Refik Anadol’s new project Dataland has opened to art lovers in Los Angeles and has been hailed by critics as one of the most impressive immersive art experiences of the year. This AI-powered work is described less as a traditional museum visit and more as an immersive experience space.
The first section of Dataland features a narrative titled "Machine Dreams: Rainforest." The piece was created using Anadol’s system called Large Nature Model and progresses through rainforest imagery, gradually expanding into a broader, abstract, and imaginative visual universe.
Visitors Become Part of the Experience Through Biometric Data
Upon entry, visitors are asked to wear a neckpiece and wristbands. These devices track biometric data throughout the experience, influencing the visuals displayed in the exhibition.
The review notes that this system creates a particularly personalized experience. However, it also mentions that the weight of the equipment can be problematic for children; a three-year-old refused to wear the neckpiece, and a six-year-old found the equipment heavy despite trying it on.
The venue clearly advises against the use of tracking equipment for children under seven. Nevertheless, the overall atmosphere of the exhibition is emphasized as offering a powerful and immersive experience for families during a two-hour visit.
Large-Scale Narrative Engaging Multiple Senses
Dataland contains several large galleries, each offering a different fantastical experience. Some sections are interactive, while others focus more on sensory and visual flow.
The text highlights that the exhibition creates a cohesive experience not only through visuals but also supported by scents, appealing simultaneously to various senses. It also mentions that children initially perceive the space as dark and slippery due to the black and shiny floor.
The critique argues that this scale surpasses Anadol’s previous works. Following the 2023 comparison of his MoMA piece Unsupervised to a "stylish lava lamp," Dataland emerges as a broader, more intense, and more ambitious response to that critique.
From Art Object to Experience Space
The review positions Dataland as an example marking a new era in contemporary art that moves away from object-centered works toward content- and experience-focused approaches. This shift is said to redefine art’s impact in the age of screens and digital content.
The critic focuses less on the technical details of data use and more on the visual impact produced. The text argues that here data functions more like a type of paint than content or form, with the main goal being to construct the visual world presented to the viewer.
The work is created from real-world data but ultimately transforms into an imaginative universe that transcends reality. Therefore, Dataland is described not as a documentary narrative but as a fantastical story transporting viewers to an alternative world.
At the end of the review, it is noted that a six-year-old child expressing a desire to return to the exhibition every day is one of the highest compliments an artist can receive. The article argues that this is precisely why Dataland is effective, leaving a lasting sense of wonder in both children and adults.
