I went to one of London’s worst tourist attractions – it made me sad | UK | Travel

Following the release of the original Avatar film in 2009, which stormed cinemas and became the highest-grossing picture of all time, many believed 3D technology would dominate the future of filmmaking.

The film’s director James Cameron has consistently championed this view, proclaiming in 2014: “I believe all movies should be made in 3D, forever”, lauding 3D productions as “stunning visual experiences which ‘turbocharge’ the viewing of the biggest, must-see movies.”

Ten years later, however, the broader film industry appears to have reached a different conclusion. Following 2011’s peak, when over 100 3D pictures graced cinema screens, new 3D releases have progressively dropped to roughly a quarter of that figure.

My views align with film critic Roger Ebert, who contended that “3D is a waste of a perfectly good dimension” which proves “unsuitable for grown-up films of any seriousness” whilst triggering “nausea and headaches.”

Similarly, Van Gogh: The Immersive Experience (recently ranked as London’s second most underwhelming attraction according to a Private Tours England analysis of TripAdvisor reviews) succeeds in transforming the masterworks of an artistic genius into a ridiculous, stomach-churning display.

Fever Up created the exhibition, which opened its doors to guests in 2021. This came twelve months after Emily of Emily in Paris fame visited a comparable showcase in the French capital, prompting various organisations to launch similar productions across Europe and America.

Possibly my misfortune led me to select the inferior option. Alternatively, perhaps they’re uniformly as unsatisfying as each other.

The first hint of disappointment came when I strolled down Shoreditch’s Commercial Street and almost missed the entrance to the exhibition. Once inside the unassuming doorway, I was greeted by a dimly lit, narrow corridor where a woman checked my ticket from her chair.

Despite it being a Monday evening, the lacklustre entrance seemed incongruous with the hefty £25 admission fee.

Any memory of the uninspiring entrance could have been erased had Fever Up invested more into the exhibition itself. Instead, what awaited beyond the corridor was a chaotic display that did nothing to enhance Van Gogh’s work, but rather detracted from it.

The exhibition comprised two main rooms. The first resembled a traditional gallery, adorned with printouts of Van Gogh’s paintings and a brief synopsis of his life.

This was the highlight for me, even though I could have gleaned more information from Van Gogh’s Wikipedia page. Alternatively, I could have viewed one of the many original Van Goghs on permanent display in London, such as the National Gallery’s Sunflowers or The Courtauld’s Self-Portrait with Bandaged Ear, instead of these textureless reproductions.

The second room, billed as the main attraction, was even more underwhelming. The vast area was virtually empty, save for a few deckchairs and a bench. Digitally altered versions of Van Gogh’s masterpieces were projected onto the walls, with swirling patterns and fluttering petals. Perhaps my expectations were too high, but I felt far from immersed.

Others had even less pleasant experiences. A colleague confessed to feeling nauseous after staring at the subtly undulating walls for an extended period. I exited the exhibition just half an hour after entering, feeling not only short-changed but also somewhat melancholic.

One of the information panels, reminiscent of a Wikipedia entry, outlined Van Gogh’s tragic final years, during which he severed his own ear, endured months of hallucinations and paranoia, and spent time in the Saint-Paul asylum. Shortly thereafter, he walked into a wheat field and shot himself in the chest.

From a distance, it appears that a profound sadness pervaded Van Gogh’s life, exacerbated by his perceived failure as an artist and his deep-seated fear of being a burden to his brother. It is truly regrettable that he never lived to see the adoration and reverence his work commands today.

The only small consolation is that he did not live long enough to endure an evening at Van Gogh: The Immersive Experience.

After closing in London last autumn, the exhibition moved on to Belfast, Bristol, York, and Leicester.

Fever Up has been approached for a response.

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