ArtSlant - Recently added en-us 40 CYRILLE ANDRE - Galerie Piece Unique - June 2nd - September 24th <p style="text-align: justify;">Opening with the presence of the artist Thursday June 2nd from 6pm to 21.30pm</p> <p style="text-align: justify;">Born in&nbsp; 1972 in Tassin - la - Demi - Lune.&nbsp; Lives and works in Marseilles .</p> <p style="text-align: justify;">To forge ahead and free oneself from daily difficulties, it is sometimes necessary to draw from our capacities to&nbsp; bounce&nbsp; and&nbsp; to&nbsp; know&nbsp; how&nbsp; to&nbsp; remain&nbsp; positive&nbsp; and&nbsp; dynamic.&nbsp; It&nbsp; is&nbsp; from&nbsp; this&nbsp; conviction&nbsp; that&nbsp; arose&nbsp; the&nbsp; desire&nbsp; of&nbsp; Cyri lle&nbsp; Andr&eacute;&nbsp; to&nbsp; work&nbsp; on&nbsp; a&nbsp; new&nbsp; series&nbsp; of&nbsp; sculptures&nbsp; representing&nbsp; characters&nbsp; in&nbsp; dynamic&nbsp; attitudes.&nbsp; So,&nbsp; for&nbsp; this&nbsp; new exhibition at Pi&egrave;ce Unique, the artist seems decided to by - pass the limits of scale imposed by the space of&nbsp; the gallery by playing on the choice&nbsp; of attitudes and also to push even aside the codes of sculpture by hanging&nbsp; on these on walls, challenging the gravity.</p> <p style="text-align: justify;">&nbsp;The&nbsp; attitudes&nbsp; of&nbsp; these&nbsp; characters&nbsp; as&nbsp; well&nbsp; as&nbsp; their&nbsp; outfits&nbsp; (sweatshirts&nbsp; with&nbsp; hoods,&nbsp; shorts,&nbsp; jeans&nbsp; and&nbsp; sneakers)&nbsp; make a reference to the codes of the young people of the circles of the rap, the dance hip hop, the skateboard...&nbsp; They represent before any a youth who deceives the rules of the gravity and takes advantage of an overflowing&nbsp; energy to push always farther the limits of the body and regain control of t he public space.</p> <p style="text-align: justify;">A&nbsp; giant&nbsp; sneaked&nbsp; in&nbsp; the&nbsp; window&nbsp; of&nbsp; Pi&egrave;ce&nbsp; Unique.&nbsp; Far&nbsp; too&nbsp; big&nbsp; for&nbsp; this&nbsp; space,&nbsp; he&nbsp; is&nbsp; held&nbsp; squatted&nbsp; in&nbsp; front&nbsp; of&nbsp; the&nbsp; window, in a state of waiting. Accompanied by a young dog, they observe us with compassion and sweetness.&nbsp; This monumental sculpt ure, called &laquo;&nbsp; <em>T&eacute;moin</em>&nbsp; &raquo; (witness) , joins in the lineage of &laquo;&nbsp; <em>Veilleur</em>&nbsp; &raquo; (guardian ) in 2008&nbsp; and&nbsp; both&nbsp; &laquo;&nbsp; <em>Penseur</em> &raquo;&nbsp; ( thinker)&nbsp; of&nbsp; 2008&nbsp; and&nbsp; 2012,&nbsp; becoming&nbsp; the&nbsp; synthesis&nbsp; and&nbsp; the&nbsp; outcome&nbsp; of&nbsp; the&nbsp; artist&rsquo;s&nbsp; evolution. It represents the figure of a friendly giant who&nbsp; puts himself in our height to get closer to us and start a&nbsp; dialogue. The young dog sits and is at one with this giant, he observes us too. In the alchemical lan guage, he is&nbsp; the allegorical figure of the wise person.</p> <p style="text-align: justify;">&nbsp;For Pi&egrave;ce Unique Variat ions, the artist imagined some&nbsp; characters named &laquo;&nbsp; <em>Wall runner</em> &raquo;. They are congealed in&nbsp; their movements in touch with the wall at more than a meter from the ground and seem in weightlessness. These&nbsp; are&nbsp; inspired by the &ldquo;wall running&rdquo;, a practice that consists in gaining speed by running to follow one&rsquo;s course&nbsp;&nbsp; by cli mbing on a wall and jumping from a wall or a roof to another one. Their purpose? To challenge as long as&nbsp; possible the strengths of the gravity.&nbsp;&nbsp;</p> <p style="text-align: justify;">Represented by the Gallery since 2004, Cyrille Andr&eacute; is currently participating at Biennal Sculpture of Yerres until July 10 where we can see at the same time the sculpture &laquo;&nbsp; <em>Grand Passeur</em> &raquo; acquired by the city in 2012&nbsp; installed permanently on the square of the CEC.</p> <hr /> <p style="text-align: justify;"><em>&nbsp;N&eacute; en 1972 &agrave; Tassin - la - Demi - Lune. Vit et travaille &agrave; Marseille.</em></p> <p style="text-align: justify;">Pour&nbsp; aller&nbsp; de&nbsp; l'avant&nbsp; et&nbsp; s'affranchir&nbsp; des&nbsp; difficult&eacute;s&nbsp; quotidiennes,&nbsp; il&nbsp; faut&nbsp; parfois&nbsp; puiser&nbsp; dans&nbsp; nos&nbsp; capacit&eacute;s&nbsp; &agrave;&nbsp; rebondir et savoir rester positifs et dynamiques. C'est de cette conviction qu'est n&eacute; le d&eacute;sir de Cyrille Andr&eacute; de&nbsp; travailler sur une nouv elle s&eacute;rie de sculptures repr&eacute;sentant des personnages dans des attitudes dynamiques. Ainsi&nbsp; pour cette nouvelle exposition chez Pi&egrave;ce Unique, l&rsquo;artiste a d&eacute;cid&eacute; de contourner la limite d'&eacute;chelle et de poids&nbsp; impos&eacute;e&nbsp; par&nbsp; l'espace&nbsp; de&nbsp; la&nbsp; galerie&nbsp; en&nbsp; jouant&nbsp; sur&nbsp; l e&nbsp; choix&nbsp; des&nbsp; attitudes&nbsp; et&nbsp; aussi&nbsp; de&nbsp; bousculer&nbsp; les&nbsp; codes&nbsp; de&nbsp; la&nbsp; sculpture en accrochant celles - ci aux murs en un pied de nez &agrave; la pesanteur.</p> <p style="text-align: justify;">&nbsp;Les attitudes de ces personnages ainsi que leurs accoutrements (sweats &agrave; capuches, shorts, jeans et baskets) font&nbsp; r&eacute;f&eacute;rence aux codes des jeunes des milieux du rap, de la danse hip hop, du skateboard... Ils repr&eacute;sentent avant&nbsp; tout&nbsp; une&nbsp; jeunesse&nbsp; qui&nbsp; se&nbsp; joue&nbsp; des&nbsp; r&egrave;gles&nbsp; de&nbsp; la&nbsp; gravit&eacute;&nbsp; et&nbsp; met&nbsp; &agrave;&nbsp; profit&nbsp; une&nbsp; &eacute;nergie&nbsp; d&eacute;bordante&nbsp; pour&nbsp; pousser&nbsp; toujours plus loin les limites du corps et se r&eacute;approprier l'espace public.