic barriers were overcome. People with physical disabilities or reduced mobility, as well as those who did not have the financial means to visit in-person exhibitions, could participate virtually and enjoy artworks.

Interaction and engagement were particularly relevant factors, as the virtual gallery also offered interactive resources beyond the virtual tour. Within the tour, visitors could access videos and interviews with curators and artists, as well as purchase the artworks themselves through the tour platform, allowing visitors to have a more immersive and enriching experience even from a distance. Additionally, social media and digital platforms enabled people to share their experiences and opinions about virtual exhibitions, promoting dialogue and connection among participants.

Another important aspect was the notion of creativity and reinvention within the cultural sector. In the overall landscape, the pandemic forced traditional galleries to encourage artists and cultural institutions to adapt and find innovative ways to exhibit and promote their works. This need for reinvention spurred the development of digital platforms and new forms of interacting with the public, opening opportunities for experimentation and collaboration during a crisis.

In 2021, with the easing of the worst phase of the pandemic, the project maintained its objective of combating social isolation but acquired a much more global dimension: it began developing virtual reality experiences in public spaces. A virtual gallery similar to the augmented reality interface was then developed and placed on fully autonomous virtual reality glasses without the need for internet access, allowing the project to be carried out in the most remote regions of the country.

During my fieldwork during this circulation period, which spanned from October 2021 to October 2023, I followed the development of the virtual reality project in various locations, ranging from the remote and aging village of Vale das Mós, Abrantes, Portugal, to isolated schools and senior communities in the Alcobaça region, Portugal,or in the Padre Cruz neighborhood, a social housing neighborhood located in the north of Lisbon. I also visited multicultural neighborhoods in Rome, Italy, and London, United Kingdom.

During the research process, I focused on three distinct projects carried out by Artbox: Artbox VR Contemporary Art, an immersive journey through the world of contemporary art, featuring internationally acclaimed artists from Portugal, Angola, Mozambique, Germany, France, Brazil, Spain, Mexico, Chile, Egypt, Ghana, and Côte d’Ivoire; World’s Great Painters, showcasing iconic masterpieces by Frida Kahlo, Vincent Van Gogh, Salvador Dalí, Picasso, Monet, Klimt, Yayoi Kusama, Michelangelo, Velásquez, and Da Vinci; and Masters of Fauvism, exploring the universe of the fauvist movement with works by artists such as Paul Cézanne, Raoul Dufy, Henri Matisse, George Rouault, Sigrid Hjertén, and André Derain.

I remember a group of septuagenarian women from the senior community who had never had the opportunity to visit the Sistine Chapel, being amazed at the possibility of feeling like they were in Italy while being in Alcobaça. I also remember 7 classes of 7th to 11th grade students, during two consecutive years in which the project was carried out there, not knowing who Frida Kahlo or Van Gogh were. As well as remembering arriving with the project team in a village in the Anadia area and searching for the best physical space to carry out the project and asking a man who was at the café if there was any more suitable space to hold a cultural event, and the man responding “Culture? We don’t have that here. We only have the church and the pillory for culture.” This impacted the work team and further highlighted the importance of the project being carried out there. I also remember several contacts the project production team had with municipal governments and parish councils in isolated areas, whose council or mayor rejected the project for considering the population to be small and poorly educated, and for that reason, a cultural event was not justified. I also remember the interesting dynamics in the Padre Cruz social neighborhood in Carnide, where when the project team invited collectors from high society to be present in the social neighborhood. The upper class was brought together with the more disadvantaged lower class in the same space, and the way people from different social classes socialized, eliminating social barriers. Therefore, this brings us important questions when talking about cultural accessibility in Portugal:

• Lack of opportunities to visit cultural sites: The mentioned group of septuagenarian women had never had the opportunity to visit the Sistine Chapel, which demonstrates the lack of access to important cultural sites. This is a result of geographical limitations and lack of financial resources.

• Students not recognizing prominent figures in the cultural landscape reveals an educational gap regarding art and important artists, which may indicate a lack of access to quality artistic and cultural education.

• Underestimation of local culture: The comment made by the man in the village of Anadia, stating that “here we only have the church and the pillory for culture,” reveals a limited and undervalued view of local culture. The lack of recognition and appreciation for cultural expressions within the community can hinder the development and promotion of cultural events.

• Resistance of local authorities to support cultural events: The text mentions the rejection of the project by municipal governments and parish councils in isolated areas. This resistance may be related to the belief that the local population is poorly educated, resulting in underestimation of the value and importance of cultural events for community development.

• Uniting different social groups and giving them the opportunity to interact and share spaces can promote greater mutual understanding and reduce existing stereotypes and prejudices among these groups. It can create a diverse living environment where people from different backgrounds and contexts can come together and exchange experiences. Additionally, the participation of the upper class in a social neighborhood can help promote greater investment and attention to the problems and needs of that community. This can result in improvements in infrastructure, services, and employment opportunities for the residents of the social neighborhood.

The project enables us to understand how to bring art to regions lacking cultural centers and galleries, making the virtual gallery a space for encounter and social integration. This virtual platform allows people from different backgrounds and contexts to connect through the shared appreciation of art, facilitating the exchange of ideas and experiences. This contributes to the building of a sense of community, the reduction of social stigmas, and the strengthening of social bonds. By making this virtual platform available to isolated areas and the elderly population, the virtual gallery allows these groups to fully participate in cultural activities without the need for physical travel. This is especially important for older people, who often face physical limitations and reduced mobility, making it challenging for them to be physically present at exhibitions and cultural events.

Moreover, by offering a virtual immersive experience in art, the virtual gallery can awaken interest and curiosity in different forms of artistic expression, as it particularly happened with the student population who were fascinated by the works of classical painting and had, for the first time, a perspective on what visual arts truly are. This can encourage the participation and interaction of these communities with art, promoting personal development, creativity, and individual expression.

In summary, the creation of a virtual gallery that brings art to the population during health crises that require social isolation, as well as to isolated areas and the elderly population, is an innovative strategy to combat inequality and promote social inclusion. This initiative breaks down physical and geographical barriers, providing access to artistic diversity and encouraging the participation and interaction of these communities. In this way, the virtual gallery contributes to the democratization of culture, personal development, creative expression, and the construction of a more equal and inclusive society.

Conclusion

In conclusion, the creation of a virtual gallery in response to health crises and for remote and elderly populations is an innovative and effective strategy to address inequality and promote social inclusion. By breaking down physical and geographic barriers, this initiative provides access to diverse artistic expressions, fosters interest and curiosity in various forms of art, and encourages participation and interaction within these communities. Consequently, the virtual gallery significantly contributes to the democratization of culture, personal development, creative expression, and the establishment of a more equitable and inclusive society. The results highlight the transformative power of virtual reality for expanding cultural access and suggest potential avenues for future exploration in this field. Future research should continue to explore the potential of virtual reality in expanding access to the arts, as well as evaluating its long-term impact on individual growth and community engagement.