When the Hall des Lumières (HdL) opened its doors in 2022 with a stunning installation on Gustav Klimt, it marked a significant leap forward for the immersive art industry. This venue, situated in the historic Emigrant Savings Bank building in Manhattan’s Financial District, quickly gained acclaim. However, as of February, HdL has “taken a pause” on its art exhibitions to “curate the next series,” embarking on what its website describes as “a new chapter.”
In this transition, HdL has diversified its offerings beyond traditional art exhibitions. The venue has started hosting a variety of non-art events, including puppy yoga, pilates, and an immersive whiskey tasting with Irish storytellers. Recently, it also featured a drag show with a performance by singer-songwriter VINCINT. Currently, there are no upcoming exhibitions or art-related events listed, indicating a strategic pivot to engage audiences in new ways and generate revenue.
Alexandra Reiss, managing director at HdL, explained that this new focus allows for fashion shows, brand activations, and other private events while the venue prepares for more customized exhibitions for the public. “Some of these new shows, which have been showcased at our venues around the world, will eventually make their way here,” Reiss said. She hinted at future exhibitions such as “Egyptian Pharaohs – From Cheops to Ramesses II” and “Van Gogh – Starry Night.”
Additionally, HdL plans to reintroduce a previous exhibition for a limited time this summer, although details remain under wraps.
David Milch, director of Baruch College’s arts administration program, noted that HdL’s shift towards sensory-related activities like yoga could draw in locals and generate word-of-mouth promotion among those less familiar with traditional museum visits. “We are in a city where if we want to see a Klimt, there are museums where we can go and see the Klimt,” Milch said. “What we’re adding is this immersive sense as well as something that feels perhaps less daunting than walking up the steps at the Met.”
HdL’s decision comes amidst a crowded market for immersive experiences. Competing venues like the Museum of Illusions and Summit at One Vanderbilt offer a variety of interactive installations, while companies like Toronto-based Lighthouse Immersive have faced financial challenges, recently filing for Chapter 15 bankruptcy protection. Despite this, HdL’s innovative approach could help it stand out.
In addition to art exhibitions, HdL has explored virtual offerings such as “Destination Cosmos – Space Exploration,” a partnership with NASA featuring stars, planets, nebulae, and supernovae. This move reflects a broader trend towards diversifying immersive experiences.
Noah Nelson, executive director of The Immersive Experience Institute, referred to projection gallery companies as “chasing a fad,” driven by pent-up demand for in-person experiences post-pandemic. He compared HdL’s model to other immersive art experiences like Meow Wolf, TeamLab, and Sleep No More, which engage audiences actively and offer a narrative-driven experience.
In contrast, Superblue, another immersive art center, has focused on developing local connections alongside its experiential exhibitions. Featuring works by contemporary artists such as James Turrell and Rafael Lozano-Hammer, Superblue has established a strong presence in Miami and recently celebrated its third anniversary with a neighborhood block party.
Shantelle Rodriguez, director of experiential art centers for Superblue, emphasized the importance of creating meaningful, community-oriented experiences. “Traditionally, the thought when someone hears about an immersive exhibition is that it’s a pop-up,” Rodriguez said. “We really wanted to show Miami we are in it for the long haul.”
Despite financial challenges and board changes, Superblue continues to engage with the community through events like summer camps for young artists and the Chroma Art Film Festival.
Amy Whitaker, associate professor of visual arts administration at New York University, suggested that HdL’s pause could be beneficial in the long run. “On the economic side, I would think they’d rather lose money on the rent or refocus on other things to cover their rent rather than have to invest in the technological programming infrastructure,” she said. Whitaker praised HdL’s commitment to integrating art with its architectural space and recommended further collaboration with artists and program partners.
“We are wired to be susceptible to the magic of visual experience, of storytelling, of the ways in which technology can create community of experience,” Whitaker said. “An installation work that has the utmost rigor toward wonder first, and then it’s an economic model second.”
As HdL navigates this new chapter, its innovative approach and dedication to community engagement could pave the way for a successful future, blending art, sensory experiences, and cultural events to create a unique and dynamic venue.
