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Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


May 25, 2014

Taipei Biennial 2014: Nicolas Bourriaud selected as curator

The Taipei Biennial 2014 will be held at Taipei Fine Arts Museum from 13th September 2014 through 4th January 2015.

The French art critic/curator Nicolas Bourriaud (born 1965) has been selected as the curator of the Taipei Biennial 2014. Titled “The Great Acceleration”, it will develop his curatorial concept for the biennial around the topic Art and Its New Ecosystem: A Global Set of Relations.

Nicolas Bourriaud is the Director of the Ecole des Beaux-Arts, Paris (ENSBA) since 2012. Bourriaud is best known amongst his peers for his book Relational Aesthetics (1998) in which he attempted to reveal the new approaches to contemporary art in the 1990s by addressing an aesthetic of the inter-human, of encounters and of transforming social contexts.

In the Taipei Biennial 2014, curator Nicolas Bourriaud will expand on his theory of relational aesthetics, examining how contemporary art expresses this new contract among human beings, animals, plants, machines, products and objects. The exhibition will highlight the way artists focus on links, chainings, connections and mutations, and how they envision planet earth as a huge network, where new states of matter and new forms of relations appear, forming a new state of the “ghost dance” between people and objects that Karl Marx has described in the 19th century.

Today, the sphere of inter-human relations cannot be conceived apart from the factors of environment and technology. Similarly, how could art develop independently from them? This is why, since the beginning of the 21st century, contemporary artists have tended to explore the ties binding living beings with objects, the machine with the body, and the technological with the social – and to experience their interdependence – in order to renegotiate their relationships with both the technosphere and the biosphere.

In the West, some philosophers are critically re-evaluating the concept of such a new ecosystem, and are drawing from Chinese philosophy as a basic conceptual contrast to Western philosophy. For example, in the cosmology of Zhuangzi, time and space are infinite, without beginning or end. The free transitioning among object and object, object and person, without boundary or condition, he called the “Transformation of Things.” Graham Harman, meanwhile, considers everything as an “object”, whether physical, fictional, living or inert. In fact, this radical Western philosophical view of universal objectification distantly echoes Chinese thought.

Through such cultural and technological cross-pollenization, a possible global refoundation of aesthetics is taking shape at the present time. From this perspective, through the discipline and practice of contemporary art, the Taipei Biennial 2014 will attempt to examine art and its new ecosystem in a global set of relations.

Since 1998, the Taipei Biennial has launched its international programming in the city by inviting guest curators to contribute to an enriched environment, cross-cultural practices, and to showcase disciplines and new practices of art today. But the Taipei Biennial also endeavours to address social and historical issues concerning the city (Taipei) as a place, not merely a venue, by mixing artists and elements of the city.

In light of this, the Taipei Biennial 2014 has invited Nicolas Bourriaud as curator to organize the exhibition as a direct network of both the local community and the international community brought together by a common interest in addressing aesthetic issues in a new era.

In his recently publicized speech on the topic of “Art and Its New Ecosystem: A Global Set of Relations” on the 29th of December 2013 at the Taipei Fine Arts Museum, Bourriaud said, “Art theory and aesthetic concepts start from discussions with the artists and a dialogue with their work.” Bourriaud made a truly remarkable statement in conceptualizing the Taipei Biennial 2014. We can see that when curating an exhibition, Bourriaud shapes both ideas and artworks through open dialogue with the artists. 

Taipei Fine Arts Museum
No. 181 Zhongshan N. Road Sec. 3, Taipei 10461, Taiwan

May 20, 2014

Nuit européenne des musées 2014 : Bilan

La 10ème édition de la Nuit européenne des musées a rassemblé, samedi 17 mai 2014, plus de 2 millions de visiteurs en France, soit deux fois plus que lors de la première édition en 2005

Affiche de la Nuit européenne des musées 2014
Graphisme : DES SIGNES, le studio Muchir et Desclouds

Dans un communiqué de presse, le ministère de la culture et de la communication dresse un bilan positif de la Nuit des musées 2014. Ce sont en effet plus de 2 millions de visiteurs ont profité de la soirée du samedi 17 mai 2014 pour satisfaire leur curiosité. 1300 musées en France ont ouvert gratuitement leurs portes. Voici quelques chiffres : 

En Ile-de-France :
Le Centre Pompidou : 25 585 visiteurs
Le Palais de Tokyo : 4 000 visiteurs
Le Grand Palais : 16 704 visiteurs
Le Petit Palais : 2 596 visiteurs
Le musée du Quai Branly : 15 572 visiteurs
Le musée national des arts asiatiques, Guimet : 2 028 visiteurs
Le musée national du Moyen-Age, Cluny : 1 812 visiteurs
Le musée d’Orsay : 11 841 visiteurs
Le musée de la chasse et de la nature : 2 740 visiteurs
Le musée Zadkine : 840 visiteurs
Palais Galliera : 1 798 visiteurs
Le musée des arts et métiers : 4 024 visiteurs
Le musée d’Art moderne de la Ville de Paris : 4 950 visiteurs
Cité de la Musique : 1 400 visiteurs
Le Mac/Val : 1 568 visiteurs
Le Château de Versailles : 4 600 visiteurs
Le Château de Fontainebleau : 3 477 visiteurs
Le musée du Château de la Malmaison et Bois Préau : 483 visiteurs
Palais impérial de Compiègne : 2 260 visiteurs

