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On the occasion of the 11th edition of the Kikk Festival, France will be represented with a delegation of French companies from the Cultural and Creative Industries. This is an opportunity to discover an attractive ecosystem and innovative companies from different backgrounds: publishing, immersive technologies (AR/VR/XR), photography, graphic design, scenography &#8230; A French Pavilion will bring together companies, associations, public and private actors of the sector. The objective is to allow actors from Belgian cultural institutions, tourism and events to meet French companies that are leaders in the field of immersive realities and cultural innovation.
The origin of this initiative : 
The Cooperation and Cultural Action Service of the French Embassy in Belgium 
The Ministry of Culture (DGMIC) 
Business France, the national agency for the internationalisation of the French economy. 
Minalogic, the digital technology competitiveness cluster of the Auvergne-Rhône-Alpes region. Minalogic brings together nearly 500 members and accelerates qualified contacts between these players and boosts their innovation and business projects in France, Europe and internationally. 
104factory, the CENTQUATRE-PARIS incubator, which hosts and supports young innovative cultural and creative companies and enables the development of numerous experiments in favour of digital and ecological transitions.

Délégation France

From the immersive Grand Palais (Paris) to the Venice Film Festival, from New York to Brussels, mobile applications, augmented reality, virtual reality or immersive experiences are invading museums, theatres and tourist sites. They are now an essential tool for reaching new audiences and creating a new relationship between the public and institutions.
For the latter, this upheaval in the offer poses many challenges: the need to train teams, the cost of maintenance and mediation, the rapid evolution of equipment, the lack of expertise, the identification of budgets necessary for the development of new exhibition formats, and the conservation of works.
We know what the current systems are, but what will they be like tomorrow? What new forms of mediation and exhibition must cultural institutions invent, and how can they integrate the resulting interactivity into their programming?  What will become of these works in a few years&#8217; time, at a time of rapid technological change? What conservation protocols will have to be invented? Who will be responsible for their maintenance? What are the strategies of producers, start-ups and large groups developing these digital proposals in order to meet these challenges? What are the business prospects offered by the cultural sector? And what can we expect from technological developments between now and 2030?
Marialya Bestougeff 
Director of innovation at CENTQUATRE-PARIS since 2018 and of its incubator, 104factory, which has been supporting start-ups at the crossroads of the artistic field, research and innovation since 2013, Marialya Bestougeff has a multiple and international profile. Her long experience in the private sector within large groups and innovative design or consulting agencies to bring creativity to companies, led Marialya to the field of cultural and creative industries. She designs tailor-made support programmes for cultural entrepreneurship in France and abroad. In particular, she pilots the international partnership between France and Quebec (Canada) to promote companies in the cultural and creative industries in both countries.
Maud Clavier 
Maud Clavier has been working in the 360°&amp; VR field since 2015. After four years of directing her company to create corporate 360 films, she decided to quit to focus on her creativity. In 2018 she directed her first docu-fiction in 360°: FILAMU that has been awarded at several festivals. She subsequently artistic performances for museums and performing arts using various technologies (XR, IA, Holograms).She is now associate and COO of VRROOM , working on events such as Venice VR Expanded, SXSW and Jean Michel Jarre’s immersive concerts including “Welcome to the Other Side” in Notre Dame de Paris that has reached 75 million views across the globe.  Now VRROOM is working on building its own platform for live entertainment.
Agata Di Tommaso 
Agata Di Tommaso first studied Cinema and then obtained a degree in Semiotics with a thesis on the impact of new technologies on museum exhibitions. After a Master&#8217;s degree in Cultural Assets Management, she joined Diversion cinema where she became a festival manager in the distribution department.
Emma Dumartheray 
Emma Dumartheray (FR/UK) graduated from the École du Louvre and the Université Panthéon-Sorbonne (Paris) in Contemporary Art History and Urban Anthropology, as well as in Cultural Heritage Management (Sorbonne). Her various experiences and professional encounters led her to the Palais des Beaux-Arts in Brussels as coordinator of the Bozar Lab since 2020. There she developed a strong interest in contemporary arts and interdisciplinarity. At Bozar, Emma is in charge of coordinating the various activities and partnerships of the Bozar Lab, a platform for arts, science and technology that takes the form of exhibitions, residencies, public discussions and meetings.
Mathieu Rolland 
Mathieu Rolland is a project director at Orange. In charge of the Orange Group&#8217;s involvement with the institutions in charge of restoring the Notre-Dame de Paris Cathedral, he coordinates the &#8220;Eternelle Notre-Dame&#8221; immersive virtual reality tour project, presented in Paris since January 2022, in partnership with the Public Establishment in charge of restoring the Monument, the Diocese of Paris and the City of Paris.
Xavier Pichon 
Xavier Pichon is CEO of ORANGE BELGIUM.

IMMERSION 2030 - what will be the challenges of mediation, presentation and conservation of immersive works for cultural institutions?

La Bourse

Anouk Kruithof (b. 1981, Dordrecht, The Netherlands) is a visual artist with a trans-disciplinary approach, which encompasses photography, sculpture, collage, video, websites and (social) interventions in the public domain. Kruithof depicts the transience and the chaos of this world, which the artist skillfully addresses by mixing urgent societal issues with personal experiences. She graduated from the art academy in 2003 and currently lives and works alternately in Brussels, Belgium and Boto-Pasi, Suriname. Kruithof has had solo exhibitions in Foam Fotografiemuseum Amsterdam, Centro de la Imagen Mexico City and Stedelijk Museum Amsterdam. Her work has also been included in the collections of MoMA San Francisco, Museum Folkwang in Essen and Museum Voorlinden in Wassenaar. Universal Tongue is still intensively shown all over the world and has been exhibited in Museum Tinguely in Basel, Viernulvier (formerly known as Vooruit) in Ghent and at WHOLE | United Queer Festival, Ferropolis, Gräfenhainichen, Germany.

Anouk Kruithof

&#8220;Dance—the moving body—more than anything in our diverse and complex world unites us in the recognition of our shared fragility and our common human condition. It also points us towards a possibility of a more inclusive world with limitless exchange and understanding of new identities, a world where simply everyone is a dancer.&#8221; — Anouk Kruithof

Practice togetherness: art is almost never made alone

Marcus is a designer, innovator and founder of the FIELD group of art and experiential design studios.
Over the past 14 years, their work has defined new genres, blurred the boundaries between digital and physical realities, and consistently provoked new perspectives in the space of branded artistic expressions, generative design systems and immersive experiences.

Marcus Wendt

Stories of creative entrepreneurship amidst constant renewal and the challenges that come with growth. 
Behind the scenes of FIELD.IO and its new spin-off SYSTEMS + BLUE.

Anouk Kruithof

AboutAnouk Kruithof

ConferencesPractice togetherness: art is almost never made alone

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Marcus Wendt – FIELD

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Délégation France