In Paris, the virtual exhibition of the Grand Palais immersive offers spectacular images of the lake city, but omits whole sections of its history.
by Harry Bellet
The exhibition dedicated to the city of Venice, to the brand new major immersive palace, attached to the Opera Bastille, in Paris, is made for pigeons. It is, physically, the feeling that gives the first view, that plunging on a giant screen placed from bias below, of the city parading as the crow flies. The images are spectacular and remarkably worked. But it is also, intellectually, the one that the visitor feels at the end of the course. After feeling growing wings, you feel pigered.
Admittedly, we were able to do toy with touch screens: during our visit, they worked almost all – beautiful and rare performance in this kind of exhibition. We were thus happy to succeed in identifying, by their silhouette and a series of questions, the small trades of the Venetians, alas, without ever having been explained to us that, in one of the republics of the Middle Ages, those those -CI did not vote, the power being confiscated by some 2,000 (out of the 150,000 inhabitants) patricians.
We also followed the very uncomfortable Venice visit by one of the characters in the Assassin’s Creed video game, who takes pleasure in flouting from roof roof. Rather successful (especially the graphics), but unfortunately limited to four of the six districts of the city and to three places, very summarily described, for each. We also discovered how the Venetians harvested the salt of the lagoon, one of the bases of the city’s fortune in its early days. The other was the slave trade, but of these, there is no question. And, more generally, great maritime traffic, which is only moderately described.
epic butcher
On the Mude, these convoys of galleys of the Serenissima sent biennnial in the distant – up to Antwerp, to the north – to exchange goods, very little: we prefer to focus on the arsenal, capable of building A ship in one day, or on the grand battle of Lepante (1571), which was a victory (it seems, but very expensive) of Christianity over the Turk. On the other hand, view in painting and disproportionately enlarged on three giant screens, the butcher’s shop – The sea was red of blood, according to contemporaries – becomes epic. The children, large and small, contemplate religiously before looking at the all golden model of the BuCentaure, the nave on which the Doge would ritually renew its wedding with the sea.
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