The last edition of NUMIX LAB in November 2024 in Leipzig saw the launch of the Immersive Centers Alliance (ICA), an unprecedented network of independent cinemas initiated byOASIS immersion (Canada), the Remastered (Netherlands) and Kunstkraftwerk (Germany) (find out more HERE). Following this launch, the first Alliance Summit (ICA) was held in May 2025, supported by {CORRESPONDANCES DIGITALES] and Xn Québec. The co-founders were joined by other industry specialists and immersive rooms (including Visiodrom (Germany) and GIOLABS @ GRIDX (Luxembourg). The week-long summit featured workshops and visits to inspiring locations to kick-start the structuring of the network. During the week, a time of exchange with the wider immersion ecosystem (creative studios, technology companies, etc.) was organized on Thursday May 29 by the ICA and GIOLABS @ GRIDX. Xn Québec to discuss the evolution of the industry and new opportunities in experiential design strategy and public expectations of experiential destinations. Participants included :
- Normal Studio, specialized in video mapping, worked with OASIS immersion on the project VAN GOGH – Distortion ;
- After Midnight studio specializing in immersive installations and visual experiences, presents its creations in public spaces and temporary installations;
- Eden creative studio, compagnie d’art vivant et multimédia spécialisée dans le divertissement interactif ;
- Or the circus company les 7 doigts integrates digital technology into its circus creations as a narrative and scenographic tool, using video mapping, motion sensors and hybrid projects.
A rich and fascinating exchange structured around a strong theme: the search for balanced collaborations between virtuous business models, technological contributions and artistic innovation.
Striking a balance between a virtuous economic model and artistic creativity: adaptability at the heart of the encounter between immersive rooms and creative studios.
One of the first points raised during this exchange was how to ensure the economic viability of artistic productions that are often conceived as unique, original and made-to-measure. The works produced by creative studios are often constrained to pre-determined digital formats: virtual reality, video-mapping, installation or interactive works, etc. The ability to adapt these works to other formats is therefore a key factor in ensuring their portability. The ability to adapt these works to other formats is therefore a major challenge, to ensure their portability. The ability to adapt a project in different formats or modular bricks seems essential to adapt it to the greatest number of locations. The idea has even been put forward of creating shared tools or libraries of reusable content (animations, sound effects, interactive elements).
Aware of these constraints, our creative partners are increasingly anticipating the creation of works in advance, with a view to adapting their formats. This is how works are increasingly conceived at Normal and Les 7 Doigts.
As for the rooms, each being unique, the specificities of each can only be observed between theOASIS immersion tour, that of Remastered or Visiodrom. Faced with these challenges, it seems increasingly necessary for them to be able to provide their technical constraints to their creative partners in order to build increasingly modular works that can adapt to a diversity of itineraries, visitor experiences and technical equipment inherent to each of these rooms. Among the examples shared on this subject, the “transformed” exhibition implemented by OASIS immersion in 2023 is particularly inspiring. The Quebec-based immersive room selected 8 works accessible in VR headsets in line with the exhibition’s theme of courage and empathy. It then adapted them in video-mapping format to create an immersive, interactive walking exhibition.
- THE ICA’S CONTRIBUTIONS: given the challenges of adaptability, the ICA’s ability to bring together different immersive rooms will enable them to better share their technical prerequisites with a range of creative partners. The multi-sponsor co-production logics that will be encouraged by the ICA will also make it possible to share these adaptation challenges at a very early stage with the various partners who will support these initiatives. In this way, the ICA can be a privileged contact for associations such as Xn Québec and its equivalents in other territories, acting as a conduit for transmitting this information to the ecosystem. A solution to guarantee a more concrete and recurring dialogue.
Strike a balance between interactive solutions, enrichment of the audience experience and ease of operation.
Another crucial point in the collaboration between design studios and immersive rooms is the need to enrich visitor experiences and offer more and more interactivity.
However, this interactivity needs to take into account the level of equipment already present in immersive rooms, and the experiential added value that can also be expected from them. This interactivity is present, for example, at every stage of the visit to Remastered in Rotterdam. Visitors are invited to create a 3D digital work of art at the start of the tour, and interact with various projections throughout the visit.
This interactivity is increasingly at the heart of projects developed by creative studios. Among the many projects mentioned, Après Minuit ‘s recent work with Mirari for the Canadian Pavilion at the Osaka World Expo is fairly emblematic of our ability to create interactive works for a wide audience.
Interactive solutions are becoming increasingly popular, creative studios are mastering interactivity better and better, and immersive theaters are investing in these formats, enriching the audience experience. However, the reality of immersive rooms is that the installation and maintenance of this type of solution, and the management of visitor flows, are not easy.
- THE ICA’S CONTRIBUTIONS: the need to establish an upstream dialogue between creative partners and immersive theaters to identify operating constraints and possible solutions seems essential, and will therefore be at the heart of one of the ICA’s missions.
Strike a balance between the need to open up to the living arts in order to renew the experience of the site, and operationality.
Integrating live entertainment into venues equipped for immersive or interactive formats raises a recurring problem: the high costs and operational complexity involved in human performance. These constraints can weigh heavily on the business model, especially in venues that rely on high attendance and a certain fluidity in the formats offered. At the May 29 meeting, the presence and feedback ofEden creative studio and Les 7 Doigts on this issue were particularly valuable.
Immersive rooms such as OASIS immersion (with the occasional integration of dancers as part of the “Dreaming Asia” exhibition) are also available.”Dreaming Asia” in collaboration with French studio Danny Rose) or Kunstkraftwerk (with Volt[age], an immersive ballet created in collaboration with the Musikalische Komödie Leipzig) have also already tested collaborations at the crossroads of live arts and digital creativity.
This type of collaboration attracts new audiences and enriches the cultural programming of immersive venues. These formats are, however, expensive. They require premium pricing and additional programming risk for immersive theaters.
Faced with these risks, creative studios at the crossroads of the performing arts have highlighted their know-how and the way in which they have developed “light and rotating” formats that are easily adaptable, autonomous and exploitable over a long period of time. The contribution of interactivity also makes it possible to create hybrid creative projects without a constant human presence.
- THE ICA’S CONTRIBUTIONS: the creation of live arts projects with creative partners could be much easier if touring with ICA member theatres could be envisaged.
Faced with the growing complexity of immersive projects combining artistic creation, technological innovation and distribution requirements, a central question emerges: how can we work together more effectively and sustainably? Collaboration between creators and venues needs to be strengthened, with a strong emphasis on establishing links at the earliest stages of projects. Working together at a very early stage enables content to be better adapted to technical and commercial realities. The development of “intelligent mechanisms” can enrich the experience without upsetting the economic model. All these issues are those of the ICA, and require constant dialogue with industry players. Many opportunities for exchange and collaboration lie ahead.