Lighthouse Immersive ‘Touch’ Promises Immersive Live Connection
Hybridism and fusion in the arts are really the future to come. Through the blending of borders, different art forms are able to merge to create new experiences beyond the sum of their parts. Visual arts, sound design, performance, literature and film can all benefit greatly when recognized as units. And the next exhibition of Lighthouse Immersive To touch will certainly be an exemplary demonstration of this approach with their fusion of dance projection works.
Lighthouse Immersive is a Toronto-based company that describes itself as an “experiential entertainment multiplex,” characterized by its programming that utilizes its physical space and digital projections alongside live performances. Immersive Van Gogh, which has been around for several years now, has been a widespread success that places audiences in the visuals of the iconic artist. Founded by producers Corey Ross and Svetlana Dvoretsky and developer Slava Zheleznyakov, Lighthouse Immersive has also expanded to Chicago and San Francisco.
To touch, which was announced with an opening date of September 29, is a poignant concept after more than a year of physical distancing. Presented at Lighthouse Immersive Gallery 2 designed by Guillaume Côté with a collaboration of the artists of Côté Danse and Thomas Payette, it combines modern dance and 360 projection design in an interactive form. Lighthouse Immersive states:
“We discover the lost sense of touch as we experience the visceral intimacy of physical contact through their desire, love, confusion, frustration, pent-up rage and catharsis to express their innermost feelings. “
If the images of the production give any idea of what the full offer will look like, it is sure to be a breathtaking exhibition. While the use of lighting design in dance performances is by no means a revolutionary feat – a standard at this point – the power that radiates between the boundary of bodies and the expansion of projections for To touch magnificently amplifies the shape and movement of those motion snapshots.
Live exhibits are gearing up for a comeback, and it’s a more than welcome return. The quality of this first wave of performances seems to have a common thread in their concern for intention, their focus on aspects that were sorely missed by communities. Phare Immersif’s To touch is a fitting step back in this area of the connection, and it’s obvious from the handful of preview documents that this will be an exhibition you shouldn’t miss.