In May 2024, Habo and Xn Québec published another, more targeted study, focusing specifically on the “potential of interactive installations for major American and European markets”. The full study is available at this link, but we present the highlights here.

Before turning to what we learned from this study, let’s take a look at its key points. The study focused on four specific customer segments for interactive installations: public spaces, festivals, real estate, and brands and agencies. In addition, Habo focused on six territories identified as offering the greatest business opportunities: the United States, the United Kingdom, France, Germany, Mexico and Canada (outside Quebec). A total of 75 interviews were conducted with representatives of the targeted customer segments, supplemented by extensive additional research. This data was used to define a series of observations and recommendations, based on “an exhaustive portrait of customer segments, including the following concepts: audiences, objectives, preferences, decision-making processes, budgets, constraints, criteria and measures of success”. Finally, Habo’s experts offer a series of suggestions as to the most promising markets, depending on the target clientele.

Interactive installations: opportunities and challenges

For the purposes of this study, an interactive installation is defined as a work requiring audience interaction and engagement, deployed in physical space, whether a place of passage or a public space. Habo adds that the work can be “temporary or permanent, and is autonomous from other works”. Interactive installations are highly diverse in nature, whether in terms of the type of public engagement, the nature of the interactions provoked, or their purpose.

However, whatever the nature of their productions and the context in which they are deployed, the majority of companies in the sector face similar opportunities and challenges. Thus, the growing interest of cities, cultural spaces and, more broadly, places frequented by the public in acquiring engaging experiences, coupled with the international recognition of Quebec’s expertise in this field, are major assets for the interactive installation production sector in Quebec. While the sector may have the wind in its sails, it is also threatened by strong international competition from substitute products, targets who are sometimes uninformed about the benefits of this type of installation (tourist advantages, international promotion, brand image, etc.) and the often significant difficulty of exporting.

Not all customer segments pursue the same objectives. Public spaces, for example, will focus on revitalizing the space, enhancing its attractiveness or reclaiming it for the community. Agencies and brands, on the other hand, want to create a connection with users, generate media coverage or increase the perceived value of a product or site.

Cross-reference sectoral and regional data to define your export strategy

The multiple objectives pursued by the different segments studied (public places, festivals, real estate, and agencies and brands) demonstrate the importance of developing an export sales strategy tailored to the needs of the targeted customer base. However, in addition to this first imperative, this same strategy must be designed with the specific characteristics of each geographic market in mind. It’s therefore a question of cross-referencing data. More details on the markets can be found in the study, but it is interesting to note that the United States seems to be the most promising territory, for all segments. As far as Canada outside Quebec is concerned, while business opportunities are of high quality, they remain few and far between. However, Canadian customers often prefer local producers.

When it comes to public spaces, France and the United States (which boasts over 100 cultural districts) are among the most aware of and familiar with interactive installation projects, as well as being the most interested in hosting them. In this respect, they are far ahead of Germany and Mexico, while Canada (excluding Quebec) comes last. It’s also important to note that budgets can vary greatly from one territory to another, with the United States often having the largest budgets. Key messages to be put forward to convince customers include attraction, accessibility, social mobilization and differentiation.

As far as festivals are concerned, the USA once again has the highest number of cultural events with over 15,000 participants, followed by the UK and France. Once again, Canada (excluding Quebec) comes bottom of the list. Here, it will be important to emphasize the link between the concept and the event, the facility’s ability to attract, or its robustness and ease of maintenance. In the real estate sector (hotels, commercial real estate, transport hubs), budgets are larger and business potential greater, particularly in the United States (over 280 shopping malls over 100 km², for example). Here, the focus is on the distinctive character of the installation, its reproducibility and its potential impact on revenues.  

Finally, as far as brands and agencies are concerned – the sector with the biggest budgets – we’ll be making sure to defend the innovative nature of the installation, its feasibility, accessibility and, among other things, its potential impact in terms of the targeted objectives. Here again, unsurprisingly, the United States tops the list of priority markets, with US$9.64 billion spent on out-of-home marketing.

One study, several projects

This study opens the door to several avenues of future action for both the sector and Xn Québec, in particular to develop customer familiarity with the field of interactive installations, but also to highlight their potential impact and the strength of Quebec creativity in this sector. It’s a safe bet, though, that Quebec interactive installations have a bright future ahead of them.