Under CEO Bruce Peterson’s leadership, Grande Exhibitions has not only reconsidered how exhibition-goers view and understand art, but developed and launched an entirely new sensory approach to touring shows.
Grande Exhibitions was set up in 2006 to “create and own unique content to exhibit globally,” as CEO Bruce Peterson explains. Peterson was responsible for bringing the first Leonardo da Vinci exhibition out of Italy to Melbourne, in Australia, and after its success Peterson moved his family to Italy to be able to work more closely with Italian artisans and experts, in order to establish the most comprehensive da Vinci exhibition to tour the world. Grande Exhibitions now has five separate and complete Leonardo shows in its portfolio – which together cover four different themes – and also owns and operates its own private museum on Leonardo da Vinci in Piazza del Popolo, in Rome. Since its launch, Grande Exhibitions has gone from strength to strength, having exhibited 120 times in 86 cities around the world, and covering 22 languages.
Grande Exhibitions stands out as one of the few companies that conceptualise, design, create, promote and manage exhibitions throughout the process, with much of the work being created in house
Grande Exhibitions stands out as one of the few companies that conceptualise, design, create, promote and manage exhibitions throughout the process, with much of the work being created in house (aside from the actual fabrication). As you’d expect, the internal teams at Grande Exhibitions play a pivotal role in the company’s work, with 26 staff around the world in offices in Melbourne, London, Rome, Santiago, and a soon-to-be-opened US office. “We purposefully developed a company staff mix where everyone can perform multiple tasks within the company, so we always have a back for the unexpected,” explains Peterson.
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Another element that marks Grande Exhibitions out from the competition is its development and use of SENSORY4, an immersive new way of engaging visitors with exhibition content. Peterson explains that he first came across this kind of projection-based environment back in 2009, while still a very new technology. Over a two year period, the team at Grande developed SENSORY4 as a software and hardware system that was able to travel, could be adapted to venues of all sizes, be cost effective, and remain stable across the course of an exhibition. These SENSORY4 experiences have proved especially popular across different institutions and markets around the globe.
This year, one of Grande’s standout projects is its seventh SENSORY4 exhibition, hosted in an 11th century deconsecrated church in Florence
This year, one of Grande’s standout projects is its seventh SENSORY4 exhibition, hosted in an 11th century deconsecrated church in Florence, just 50m from the Ponte Veccio. Inside this church, visitors can enjoy a unique immersive experience for Van Gogh Alive, which sees images projected on the walls, windows, crypt and dome. “It’s just a wonderfully different new project, and the Florentines, some of the most discerning culture critics in the world, have really embraced the experience and visited in great numbers,” says Peterson. Notably, the exhibition has been designed to allow the church to continue to host pre-booked concerts with minimal disruption from the exhibition, or its equipment.
Watch more: https://vimeo.com/123385837