The Impact of Aesthetic Cognition on Audiences’ Emotional Experience in Experimental Immersive Art Exhibitions

Authors

  • Yunchen Zhang no
  • Muhammad Fadhil Wong bin Abdullah

Keywords:

experimental art, aesthetic cognition, exhibition experience, emotional experience

Abstract

With the development of science and technology, art exhibitions in various countries now pay more attention to innovation and cross-border cooperation, integrating different art forms and concepts. Emerging technologies such as digital art and virtual reality are also being used in art exhibitions. In addition, some exhibitions present social issues, political issues or environmental themes to trigger thinking and discussion among the audience. Art exhibitions are also increasingly focusing on sustainability and inclusivity in an attempt to engage a wider audience. For the same art work, the audience's unclear interpretation and aesthetic standards have always triggered research and discussion by many scholars. However, some researchers have identified the impact of aesthetic education and aesthetic cognition on the creation of art workers, and few studies have analyzed art from the audience's perspective. Organizers are making conscious efforts to engage a broader audience by creating spaces that welcome diverse voices and perspectives. This trend underscores the importance of accessibility in the art world, as well as the need for exhibitions to resonate with varied demographic groups. Therefore, this study aims to think about the impact of aesthetic cognition on the exhibition experience/emotional experience from the audience's perspective. importance. The research work used methods such as ground theory which including of using questionnaires, visiting interviews, and meeting analysis to conduct research on the artistic works of the June graduation exhibition of the School of Experimental Art and Science and Technology of the Central Academy of Fine Arts in China. This provides a certain theoretical basis for artists and curators to create experimental art works.

References

Cui, C. (2022). Discussing audience participation from the perspective of aesthetic psychology. Xinjiang Art (Chinese), (03), 39–45.

Fu, J. (2003). On the aesthetic psychology and appreciation habits of contemporary opera audience. Contemporary Drama, 3, 4–6.

Gompertz, W. (2017). Modern art: 150 years (M. Book, Ed.). Nanning: Guangxi Normal University Press.

Greenberg, C. (2009). Art and culture (M. Book, Ed.). Nanning: Guangxi Normal University Press.

Li, H. (2021). Exploring the development path of modern drama under the influence of audience psychological aesthetics. Comedy World (2nd half-month), 5, 10–11.

Li, Z. (2020). A Brief Discussion on the Application of Optical Illusion Art in the Exhibition of Science and Technology Museum. Chinese Writers and Artists.

Lu, J., & Qin, A. Q. (2011). Respecting audience aesthetic psychology: Live singing in TV shows versus pre-recorded analysis. Contemporary Television, (10), 83.

Luo, A. N. (2020). A study on the aesthetic characteristics of immersive art exhibition (Master’s thesis, Inner Mongolia University).

Downloads

Published

2025-12-31

How to Cite

Zhang, Y., & Muhammad Fadhil Wong bin Abdullah. (2025). The Impact of Aesthetic Cognition on Audiences’ Emotional Experience in Experimental Immersive Art Exhibitions. International Journal of Applied and Creative Arts, 8(2), 41–56. Retrieved from https://publisher.unimas.my/ojs/index.php/IJACA/article/view/8869