En région :
La Nuit des mystères à Mulhouse : 30 000 visiteurs
Les musées de Strasbourg : 19 912 visiteurs
Le musée lorrain de Nancy : 3 058 visiteurs
Le Centre Pompidou Metz : 3 106 visiteurs
Le LAM de Villeneuve d’Ascq : 2 450 visiteurs
Le musée des Beaux-Arts de Lille : 5 900 visiteurs
Le Louvre-Lens : 3 644 visiteurs
L’ensemble des musées de La Rochelle : 4 000 visiteurs
L’ensemble des musées d’Angers : 6 839 visiteurs
Les musées de Bordeaux : 35 320 visiteurs
Le musée de Grenoble : 2 052 visiteurs
Vesunna, le musée Gallo-Romain de Périgueux : 1 110 visiteurs
Le Centre national du costume de scène à Moulins : 1 980 visiteurs
Le musée des Augustins à Toulouse : 4 239 visiteurs
Le musée Fabre de Montpellier : 3 000 visiteurs
Le musée du Petit Palais d’Avignon : 1 873 visiteurs
Le MUCEM Marseille : 4 814 visiteurs
Le musée d’art moderne et contemporain de Nice : 1 036 visiteurs

En Europe :
Plus de 2 000 musées ont participé cette année à cette grande fête des musées.
Quelques exemples :
En Roumanie : 167 000 visiteurs
Barcelone en Espagne : 160 000 visiteurs
Sofia en Bulgarie : 150 000 visiteurs.
Au Royaume-Uni, le Museums at Night weekend s'est déroulé du jeudi 15 au samedi 17 mai, et a donné lieu à plus de 600 événements.

May 19, 2014

Durst Rho 312R roll to roll printer

The new Durst Rho 312R roll to roll printer 
With unrivalled production speeds and Variodrop technology

Durst Rho 312R roll to roll printer 
Photo (c) Durst

The Rho 312R is the most productive 3.2 m roll to roll printer in its class. It also offers a new quality standard for industrial backlit or “fine art printing”. The Rho 312R features Durst’s Quadro Array 12M printheads with Variodrop technology and the12 picolitre drop size enables excellent image quality with up to 900 dpi, whilst the Variodrop technology is responsible for the printer’s high productivity. It is capable of printing up to 240 sqm/hour in high speed mode and up to 122 sqm/h in POP mode. Productivity is further enhanced by the option of being able to print two 1.6 m rolls of media at the same time with individual print queues.
  
With print system of over 24,000 nozzles, there is no compromise between productivity and speed, whilst the high pigmentation reduces ink consumption and therefore provides a low cost per m² and a very competitive ROI. The Variodrop technology enhances the greyscale technology by increasing productivity and improved image quality, also eliminating the inherent problems that can occur with greyscale printing.
  
Other features include 6 colour printing and different ink options, unattended printing with large rolls, options of reverse side printing and integrated border cutting. Durst roll ink is environmentally friendly.
The inks are completely VOC free and accredited with the stringent Nordic Swan environmental certification.
  
For digital or offset printers who wish to enter new large format markets or enhance their existing portfolio, the Rho 312R is the most flexible and productive printer available. It will provide the ideal solution for anything from high quality backlits and “fine art” prints to POP, banners, and even wallpaper and façade decoration, profitably.  
  
The Rho 312R is the most productive 3.2 m roll to roll printer in its class. It also offers a new quality standard for industrial backlit or “fine art printing”. The Rho 312R features Durst’s Quadro Array 12M printheads with Variodrop technology and the12 picolitre drop size enables excellent image quality with up to 900 dpi, whilst the Variodrop technology is responsible for the printer’s high productivity. It is capable of printing up to 240 sqm/hour in high speed mode and up to 122 sqm/h in POP mode. Productivity is further enhanced by the option of being able to print two 1.6 m rolls of media at the same time with individual print queues.
  
With print system of over 24,000 nozzles, there is no compromise between productivity and speed, whilst the high pigmentation reduces ink consumption and therefore provides a low cost per m² and a very competitive ROI. The Variodrop technology enhances the greyscale technology by increasing productivity and improved image quality, also eliminating the inherent problems that can occur with greyscale printing.
  
Other features include 6 colour printing and different ink options, unattended printing with large rolls, options of reverse side printing and integrated border cutting. Durst roll ink is environmentally friendly.
The inks are completely VOC free and accredited with the stringent Nordic Swan environmental certification.
  
For digital or offset printers who wish to enter new large format markets or enhance their existing portfolio, the Rho 312R is the most flexible and productive printer available. It will provide the ideal solution for anything from high quality backlits and “fine art” prints to POP, banners, and even wallpaper and façade decoration, profitably. 