&nbsp;</p> <p style="text-align: justify;">Un g&eacute;ant s'est faufil&eacute; dans la vitrine de Pi&egrave;ce Unique. Beaucoup trop grand pour cet espace, il se tie nt accroupi&nbsp; face&nbsp; &agrave;&nbsp; la&nbsp; vitrine&nbsp; dans&nbsp; une&nbsp; position&nbsp; d'attente.&nbsp; Accompagn&eacute;&nbsp; par&nbsp; un&nbsp; jeune&nbsp; chien,&nbsp; ils&nbsp; nous&nbsp; observent&nbsp; avec&nbsp; compassion&nbsp;&nbsp; et&nbsp;&nbsp; douceur.&nbsp;&nbsp; Cette&nbsp;&nbsp; sculpture&nbsp;&nbsp; monumentale,&nbsp;&nbsp; nomm&eacute;e&nbsp;&nbsp; &laquo; T&eacute;moin &raquo;,&nbsp; s'inscrit&nbsp;&nbsp; dans&nbsp;&nbsp; la&nbsp;&nbsp; lign&eacute;e&nbsp;&nbsp; de&nbsp; &laquo; Veilleur &raquo;, 2008 et des deux &laquo; Penseur &raquo; de 2008 et 2012, devenant la synth&egrave;se et l&rsquo;aboutissement de l&rsquo;&eacute;volution&nbsp; de&nbsp; l&rsquo;artiste.&nbsp; Elle&nbsp; repr&eacute;sente&nbsp; une&nbsp; figure&nbsp; de&nbsp; g&eacute;ant&nbsp; bienveillant&nbsp; qui&nbsp; se&nbsp; met&nbsp; &agrave;&nbsp; notre&nbsp; hauteur&nbsp; pour&nbsp; se&nbsp; rapprocher&nbsp; de&nbsp; nous et amorcer un dialogue. Le jeune chien est assis et fait corps a vec ce g&eacute;ant, il nous observe lui aussi. Dans&nbsp; le langage alchimique, il est la figure all&eacute;gorique du sage.</p> <p style="text-align: justify;">&nbsp;Pour Pi&egrave;ce&nbsp; Unique Vari ations, l&rsquo;artiste a imagin&eacute; de s personnages nomm&eacute;s &laquo; Wall runner &raquo;. Ils sont fig&eacute;s dans&nbsp; leurs mouvements en contact avec le mur &agrave; plus d'un m&egrave;tre du sol et semblent en apesanteur. Cet ensemble est&nbsp; inspir&eacute; du "wall running", pratique qui consiste &agrave; prendre de la vitesse en courant afin de poursuivre sa course&nbsp; en&nbsp; grimpan t&nbsp; sur&nbsp; un&nbsp; mur&nbsp; et&nbsp; en&nbsp; sautant&nbsp; d'un&nbsp; mur&nbsp; ou&nbsp; d'un&nbsp; toit&nbsp;&nbsp;&nbsp; &agrave;&nbsp; un&nbsp; autre.&nbsp; Leur&nbsp; but ?&nbsp; D&eacute;fier&nbsp; le&nbsp; plus&nbsp; longtemps&nbsp; possible les forces de la gravit&eacute;.&nbsp;&nbsp;</p> <p style="text-align: justify;">Repr&eacute;sent&eacute;&nbsp; depuis&nbsp; 2004&nbsp; par&nbsp; la&nbsp; Galerie,&nbsp;&nbsp;&nbsp; Cyrille&nbsp; Andr&eacute;&nbsp; participe&nbsp; actuellement&nbsp; &agrave;&nbsp; la&nbsp; Biennale&nbsp; de&nbsp; Sculpture&nbsp; de&nbsp; Yerres jusqu&rsquo;a u 10 juillet o&ugrave; on pourra voir en m&ecirc;me temps la sculpture &laquo; Grand Passeur &raquo; acquise par la ville&nbsp; en 2012 install&eacute;e de mani&egrave;re permanente sur le parvis du CEC.</p> Thu, 26 May 2016 10:42:07 +0000 Group Show - Galerie Perrotin - Turenne - June 10th - July 30th Thu, 26 May 2016 10:34:05 +0000 Jerome Lagarrigue - Galerie Olivier Waltman - June 2nd - July 17th Thu, 26 May 2016 10:19:18 +0000 Group Show - Galerie Max Hetzler - Paris - June 4th - July 16th Thu, 26 May 2016 10:14:28 +0000 Group Show - Galerie Marian Goodman - Paris - June 10th - July 22nd Thu, 26 May 2016 10:09:21 +0000 - Galerie Karsten Greve - June 4th - July 30th Thu, 26 May 2016 10:00:55 +0000 Jannis Kounellis - Galerie Karsten Greve - May 10th - July 30th <p style="text-align: justify;">With this exhibition Galerie Karsten Greve Paris is honoured to pay tribute to one of the major figures of art of the 20th and 21st centuries. Presenting around ten works created between 1963 and 2010, the exhibition offers a journey through the work of Jannis Kounellis, where the material metamorphosis corresponds to the range of the ongoing journey that has been travelled. Continuing a collaboration that dates back more than thirty years, during its 80th anniversary Galerie Karsten Greve is dedicating an exhibition to Jannis Kounellis, the <em>poor</em> painter &lsquo;par excellence&rsquo;, who has succeeded in bringing painting out of the frame.<br /> &nbsp;<br /> Jannis Kounellis was twenty when he left his native Greece and enrolled at the Academy of Fine Arts in Rome. It was 1956: Italy had survived the initial hardships of the post-war period and was preparing years of innovation, among them artistic. Although the creative environment of the time was mainly characterized by informal art, Jannis Kounellis kept his distance vis-&agrave;-vis this abstract and gestural tendency. In the face of a historical period of hesitation, hope, but also disenchantment, Jannis Kounellis was guided by the certainty that the vast, tragic, ponderous and wonderful classical cultural heritage is useful. And that it is useful not only for the present but also to shape the future. An admirer of Italian art and &lsquo;the inevitable drama&rsquo;, which for him is the manifestation of the Catholic anchor of Italian culture, Jannis Kounellis thus chooses the side of Greater Greece to deploy his plastic dialogue.<br /> &nbsp;<br /><em>The Alphabet of Kounellis</em>, his first solo exhibition, was held in Rome in 1960 at the Galleria La Tartaruga. At that time Kounellis was still a student and painted signs from the cityscape and road signs: hanging fabrics directly on the walls of his apartment, he created a fragmented and personal alphabet made of letters, arrows and other symbols that mark and create the pictorial space. By seizing this urban language, Kounellis seems to refer to the first meaning of the <em>polis</em>, the heart of public life that saw the birth of thought: since art, too, is a public affair.