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BORDEAUX, France — On the walls central of a above Apple War II abysmal base, a huge Gustav Klimt timberline expands its branches and a gold Paul Klee angle floats by. The bright, alteration colors of these projections are reflected by four abyssal pools. Visitors airing forth gangways, watching the floor-to-ceiling agenda animations based on acclaimed works by Klimt, Klee and Egon Schiele.

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The show, alleged “Bassins de Lumières,” or “Basins of Light,” opened on June 10 afterwards a adjournment acquired by France’s coronavirus lockdown. It is the fourth immersive art amplitude created by Culturespaces, a Paris-based aggregation that manages cultural sites and produces agenda exhibitions. Its second, “L’Atelier des Lumières,” has been a huge hit in Paris, cartoon 1.2 actor visitors in 2018 and about 1.4 actor the abutting year.

At the end of 2018, Culturespaces opened the third of these immersive shows in a alembic on Jeju Island in South Korea. The aggregation affairs to actualize added of them in Dubai, New York Burghal and Chicago.

The blueprint is straightforward: Culturespaces finds a anatomy with a notable history, like a above branch or a bunker; renovates it; and adds offices, ascendancy apartment and a accession area. Then the area opens with a blatant exhibition of digitized works by acclaimed artists, projected assimilate the walls and activated to a soundtrack. A aggregation of producers has so far created 15 agenda exhibitions for Culturespaces, application works by artists including Marc Chagall, Yves Klein, Claude Monet and Vincent van Gogh.

Sylvie Pflieger, an accessory assistant at the University of Paris who studies the cultural economy, said in an email that Culturespaces was “the accurate avant-garde of ‘immersive art,’ which transports the alone to a abstracted location.”

With its “Lumières” experiences, Culturespaces is blame the boundaries amid ball and art, and amid absolute activity and basic reality. Gone are the frames and the attentive calmness admirers are acclimated to in museums, replaced by huge images that transform to the music of artists as assorted as Beethoven and Janis Joplin.

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Culturespaces is acclimated to operating alfresco the norm: For abounding years, the company’s business has been the administration of cultural and ancestry sites in France for profit, an abnormal bureaucracy in a country area the arts await on cogent accompaniment funding.

Though Culturespaces can carbon its agenda shows about the apple after the banking burdens of administration real-life artworks, there are added above costs: Preparing the Bordeaux abysmal base, for example, amount 14 actor euros, about $15.9 million. Some of what this money paid for is 80 speakers, 90 projectors in climate-controlled boxes, 75 afar of optical cilia cables and on-site servers administration about 10 terabytes of data.

Digital shows are alone one allotment of what Culturespaces does. Founded in 1990 by Bruno Monnier, who formed at France’s ability admiral afore that, Culturespaces additionally manages arts and ancestry sites beyond France, such as the Villa Ephrussi de Rothschild in the South of France and the amphitheater in the burghal of Nîmes. Often, the owners of these monuments, chateaus or museums are towns and regions and, by extension, the taxpayers who alive there.

A clandestine takeover of a accessible academy is abnormal in France. On average, cities absorb 8 percent of their account on culture, said Dr. Pflieger, the University of Paris professor. But arts allotment on the civic and bounded levels has stagnated back the aboriginal 2000s, she added.

“Cities are accepting to handle added and added burdens and are accordingly abbreviation their cultural budgets,” Dr. Pflieger said.

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When Culturespaces takes over, its ambition is profitability: Owners accept 5 to 15 percent of any accumulation they turn. Mr. Monnier, the company’s president, explained the four streams of acquirement that his aggregation focuses on: “First, archetypal company activities like guides and ticketing services. Second, the library and the allowance shop. Third, the restaurant. Fourth, events.”

“Events” accommodate exhibitions, and for some of the venues Culturespaces runs, such as the Maillol Building and the Musée Jacquemart-André in Paris, those are crucial. The Musée Jacquemart-André is currently assuming paintings by J.M.W. Turner on accommodation from the Tate museums in Britain.

Mr. Monnier said that cartoon visitors with exhibitions had become harder over the years as abundant hitters like the Louvre in Paris accept spent a abundant accord to aftermath blockbuster shows: The museum’s once-in-a-lifetime Leonardo show, which ran from November through February, had 1.1 actor visitors. Competition has additionally appear from museums adjourned by the luxury-goods billionaires Bernard Arnault, whose Fondation Louis Vuitton opened in 2014, and François Pinault, who is set to accessible a advertise for his art accumulating abutting year.

“These ample exhibitions are expensive,” Dr. Pflieger said. “It is all-important to access loans from museums, decidedly adopted ones; ensure the carriage of works in acceptable condition, which implies gigantic allowance costs, and so on. It is bright that baby museums cannot do this.”

The cerebration abaft Culturespaces’ about-face against immersive art spaces was simple, Mr. Monnier said: “We can assignment with images of the painting and not the absolute painting itself. That agency no transportation, no aegis service, no insurance.”

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When “L’Atelier des Lumières” opened in Paris, it brought in a broader demographic than Culturespaces’ added venues, Mr. Monnier said: “People who never go to museums, adolescent generations, guys and girls who are 16-year-olds walking about duke in hand, families, grandparents, adolescent parents.”

So-called immersive adventures are not necessarily new. Constance DeVereaux, the administrator of arts administration and cultural administration at University of Connecticut, said they were “something you acquisition at Disneyland,” adding, “I was activity to those in the 1960s.” Dr. DeVereaux said that admitting there was annihilation amiss with axis art into entertainment, the architecture of “Lumières” ability anticipate admirers from cerebration too acutely about what they saw. “There’s so abundant activity on back you beam a assignment of art that could be dimmed by the behemothic agenda experience,” Dr. DeVereaux said.

But Mr. Monnier thinks the calibration of the “Lumières” shows is absolutely why they leave an impression. “You are absolutely inside. It’s absolutely emotional. It’s not aloof paintings on the wall,” he said.

Over the years, some in the art apple accept bidding abhorrence of bit-by-bit privatization in countries area allotment the arts has continued been the albatross of the government, but Christiane Hellmanzik, a assistant of economics at the Technical University of Dortmund, said that applying a added business-oriented apperception set to art was smart.

“From a authentic bread-and-butter perspective, if you array several ventures, that makes a lot of sense,” Dr. Hellmanzik said, apropos to Culturespaces’ action of diversifying streams of assets and creating a agenda acquaintance that can be replicated about the world, as able-bodied as a building administration address that can be activated at altered venues.

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“That’s how Google works,” she added. “Why should the art apple not accomplish like that?”

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