Since 2018, theAtelier des Lumières (a former foundry in the 11th arrondissement) has become one of the most visited cultural venues in Paris, captivating over a million visitors a year. Here we meet its conductor, Grégoire Monnier, director of Culturespaces Studio (the group's immersive exhibition production company). For Sortir à Paris, he talks about the philosophy behind the site, its artistic choices, and the secrets behind this extraordinary experience.
Grégoire Monnier: I'm the director of Culturespaces Studio, the structure that designs all the immersive exhibitions at Culturespaces sites. I joined the adventure four years ago, coming from a rather financial background, but with a passion for image, sound, technology and the visual arts. Today, our studio has grown from 4 to 18 people, and we manage projects not only in Paris, but also in Amsterdam, New York, Dortmund, Seoul... It's a great human adventure, very creative.
Grégoire Monnier:Because our approach is very different. A museum exhibits physical works, whereas we offer an immersive, playful and sensory experience, designed to be both accessible and emotional. The objective remains the same: to introduce visitors to an artist or a period, but with very different codes.
Grégoire Monnier: There are three keys: first, the location, a former industrial foundry with a strong identity. Secondly, the technology, which is highly efficient but discreet, transforms the space. Finally, the quality of the exhibitions, which aim to appeal to everyone, from art enthusiasts to the curious.
Grégoire Monnier: Yes, clearly. We want everyone, from specialists to children, to be able to feel something. It's another way of entering a work. Sound plays a major role in immersion - the soundtrack is the backbone of our exhibitions. It translates the artist's emotion and amplifies the experience.
Grégoire Monnier: We were among the pioneers of immersive art in Paris. Since 2018, the sector has developed strongly, and we're proud to have contributed to this craze. We're not replacing museums, we're offering an original gateway to art.
Grégoire Monnier: Everything starts with a strong theme, often defined with the rightful owners or scientific advisors. Then we create an exhibition scenario in chapters. Each chapter is associated with an emotion and an often surprising soundtrack. We then dissect the images to animate them and stage them fluidly in space. There's a real artisanal aspect to this painstaking work, with teams working for months on end. It's magical, even for us.
Grégoire Monnier: It's an intense collaborative effort, with our teams and our sound studio. We're looking for surprises, contrasts and sometimes the opposite. If a visitor is surprised, it's because we've succeeded in our gamble. Sometimes there are long discussions, but we always keep the visitor's emotional experience in mind. The ideal situation is when a song echoes a work of art, even in an unexpected way.
Grégoire Monnier: The quality of the projectors has greatly improved. But above all, we've opened an interactive room for children : they can color an animal inspired by a painting, scan it and see it appear animated in an immersive jungle around them. The walls are tactile and responsive: it's a revolution in our approach. Parents tell us they've never seen their children so engaged in an exhibition.
Grégoire Monnier: We're thinking about it. But it all depends on space, volume and visitor flow. In such a vast room, it's difficult to integrate certain effects like directional sound or smell. But we're taking it one step at a time.
Grégoire Monnier: We're still for the general public, so our reputation is important. But there are still many themes to explore, including lesser-known figures andcontemporary art. The most important thing is to touch visitors.
Grégoire Monnier: Because they're the adults of tomorrow! As a child, my father was always taking us to museums on our travels. It's important for us to give young people a taste for art, with fun features, special visits and family rates. Today, 25% to 30% of our visitors are families, and 30% are under 30. And as a father, I see it: art can be a game, an emotion, an opening. We want to be their first artistic crush.
Grégoire Monnier: We want to keep the wow effect. There are more and more immersive offers. So we're looking to go even further in terms of emotion and creation. New devices are currently being developed.
Grégoire Monnier: I go to immersive exhibitions - of course! - and I take my children to museums to observe their reactions. And otherwise, I enjoy Paris by bike... and some good restaurants run by friends like Entier (43 rue d'Amsterdam) and Bonhomme (58 rue du Faubourg Poissonnière)!
Grégoire Monnier: Come along! It's an experience you have to have at least once. And for those of you who have already come, you should know that everything is constantly evolving. 30 to 40% of our visitors come back. We hope to continue to amaze you.