<br /> &nbsp;<br /> Another great cradle of civilization, the sea is also present in the works of the 1960's. <em>Pireo</em> (1963), bearing the name of the Athens port where Jannis Kounellis was born, metaphorically evokes the question of the fate of classical cultural heritage, this sun that has just risen or may be about to set. <em>Untitled </em>(1964)<em>, </em>a work on canvas created the following year, testifies to the role of rhythm and space, which would lead to the scenic installations of the 1970s.<br /> &nbsp;<br /> The work <em>Untitled</em> (1968) was produced a year after the <em>Arte Povera</em> exhibition organized by Germano Celant in Genoa: it was thus that the critic called <em>poor art,</em> referring to this generation whose works were characterized by the simplicity of the materials used. The language of Jannis Kounellis, but also that of Giovanni Anselmo, Giuseppe Penone, Mario Merz, Michelangelo Pistoletto, Gilberto Zorio and other protagonists of this trend, does indeed strive to cancel the gap between artistic creation and everyday life. The phrase &lsquo;nature and culture&rsquo; was then no longer a dichotomy but finally became a partnership. Wool, rope and wood - materials that are found in the works of 2000 and 2004 - testify to this return to modest life, to harbour or village life, and to working tools.<br /> &nbsp;<br /> Both in their own sense and in the figurative, the themes of origin, exile and belonging pervade the work of Jannis Kounellis. Consisting of a military hospital bed, <em>Untitled</em> (2010) is particularly explicit of this. Wool comforters, well known to those who have done military service, cover a steel body that is sharp and cold. Both anonymous and universal, this supine shape takes us back to one of the most current and complex issues of our day; that of asylum, flight and shelter. Having highlighted the risks of a society fascinated by consumption for over 50 years, the work of Jannis Kounellis once again confirms its astonishing actuality.<br /> &nbsp;<br /> Jannis Kounellis was born in Piraeus, Athens, in 1936. In 1956 he moved to Rome where he enrolled at the Academy of Fine Arts and studied under Toti Scialoja. The Roman gallery La Tartaruga gave him his first exhibition in 1960. As a participant in the <em>Arte Povera</em> group exhibition organized by Germano Celant in Genoa in 1967, Jannis Kounellis was quickly considered one of the major representatives of this artistic movement. The year 1969 marked a turning point in his work with the exhibition at the gallery Attico, where horses were attached to the walls of an exhibition room, and where apart from the animals, their neighing, sounds and smells were also present. His works were exhibited for the first time at the Venice Biennale and Documenta in Kassel in 1972, the same year as his first exhibition in the United States, in New York. Solo exhibitions dedicated to Jannis Kounellis have taken place in the most important international institutions like the Museum of Contemporary Art in Chicago, the Stedelijk Museum in Amsterdam, the Centro de Arte Reina Sofia in Madrid, the Kunsthalle Hamburg, the National Gallery of Modern Art in Rome, the Neue Nationalgalerie in Berlin and the Museum of Contemporary Art Donnaregina in Naples. More recently, the Paris Mint devoted a solo exhibition to Jannis Kounellis, whose only work from a gallery was loaned by Galerie Karsten Greve.</p> Thu, 26 May 2016 09:58:55 +0000 Jay DeFeo - galerie frank elbaz - June 4th - July 30th Thu, 26 May 2016 13:41:54 +0000 Claude Viallat - Galerie Daniel Templon - June 4th - July 23rd Thu, 26 May 2016 09:44:55 +0000 Zheng Guogu - Galerie Chantal Crousel - June 8th - July 23rd Thu, 26 May 2016 09:38:19 +0000 Knopp Ferro, Imi Knoebel, Bernard Moninot, Carmen Perrin, Georges Rousse - Galerie Catherine Putman - June 11th - July 22nd <p style="text-align: justify;">La galerie est heureuse de pr&eacute;senter une exposition collective d'oeuvres r&eacute;centes de : <br /> <br /> KNOPP FERRO, IMI KNOEBEL, BERNARD MONINOT, CARMEN PERRIN, et GEORGES ROUSSE.</p> Thu, 26 May 2016 09:36:08 +0000 Group Show - Fondation Cartier - July 2nd - January 8th, 2017 <p style="text-align: justify;"><strong>From July 2, 2016 to January 8, 2017, the Fondation Cartier pour l&rsquo;art contemporain is pleased to present <em>The Great Animal Orchestra</em>, inspired by the work of American musician and bioacoustician, Bernie Krause. The exhibition brings together the work of artists from all over the world and invites the public to enjoy an aesthetic meditation, both aural and visual, on the animal kingdom, which is increasingly under threat in today&rsquo;s modern world.</strong></p> <p style="text-align: justify;">For over 40 years, <strong>Bernie Krause</strong> has collected almost 5,000 hours of sound recordings of natural habitats, both terrestrial and marine, inhabited by almost 15,000 animal species. <strong>His research offers a wonderful immersion into the sound universe of animals, otherwise known as biophony</strong>. Before developing a passion for animal recordings, far removed from the world of humans, Bernie Krause worked as a musician and acoustician in the 1960s and 1970s, collaborating with artists like The Doorsand Van Morrison. He also contributed to the creation of soundtracks to well-known films like <em>Rosemary&rsquo;s Baby</em> by Roman Polanski and <em>Apocalypse Now</em> by Francis Ford Coppola.