Durst Rho P10 200/250 HS

The new Durst Rho P10 HS Series
Double the productivity

Durst Rho P10 250 HS
Photo (c) Durst
 
The Rho P10 200/250 HS feature Durst’s Quadro Array 10M printheads with double the number nozzles in comparison to the Rho P10 200/250. They also have LED Pin curing in combination with conventional UV drying. The Pin curing helps to make the faster speed possible by sealing the drops of inks, keeping the quality perfect, whilst the UV curing finalises the drying process.
  
The Rho P10 Series set a new quality standard for industrial level inkjet printing when it was launched two years ago. That same quality, with a resolution of up to 1000 dpi, is now available from a printer that is capable of printing up to 400 sqm.
  
As with all the latest Durst Inkjet printers, the new Rho P10 HS Series are the most productive printers in their class. A true hybrid, they will print on both rigid and roll media equally fast and the media change from one to the other is both quick and simple. They also provide unrivalled versatility thanks to their ability to print on the widest range of media including foam board, metal, acrylics and PVC and roll media such as clear film and other backlit material, textiles and vinyls.
   
The stunning “fine art” print quality of both the existing and new P10 printers provides a level of quality that will allow for close up viewing of a wide range of advertising and corporate promotional material. The very fine tones and the option of additional light colours (light cyan and light magenta) offer perfect colour reproduction. Typically, they are ideal for indoor and outdoor signage, POP material, small to medium sized packaging and backlit luxury goods.  

The new Rho P10 HS can also boast Durst’s Variodrop technology. Not only does this help with the increased productivity but also provides improved image quality, particularly at the highest production speeds.
Solid areas of colour are smoother whilst offering bright vibrant colours.  

May 7, 2014

Musée Carnavalet : Paris libéré, Paris photographié, Paris exposé

Paris libéré, Paris photographié, Paris exposé 
Musée Carnavalet, Paris 
11 juin 2014 - 8 février 2015

A l’occasion du 70e anniversaire de la libération de Paris et dans le cadre du Mois de la Photographie, le musée Carnavalet présente l’exposition Paris libéré, Paris photographié, Paris exposé

Affiche de l’exposition de 1944 
© Musée Carnavalet 

Le 25 août 1944, Paris est libéré par la 2e Division blindée du général Leclerc et les Alliés. Deux mois et demi après, alors que la France et les Alliés se battent encore contre les nazis, le musée Carnavalet écrit déjà l’histoire en ouvrant le 11 novembre 1944 une exposition sur la Libération. En effet, dès septembre, François Boucher, conservateur du musée Carnavalet et résistant, souhaite « réunir les documents indispensables à l’historien de l’avenir ». Il lance alors un appel dans la presse afin de « constituer une documentation très complète sur les journées de la libération de Paris » et sollicite de nombreuses institutions. Cette exposition, réalisée sur le vif et portée davantage sur l’émotion que sur la véracité historique, rencontre alors un véritable succès populaire. 

Paris libéré, Paris photographié, Paris exposé revient sur l’exposition de 1944 en reprenant des photographies de Robert Doisneau, René Zuber, Jean Séeberger… que viennent enrichir et contextualiser des tirages, des films d’époque, des entretiens vidéos avec des témoins de la Libération, des livres publiés à chaud ou encore divers objets attestant de l’engagement des résistants parisiens pour leur cause… Cet ensemble inédit de témoignages variés permet de comprendre la fabrique de l’image en temps de guerre. Dans un face à face où photographies et films se répondent, le parcours montre que les mémoires individuelles et collectives se sont construites grâce aux images qui, avec le temps, font l’objet d’interprétations variées. Une installation audio-visuelle de l’artiste Stéphane Thidet illustre le lien complexe qui nous lie aux photographies et le médecin généticien Axel Kahn nous explique comment notre cerveau les mémorise. 

Le musée Carnavalet propose un programme d’animations pendant toute la durée de l’exposition, disponible sur le site du musée www.carnavalet.paris.fr à partir du 1er juin. 

Par ailleurs le Département des expositions de la Direction de l’Information et de la Communication, et le musée du général Leclerc de Hauteclocque et de la Libération de Paris – musée Jean Moulin, présentent l’exposition Libérer Paris, août 1944, de juin à septembre 2014 salle Saint-Jean à l’Hôtel de ville. Hors les murs, des promenades parisiennes invitent à poursuivre la découverte de l’histoire de l’Insurrection et de la libération de Paris dans la ville. 

Commissariat de l'exposition : Catherine Tambrun, musée Carnavalet – Histoire de Paris 
Assistée de Cyril Colin 
Conseillère scientifique : Christine Lévisse-Touzé

Un catalogue de 400 pages environ / 270 illustrations environ est édité en français, anglais et allemand.

Musée Carnavalet – Histoire de Paris 
16, rue des Francs-Bourgeois - 75003 Paris
www.carnavalet.paris.fr