</p> <p style="text-align: justify;"><strong>Bernie Krause is unique. He contemplates the natural world as a poet, he listens to animal vocalizations as a musician, and through his recordings he studies these from the perspective of a scientist</strong>. Bernie Krause has become a master in the art of revealing the beauty, diversity and complexity of the languages of wild animals, increasingly reduced to silence by the din of human activity. <strong>He implores us to listen to these voices from the living, non-human world before they are definitively shrouded in silence.</strong></p> <p style="text-align: justify;">The exhibition presents both an aural and a visual dimension. In the transparent, light-filled spaces of the Fondation Cartier, Mexican architects <strong>Mauricio Rocha and Gabriela Carrillohave</strong> chosen to direct the great orchestra of our images of the animal world. Exploring the multiple visual perspectives that this &ldquo;glass house&rdquo; offers, they have created <strong>a scenographyin terracotta brick</strong> that surrounds the garden and the interior spaces of the building designed by Jean Nouvel.This architectural arrangement metaphorically reproduces that of a symphonic orchestra.</p> <p style="text-align: justify;">The exhibition presents a <strong>drawing of 18 meters in length specifically created for the exhibition</strong> by Chinese artist <strong>Cai Guo-Qiang</strong>. This work displays wild animals of different species gathered around a watering hole in a moment of peace and extreme vulnerability. Cai Guo-Qiang executed this drawing using gunpowder, a material he uses with an unrivalled expertise and dexterity. On large sheets of paper, an outline was first of all drawn using black gunpowder before being set alight. The traces of burn marks and smoke compose the sought-after motif: a landscape populated by animals.</p> <p style="text-align: justify;">With the image created by Cai Guo-Qiang, evocative of the cave paintings from prehistoric times, the exhibition associates the striking yet rather strange photographs of Japanese artist <strong>Manabu Miyazaki</strong>. These are taken using a kind of robotic &ldquo;camera trap,&rdquo; and done so with great ingenuity and unparalleled sensitivity. <strong>Exhibited for the first time outside of Japan, these images allow the viewer to see wild animals</strong> sharing the same environment and pathways as their human counterparts. Manabu Miyazaki&rsquo;s photographs also reveal the mysterious dreamlike beauty of the night-time flight of birds through the forest. The artist describes his approach in the following words: &ldquo;My camera traps are like trees observing the animals. The watchful eye of the tree becomes my camera.&rdquo;</p> <p style="text-align: justify;"><em>The Great Animal Orchestra</em> also gives carte blanche to a more <strong>playful, eccentric and colorful approach, wherein the imagination of the artists may be said to echo some of the most fascinating aesthetic creations of nature</strong>. Brazilian artist <strong>Adriana Varej&atilde;o</strong> creates a ceramic wall, painted with Amazonian birds, which connects the garden to the building and exhibition spaces. Iconic and ostentatious, the paintings of Beninese artist <strong>Cyprien Tokoudagba</strong> and the animal-musicians created by Congolese painters <strong>Pierre Bodo, JP Mika and Moke</strong> enter into a dialogue with the extravagant New Guinea birds of paradise filmed by researchers from <strong>Cornell Lab of Ornithology</strong> (Ithaca, United States). This stunning &ldquo;aviary video&rdquo; of multicolored images is under the solemn and contemplative surveillance of the dioramas of animals photographed in black and white by Japanese artist, <strong>Hiroshi Sugimoto</strong>.</p> <p style="text-align: justify;">In the second part of the exhibition, the incredible aesthetics of the living, hidden, non-human world is revealed through advanced technologies such as cutting-edge microphones and digital microscopes.</p> <p style="text-align: justify;">The English collective <strong>United Visual Artists</strong> (UVA) provides a visual translation of Bernie Krause&rsquo;s soundscapes. A remarkable three-dimensional electronic installation, especially commissioned for the exhibition, transposes data from Krause&rsquo;s recordings into light particles, thereby <strong>highlighting the beauty of the sound environments presented, as well as the complexity of their animal vocalizations</strong>.</p> <p style="text-align: justify;"><strong>Bernie Krause&rsquo;s research has shown that the sounds of the animal world, often perceived as a confused jumble of background noise, are actually as carefully orchestrated as the most complex musical score</strong>. Each species has its own acoustic signature within the unique soundscape of its ecosystem. Bernie Krause describes this phenomenon of the &ldquo;acoustic niche&rdquo; as follows: &ldquo;Each resident species acquires its own preferred sonic bandwidth&mdash; to blend or contrast &mdash;much in the way that violins, woodwinds, trumpets and percussion instruments stake out acoustic territory in an orchestral arrangement.&rdquo;</p> <p style="text-align: justify;">We tend to forget that animals have given us the gift of music. Bernie Krause reminds us of this fact and encourages us to become aware of animal vocalizations through his spectrograms that illustrate the various soundscape recordings. <strong>This graphical representation of biophony offers us a chance to better understand and appreciate the acoustic language of the living world</strong> which we are in the process of destroying, and which only indigenous peoples are still capable of interpreting.</p> <p style="text-align: justify;">The immersive installation by the UVA collective not only showcases the extraordinary wealth of Bernie Krause&rsquo;s recordings and spectrograms but offers both a unique aesthetic experience and a source of precise knowledge. It presents seven different soundscapes, recorded in Canada, the US, Brazil, the Central African Republic, Zimbabwe, and in the depths of the oceans. A film directed by Raymond Depardon and Claudine Nougaret in which Bernie Krause describes his work is included as part of this installation.</p> <p style="text-align: justify;">In another room, visitors are invited to <strong>explore one of the most overlooked dimensions of the animal kingdom: the infinitesimal beauty of the ocean with the installation Plankton, <em>A Drifting World at the Origin of Life</em></strong>. Made from photographs by Christian Sardet, a director of research at the CNRS and one of the initiators of the Tara Oceans Project, this installation is based upon a device invented by videographer and artist <strong>Shiro Takatani</strong>, and accompanied by music written by Japanese composer <strong>Ryuichi Sakamoto</strong>. Invisible to the human eye, the micro-organisms that form plankton are found in all oceans. They represent the majority of the marine biomass on the planet and are the source of life on earth.</p> <p style="text-align: justify;">In the garden of the Fondation Cartier, an installation created by <strong>Agn&egrave;s Varda</strong>, Le Tombeau de Zgougou (Collection Fondation Cartier pour l&rsquo;art contemporain) is the recreation of a temple that is dedicated to the spirit of all pets, in memory of the artist&rsquo;s beloved and much lamented cat, Zgougou.</p> <hr /> <p style="text-align: justify;"><strong>Du 2 juillet 2016 au 8 janvier 2017, la Fondation Cartier pour l&rsquo;art contemporain pr&eacute;sente <em>Le Grand Orchestre des Animaux</em>, inspir&eacute; par l&rsquo;oeuvre de Bernie Krause, musicien et bioacousticien am&eacute;ricain. L&rsquo;exposition, qui r&eacute;unit des artistes du monde entier, invite le public &agrave; s&rsquo;immerger dans une m&eacute;ditation esth&eacute;tique, &agrave; la fois sonore et visuelle, autour d&rsquo;un monde animal de plus en plus menac&eacute;.</strong></p> <p style="text-align: justify;"><strong>Bernie Krause</strong> a, depuis plus de quarante ans, collect&eacute; pr&egrave;s de 5 000 heures d&rsquo;enregistrements sonores d&rsquo;habitats naturels sauvages, terrestres et marins, peupl&eacute;s par pr&egrave;s de 15 000 esp&egrave;ces d&rsquo;animaux. <strong>Ses recherches offrent une merveilleuse plong&eacute;e dans l&rsquo;univers sonore des animaux, dans le monde de la biophonie</strong>. Avant de se passionner pour l&rsquo;enregistrement des animaux loin du monde humain, Bernie Krause a travaill&eacute; dans les ann&eacute;es 1960 et 1970 comme musicien et acousticien &agrave; Los Angeles, collaborant notamment avec les Doors et Van Morrison. Il a &eacute;galement contribu&eacute; &agrave; la composition de musiques de films comme <em>Rosemary&rsquo;s Baby</em> de Roman Polanski et <em>Apocalypse Now</em> de Francis Ford Coppola.</p> <p style="text-align: justify;"><strong>L&rsquo;approche de Bernie Krause est unique. Il contemple le monde naturel en po&egrave;te, &eacute;coute les vocalisations des animaux en musicien et, &agrave; travers ses enregistrements, les &eacute;tudie en scientifique</strong>. Bernie Krause est ainsi pass&eacute; ma&icirc;tre dans l&rsquo;art de r&eacute;v&eacute;ler la beaut&eacute;, la diversit&eacute; et la complexit&eacute; des langues des animaux sauvages, de plus en plus r&eacute;duits au silence par le vacarme des activit&eacute;s humaines. Il nous implore d&rsquo;&eacute;couter ces voix du monde vivant non-humain avant qu&rsquo;un silence d&eacute;finitif ne s&rsquo;abatte sur elles.</p> <p style="text-align: justify;">L&rsquo;exposition s&rsquo;articule autour de deux composantes, l&rsquo;une visuelle, l&rsquo;autre sonore.<br />Dans les espaces transparents de la Fondation Cartier, les architectes mexicains <strong>Mauricio Rocha et Gabriela Carrillo</strong> mettent en sc&egrave;ne le grand orchestre de nos repr&eacute;sentations du monde animal. Explorant les multiples perspectives visuelles qu&rsquo;offre la &laquo; maison de verre &raquo;, ils cr&eacute;ent <strong>une sc&eacute;nographie</strong> de briques en terre cuite qui englobe le jardin et les espaces int&eacute;rieurs du b&acirc;timent de Jean Nouvel. Ce dispositif architectural reproduit m&eacute;taphoriquement la configuration d&rsquo;un orchestre symphonique.</p> <p style="text-align: justify;">L&rsquo;exposition pr&eacute;sente <strong>un dessin de 18 m&egrave;tres de long sp&eacute;cialement cr&eacute;&eacute; pour l&rsquo;exposition par l&rsquo;artiste chinois Cai Guo-Qiang</strong>. Cette oeuvre pr&eacute;sente des animaux sauvages de toutes esp&egrave;ces r&eacute;unis autour d&rsquo;un point d&rsquo;eau, dans un moment de paix et d&rsquo;extr&ecirc;me vuln&eacute;rabilit&eacute;. Cai Guo-Qiang a r&eacute;alis&eacute; ce dessin avec de la poudre pyrotechnique, mat&eacute;riau qu&rsquo;il utilise avec un savoir-faire et une habilet&eacute; in&eacute;gal&eacute;s. Sur de grandes feuilles de papier, une forme a d&rsquo;abord &eacute;t&eacute; dessin&eacute;e avec de la poudre avant d&rsquo;&ecirc;tre mise &agrave; feu. Les traces de br&ucirc;lure et de fum&eacute;e ont alors compos&eacute; le motif recherch&eacute; : un paysage d&rsquo;animaux.</p> <p style="text-align: justify;">&Agrave; cette sc&egrave;ne imagin&eacute;e par <strong>Cai Guo-Qiang</strong>, qui &eacute;voque les peintures rupestres des artistes des temps les plus anciens, l&rsquo;exposition associe de saisissantes et &eacute;tranges images prises avec des &laquo; pi&egrave;ges photographiques &raquo; que l&rsquo;artiste japonais Manabu Miyazaki dispose avec une ing&eacute;niosit&eacute; et une sensibilit&eacute; sans pareilles. <strong>Expos&eacute;es pour la premi&egrave;re fois en dehors du Japon, ces photographies donnent &agrave; voir des animaux sauvages</strong> qui partagent le m&ecirc;me environnement et empruntent les m&ecirc;mes chemins que les humains. Les photographies de <strong>Manabu Miyazaki</strong> r&eacute;v&egrave;lent &eacute;galement la myst&eacute;rieuse beaut&eacute; onirique du vol nocturne des oiseaux dans la for&ecirc;t. L&rsquo;artiste d&eacute;crit ainsi sa d&eacute;marche : &laquo; Mes pi&egrave;ges photographiques sont comme les arbres qui observent les animaux. Mon appareil photo est l&rsquo;oeil de l&rsquo;arbre. &raquo;</p> <p style="text-align: justify;"><em>Le Grand Orchestre des Animaux</em> donne ensuite le champ libre &agrave; une approche plus joueuse, excentrique et color&eacute;e, dans laquelle <strong>l&rsquo;imaginaire des artistes fait &eacute;cho aux plus fascinantes cr&eacute;ations esth&eacute;tiques de la nature</strong>. L&rsquo;artiste br&eacute;silienne <strong>Adriana Varej&atilde;o</strong> r&eacute;alise un mur de c&eacute;ramique, peint d&rsquo;oiseaux d&rsquo;Amazonie, qui relie le jardin &agrave; l&rsquo;int&eacute;rieur du b&acirc;timent et &agrave; l&rsquo;exposition. Embl&eacute;matiques ou ostentatoires, les tableaux de l&rsquo;artiste b&eacute;ninois <strong>Cyprien Tokoudagba</strong> et les animaux musiciens des peintres congolais <strong>Pierre Bodo, JP Mika et Moke</strong> entrent en conversation avec les extravagants oiseaux de paradis de Nouvelle-Guin&eacute;e film&eacute;s par les chercheurs du <strong>Cornell Lab of Ornithology</strong> (Ithaca, &Eacute;tats-Unis). Cette &eacute;tonnante vid&eacute;o-voli&egrave;re d&rsquo;images bigarr&eacute;es est plac&eacute;e sous la vigilance solennelle et contemplative de dioramas d&rsquo;animaux photographi&eacute;s en noir et blanc par l&rsquo;artiste japonais<br /><strong>Hiroshi Sugimoto.</strong></p> <p style="text-align: justify;">Dans la seconde partie de l&rsquo;exposition, c&rsquo;est cette fois l&rsquo;esth&eacute;tique inou&iuml;e du monde vivant imperceptible qui est r&eacute;v&eacute;l&eacute;e &agrave; travers les technologies de pointe des microphones et microscopes digitaux.</p> <p style="text-align: justify;">Le collectif anglais <strong>United Visual Artists</strong> (UVA) propose un dispositif de traduction visuelle des paysages sonores de Bernie Krause. Une &eacute;tonnante installation &eacute;lectronique tridimensionnelle, command&eacute;e sp&eacute;cialement pour l&rsquo;exposition, <strong>transpose en particules lumineuses les donn&eacute;es des enregistrements sonores afin de mettre en relief la beaut&eacute; des environnements pr&eacute;sent&eacute;s et la complexit&eacute; des vocalisations animales.</strong></p> <p style="text-align: justify;">Les recherches de Bernie Krause nous ont fait d&eacute;couvrir que <strong>les sonorit&eacute;s du monde animal, souvent per&ccedil;ues sous la forme confuse d&rsquo;un simple bruit de fond, sont en r&eacute;alit&eacute; aussi soigneusement orchestr&eacute;es que la partition musicale la plus complexe.</strong> Chaque esp&egrave;ce poss&egrave;de sa propre signature acoustique au sein du panorama sonore de son &eacute;cosyst&egrave;me. Bernie Krause d&eacute;crit ainsi ce ph&eacute;nom&egrave;ne de &laquo; niche acoustique &raquo; : &laquo; Chaque esp&egrave;ce r&eacute;sidente acquiert sa propre largeur de bande acoustique &ndash; qui lui permet de se m&eacute;langer aux autres ou de cr&eacute;er un contraste &ndash; un peu comme les violons, les bois, les cuivres et les percussions d&eacute;limitent leur territoire acoustique dans un arrangement pour orchestre. &raquo;</p> <p style="text-align: justify;">Nous oublions trop souvent que ce sont les animaux qui nous ont fait don de la musique. Bernie Krause nous le rappelle et nous sensibilise &agrave; l&rsquo;organisation des vocalisations animales au moyen de sonogrammes des paysages sonores qu&rsquo;il enregistre. <strong>Ces repr&eacute;sentations graphiques de la biophonie offrent une chance de mieux comprendre et appr&eacute;cier le langage acoustique du monde vivant que nous sommes en train de d&eacute;truire &ndash; langage que seuls les peuples indig&egrave;nes savent encore si bien d&eacute;chiffrer.</strong></p> <p style="text-align: justify;">L&rsquo;installation immersive du collectif UVA, qui met en valeur l&rsquo;extraordinaire richesse des enregistrements et des sonogrammes de Bernie Krause, offre &agrave; la fois une exp&eacute;rience esth&eacute;tique in&eacute;dite et un outil de connaissance pr&eacute;cis. Elle pr&eacute;sente sept paysages sonores, enregistr&eacute;s au Canada, aux &Eacute;tats-Unis, au Br&eacute;sil, en R&eacute;publique centrafricaine, au Zimbabwe et dans les profondeurs des oc&eacute;ans. Un film r&eacute;alis&eacute; par <strong>Raymond Depardon et Claudine Nougaret</strong>, dans lequel Bernie Krause commente son oeuvre, est int&eacute;gr&eacute; &agrave; l&rsquo;installation.</p> <p style="text-align: justify;">Dans une autre salle, les visiteurs sont invit&eacute;s &agrave; <strong>explorer une des dimensions les plus m&eacute;connues du monde animal en s&rsquo;immergeant dans la beaut&eacute; infinit&eacute;simale de l&rsquo;oc&eacute;an avec l&rsquo;installation <em>Plancton, aux origines du vivant.</em></strong> R&eacute;alis&eacute;e &agrave; partir des photographies de <strong>Christian Sardet</strong>, directeur de recherche au CNRS et un des initiateurs du projet <strong>Tara Oceans</strong>, selon un dispositif imagin&eacute; par le vid&eacute;aste et plasticien <strong>Shiro Takatan</strong>i, elle s&rsquo;accompagne d&rsquo;une musique cr&eacute;&eacute;e par le compositeur japonais <strong>Ryuichi Sakamoto</strong>. Invisibles &agrave; l&rsquo;oeil humain, les micro-organismes qui forment le plancton sont pr&eacute;sents dans tous les oc&eacute;ans. Ils repr&eacute;sentent la plus grande partie de la biomasse marine de la plan&egrave;te et sont &agrave; l&rsquo;origine de la vie sur Terre.</p> <p style="text-align: justify;">Dans le jardin, une oeuvre de la collection de la Fondation Cartier cr&eacute;&eacute;e par <strong>Agn&egrave;s Varda</strong>, <em>Le Tombeau de Zgougou</em>, perp&eacute;tue, tel un temple protecteur d&eacute;di&eacute; &agrave; l&rsquo;esprit des animaux de compagnie, la m&eacute;moire de sa bien-aim&eacute;e et &agrave; jamais regrett&eacute;e chatte Zgougou.</p> Thu, 26 May 2016 09:31:48 +0000 - Fondation Cartier - May 28th 3:00 PM - 8:00 PM <p>Orchestra, dance classes and Colombian street food</p> <p>The Nomadic Nights will set up a dance floor in the garden of the Fondation Cartier for an afternoon of fun, beating to the frantic and unrestrained rhythm of <em>cale&ntilde;a</em>, a Colombian salsa danced faster in Cali than anywhere else.</p> <p>With the dancers of the Academia Maritza Arizala, accompanied by the Conciencia orchestra conducted by Boris Caicedo.</p> <p><strong>Program:</strong><br />3pm &ndash; 3:45pm: Colombian salsa lesson (all levels)<br />3:45pm &ndash; 4pm: Cumbia demonstration (traditional rhythms from Atlantic coast, Colombia)<br />4pm &ndash; 4:45pm: Colombian cumbia lesson (all levels)<br />4:45pm &ndash; 5pm: Currualo demonstration (traditional rhythms from Pacific coast, Colombia)<br />5pm &ndash; 5:45pm: Colombian salsa lesson (all levels)<br />6pm &ndash; 7pm: concert with the Conciencia orchestra and Colombian salsa demonstration<br />7pm &ndash; 8pm: salsa ball, playlist by Boris Caicedo</p> <p><strong>Informations</strong><br />The purchase of a ticket for this Nomadic Night includes access to the <em>Daido Tokyo</em> and <em>Cali Clair-Obscur</em> exhibitions<br />In case of rain, the event will be cancelled.</p> Thu, 26 May 2016 09:25:38 +0000 - Cité nationale de l'histoire de l'immigration - March 22nd - June 5th <p style="text-align: justify;">Le Mus&eacute;e national de l&rsquo;histoire de l&rsquo;immigration pr&eacute;sente une s&eacute;lection d&rsquo;affiches sur l&rsquo;histoire du racisme, de l&rsquo;antis&eacute;mitisme et des mobilisations antiracistes.</p> <div class="insert-node insert-node1 insert-nid29112" style="text-align: justify;"> <div class=" insert-node-imagefield moyen-demi droite"> <p>Alain Le Quernec, Tous &eacute;gaux. Marche contre l'intol&eacute;rance, reproduction, 100 x 70 cm &copy; Alain Le Quernec, Mus&eacute;e national de l'histoire de l'immigration</p> </div> </div> <p class="readability-styled" style="display: inline; text-align: justify;">R&eacute;alis&eacute;e en collaboration avec des graphistes contemporains, la Biblioth&egrave;que nationale de France et le M&eacute;morial de la Shoah, cette exposition propose un choix de cr&eacute;ations graphiques produites au XX&egrave;me si&egrave;cle, ou plus r&eacute;cemment, reconnues pour leur force visuelle ou pour la pertinence des messages qu&rsquo;elles portent. La cr&eacute;ation a ici valeur d&rsquo;engagement.</p> <p style="text-align: justify;">L&rsquo;exposition s&rsquo;organise autour de trois th&eacute;matiques :</p> <ul style="text-align: justify;"> <li>les st&eacute;r&eacute;otypes et les pr&eacute;jug&eacute;s ;</li> <li>les messages militants ;</li> <li>les valeurs de la R&eacute;publique.</li> </ul> <p style="text-align: justify;">Les affiches, en effet, parce qu&rsquo;elles ont pour objectif d&rsquo;interpeller, s&rsquo;appuient souvent sur des caricatures ou,<em> a contrario</em>, cherchent, &agrave; travers des visuels et des slogans percutants, &agrave; v&eacute;hiculer des messages engag&eacute;s et &agrave; d&eacute;fendre les valeurs universelles de l&rsquo;&eacute;galit&eacute;.</p> Thu, 26 May 2016 09:21:39 +0000 - Bibliothèque nationale de France - François-Mitterrand - July 5th - September 18th <p style="text-align: justify;">La BnF et Dai Nippon Printing Co., Ltd&nbsp; ont conclu un accord de m&eacute;c&eacute;nat de comp&eacute;tence pour la num&eacute;risation en 3D et la diffusion d&rsquo;un ensemble exceptionnel de 55 globes anciens terrestres et c&eacute;lestes. Cette op&eacute;ration d&rsquo;envergure est une premi&egrave;re mondiale pour un ensemble aussi important de globes &agrave; l&rsquo;&eacute;chelle d&rsquo;une collection. DNP apporte ainsi &agrave; la BnF ses technologies &eacute;prouv&eacute;es de num&eacute;risation du patrimoine culturel mondial, ainsi que des outils innovants de scann&eacute;risation 3D de globes, d&eacute;velopp&eacute;s pour l&rsquo;occasion. Lors de&nbsp; cette exposition, la num&eacute;risation permettra de faire tourner avec fluidit&eacute; et en tous sens chacun de ces globes, objets d&rsquo;art et de science, et d&rsquo;en admirer en haute d&eacute;finition les d&eacute;tails difficiles &agrave; voir &agrave; l&rsquo;&oelig;il nu gr&acirc;ce &agrave; la fonction d&rsquo;agrandissement. Cette op&eacute;ration est l&rsquo;occasion pour DNP de d&eacute;velopper des outils originaux permettant &agrave; un large public d&rsquo;avoir facilement acc&egrave;s aux remarquables &oelig;uvres du patrimoine mondial, qui sont souvent difficiles &agrave; exposer notamment pour des raisons de conservation.</p> <p style="text-align: justify;">Le d&eacute;partement des Cartes et plans de la BnF conserve l&rsquo;une des principales collections au monde de globes terrestres et c&eacute;lestes anciens, compos&eacute;e de plus de 200 objets. Pour cette op&eacute;ration de num&eacute;risation ont &eacute;t&eacute; s&eacute;lectionn&eacute;s 55 globes parmi les plus pr&eacute;cieux, datant du XI<sup>e </sup>au XIX<sup>e</sup> si&egrave;cle, d&rsquo;origine fran&ccedil;aise, germanique, hollandaise, italienne, anglaise ou arabe. Cet ensemble, dot&eacute; de pi&egrave;ces uniques du XVI<sup>e</sup> si&egrave;cle, manuscrites ou grav&eacute;es sur m&eacute;tal, illustrant les grandes d&eacute;couvertes, t&eacute;moigne aussi du d&eacute;veloppement de la production imprim&eacute;e au si&egrave;cle d&rsquo;or hollandais et de la diversification de la production europ&eacute;enne au si&egrave;cle des Lumi&egrave;res. L&rsquo;&eacute;dition du XIX<sup>e </sup>si&egrave;cle est &eacute;galement illustr&eacute;e par quelques pi&egrave;ces remarquables et repr&eacute;sentatives de l&rsquo;&eacute;volution du genre, jusqu&rsquo;au globe de la lune de l&rsquo;astronome Camille Flammarion (1896).<br /> <br /> <strong>Quelques pi&egrave;ces remarquables de la s&eacute;lection :<br /> Globe c&eacute;leste arabo-coufique</strong><br /> Le plus ancien globe c&eacute;leste arabe en bronze, datant de la fin du XI<sup>e</sup> si&egrave;cle, repr&eacute;senteles constellations selon l&rsquo;Almageste de Ptol&eacute;m&eacute;e.<br /> <strong><br /> Globe terrestre de Martin Behaim/ Reproduction en fac simile</strong><br /> La copie du globe de Martin Behaim con&ccedil;u &agrave; Lisbonne en 1492 repr&eacute;sente le monde connu avant Christophe Colomb. L&rsquo;original, conserv&eacute; &agrave; Nuremberg, &eacute;tant aujourd&rsquo;hui presque illisible, ce fac-simil&eacute; &eacute;labor&eacute; &agrave; l&rsquo;identique en 1847 &agrave; la demande du conservateur du d&eacute;partement des Cartes et plans, Edme-Fran&ccedil;ois Jomard, est devenu l&rsquo;exemplaire de r&eacute;f&eacute;rence.<br /> <br /> <strong>Globe terrestre dit &laquo;Globe vert&raquo;</strong><br /> Le globe terrestre manuscrit dit &laquo; Globe vert &raquo; attribu&eacute; &agrave; Martin Waldseem&uuml;ller a &eacute;t&eacute; r&eacute;alis&eacute; vers 1506. Il est l&rsquo;un des tout premiers globes &agrave; donner aux Am&eacute;riques (Nord et Sud) une forme continentale et surtout, le premier &agrave; baptiser ces nouvelles terres du nom d&rsquo;America.<br /> <strong><br /> Globe dor&eacute;</strong><br /> Le globe terrestre dit &laquo; Globe dor&eacute; ou de Bure &raquo;, r&eacute;alis&eacute; entre 1524 et 1528 par l&rsquo;atelier de Johann Sch&ouml;ner, tout en figurant le voyage de Magellan autour du monde, revient &agrave; l&rsquo;hypoth&egrave;se de Christophe Colomb identifiant l&rsquo;Am&eacute;rique &agrave; une partie del&rsquo;Asie.<br /> <br /> <strong>Globe de Rouen</strong><br /> Le globe terrestre dit &laquo; de Rouen ou de Lecuy &raquo;, est l&rsquo;unique globe r&eacute;alis&eacute; &agrave; Rouenau XVI<sup>e</sup> si&egrave;cle, sans doute vers 1580 &agrave; partir de sources espagnoles comme l&rsquo;atteste la toponymie. Bien que la c&ocirc;te ouest du Nouveau Monde soit encore malconnue, l&rsquo;Am&eacute;rique et l&rsquo;Asie sont ici bien distinctes.<br /> <br /> <strong>Globes de l&rsquo;abb&eacute; Nollet</strong><br /> Deux globes, c&eacute;leste et terrestre, ont &eacute;t&eacute; r&eacute;alis&eacute;s en 1728-1730 par l&rsquo;abb&eacute; Jean Nollet, fabricant d&rsquo;instruments rendu c&eacute;l&egrave;bre par ses &laquo; causeries exp&eacute;rimentales &raquo; qui contribu&egrave;rent &agrave; mettre la science &agrave; la mode parmi les gens de cour. Le globe c&eacute;leste est enlumin&eacute; d&rsquo;un bleu &eacute;meraude sur lequel &laquo; les &eacute;toiles sont relev&eacute;es en or &raquo;, &laquo; de sorte qu&rsquo;au premier coup d&rsquo;oeil on aper&ccedil;oit sans confusion l&rsquo;&eacute;tat naturel du Ciel &raquo;, pr&eacute;figurant ainsi l&rsquo;abandon des figures all&eacute;goriques des constellations par l&rsquo;astronomie moderne.<br /> <br /> <strong>Exposition avec le soutien de la Dai Nippon Printing Co., Ltd. et de la Fondation d&rsquo;entreprise Total.</strong></p> Thu, 26 May 2016 09:17:24 +0000 Pierre-Olivier Arnaud - Art : Concept - June 4th - July 23rd Thu, 26 May 2016 09:08:35 +0000